TAUTOSYLLABIC

1. (Phonology) Part of the same syllable. E.g. a phonological diphthong analyzed into a sequence of two tautosyllabic vowels. | ?
2. (Phonology) Two or more segments are tautosyllabic (with each other) if they occur in the same syllable. For instance, the English word cat, /kæt/, is monosyllabic and so its three phonemes /k/, /æ/ and /t/ are tautosyllabic. They can also be described as sharing a tautosyllabic distribution.
    Phonemes that are not tautosyllabic are heterosyllabic. For example, in the English word mustard /ˈmʌstərd/, /m/ and /t/ are heterosyllabic since they are members of different syllables. | Wikipedia, 2022
3. (Examples)
   • (Phonology) Diphthongs refer to a tautosyllabic sequence of two vowels of different qualities. | Haruo Kubozono, 2015
   • (Phonology) Such studies can initially disappoint if one is searching for phonetic correlates of diphthongs. However, perhaps people like Salza (1988) are making tacit arguments that phonetics and phonology cannot be separated when studying diphthongs. His work does seem to indicate that if one ignores syllable boundaries when studying diphthongs, one may reach wrong conclusions. These Italian studies also show that stress patterns can make a difference in the length of a segment and therefore determine whether it gets placed into a tautosyllabic or a heterosyllabic sequence. This means that while spectrograms are helpful in Italian in determining whether a segment is a diphthong or something else, they cannot be read in a vacuum and must constantly be informed by the phonology. | Pamela S. Arlund, 2007
   • (Phonology) In addition, since the aim of this study is to explore the relations of the phonological transcriptions and dynamic properties of speech, using diphthongs as an example, it is natural that a related type of sound, conventionally called a triphthong will be included. The field of study will also include tauto-syllabic components other than diphthongs or triphthongs, if they can (at least partly) be characterized as an extension of the dynamic movement of F2 in the neighboring vocalic patterns. | Hongmo Ren, 1986

TEAM CREDIT INTERPRETATION
(Semantics) Dowty (1987) observes that some collective predicates are very liberal in their non-maximality. Example (1) is judged as true in a scenario where just a few of the kids actually built the raft, and the others sat idly and watched. This is known as a team credit interpretation.

1. The kids built a raft.

TELICITY

1. (Semantics) The definitions of (a)telicity and (un)boundedness hinge on the notions of endpoint or terminal point and temporal boundary a situation may be limited in time: for instance, a situation of sunbathing may last for half an hour; it reaches a temporal boundary once the person in question leaves the beach. If someone runs a marathon, the endpoint to this particular situation is when the runner reaches the finish. A deliberate attempt to stay five minutes under a cold shower reaches its endpoint once the five minutes are over.
    (A)telicity has to do with whether or not a situation is described as having an inherent or intended endpoint; (un)boundedness relates to whether or not a situation is described as having reached a temporal boundary (cf. Declerck 1989, 1991).
    A clause is telic if the situation is described as having a natural (cf. (1a) and (1b)) or an intended endpoint (cf. (1c)) which has to be reached for the situation as it is described in the sentence to be complete and beyond which it cannot continue. Otherwise it is atelic. Examples (1a), (1b) and (1c) are telic, (1d) and (1e) are atelic:
   1. a. The bullet hit the target.
      b. Sheila collapsed.
      c. Sheila deliberately swam for 2 hours.
      d. Sheila is working in the garden.
      e. Sheila lives in Vienna.
    | Ilse Depraetere, 1995
2. (Semantics) From the Greek τέλος, meaning 'end' or 'goal'. The property of a verb or verb phrase that presents an action or event as being complete in some sense. A verb or verb phrase with this property is said to be telic, while a verb or verb phrase that presents an action or event as being incomplete is said to be atelic. | Wikipedia, 2017

TEMPLATIC MORPHOLOGY

1. (Morphology) Or, position class morphology or slot-and-filler morphology. Typically understood as one form of morphological organization in which the linear order of morphemes bears little apparent relationship to other synchronic semantic, syntactic, or phonological factors (Good 2011). Although templatic morphological structures have been reported in many language families, Dene (Athapaskan, Athabaskan) languages are often upheld as offering particularly striking examples of morphological templates in action, with some Dene verbal constructions analyzed as having upwards of twenty distinct template positions (cf. Kari 1989). | Christopher Cox, 2017
2. (Morphology) Morphology that imposes invariant shape on the word.  | John J. McCarthy and Alan Prince, 1990
3. (Morphology) In Arabic, various morphological distinctions are expressed by specifying a fixed canonical form of the stem that does not vary despite independent morphological or lexical changes in the consonants or vowels that fill this canonical form. For example, (1) demonstrates the property of shape-invariance for the Arabic causative, known as the faʕʕala or Form 2:

   TABLE 1	/ktb/ 'write'	/drs/ 'study'	/ʕm/ 'know'	/sm/ 'poison'
   perfect active	kattab	darras	ʕallam	sammam
   perfect passive	kuttib	durris	ʕullim	summim
   imperfect active	kattib	darris	ʕallim	sammim
   imperfect passive	kattab	darras	ʕallam	sammam

    | John J. McCarthy and Alan Prince, 1990

TEMPORAL SEMANTICS

1. (Semantics) For a variety of semantic domains (particularly those related to the physical world) language provides a level of rich structural interpretation, at which a limited number of categories are identified and related algebraically (Talmy 1988). The temporal domain, as we shall see, is such a semantic domain. Temporal semantics consists not only in the linear ordering of elements in time, but also in the temporal properties of the things which get ordered, namely events. Thus the linguistic structuring of time operates over concepts such as completion, termination, and ongoingness, in addition to the ordering concepts of anteriority and simultaneity. Because of this complexity, there is much to be learned simply by understanding the structure of temporal semantics, but this is not, of course, all there is to know about our understanding of time. Semantics may be structured, but it is also about things. | Laura Wagner, 1998
2. (Examples)
   • (Semantics) I examine the syntax and semantics of subjunctive clauses in (Modern) Greek. These clauses are typically headed by the particle na and contain a dependent verbal form with no formal mood features: the perfective nonpast. I propose that the semantic contribution of na is temporal: it introduces the variable now (n) into the syntax, which then serves as the parameter for the temporal anchoring of the verb. At the same time, the perfective nonpast contains a dependent (in the sense of Giannakidou 1998, 2001) temporal variable, i.e. an anaphoric variable that cannot remain free, but must be identified with a previous time. It is the presence of this variable that renders the form polarity-like. If this analysis is correct, it has a number of interesting implications.
     1. Mood is no longer a "modal" category, but decomposable into a temporal semantics and directive illocutionary force (in main clauses).
     2. The futurate orientation of the subjunctive arises not as an inherent contribution of na itself, but of the combination of its n with the perfective nonpast.
     3. This analysis explains the polarity behavior of the subjunctive (both na and the dependent nonpast), namely the fact that they are selected by nonveridical elements, by appealing to their semantics, an obvious advantage over merely stipulated selection accounts.
      | Anastasia Giannakidou, 2008
   • (Semantics) I present a crosslinguistic study of the temporal semantics of noun phrases which demonstrates that the temporal interpretation of noun phrases and verb phrases is not completely parallel. One of the main claims is that the semantic categories grammatical ASPECT and MODALITY, but not the category TENSE, are relevant to the temporal semantics of noun phrases.
      There are two lines of research on the temporal semantics of noun phrases.
     1. A theoretical semantic one, based almost exclusively on English data (cf. Enç 1981, 1986, Musan 1995, 1999 and Tonhauser 2000, 2002). This line of research is concerned with identifying the constraints which determine the time relative to which a noun phrase is interpreted.
     2. A small number of papers which report on languages with (what I refer to as) nominal temporality markers, which are markers that affect the temporal interpretation of noun phrases. The term does not make a claim about the semantic category of these markers but subsumes tense, grammatical aspect, existence and modality markers. E.g. Hockett (1958) on Potowatomi (Algonquian), Joseph (1979) on Cree (Algonquian), Burton (1997) on Halkomelem (Salish), Haude (2004) on Movima (isolate in Bolivia), Lecarme (1999, 2004) on Somali (Cushitic).
      | Judith Tonhauser, 2006
   • (Semantics) The existence of ordinary temporal semantics in Chinese is illustrated in (1). In this sentence, the default perfective, which contains both aspectual and tense information, has applied, along with existential closure over the reference (topic) time. The tense information has been highlighted.
     1. Zhangsan
        Zhangsan

        dapuo
        break

        yi-ge
        one-CL

        huaping
        vase

        'Zhangsan broke a vase.'

     λt_o ∃t_Top ∃t ∃x [ t ⊆ t_Top & t_Top < t₀ & breakʼ (t, z, x) & vaseʼ (x) ] Lin (2005)

      | Lisa Matthewson, 2005

TENSE
(Phonetics) Articulated, or claimed to be articulated, with greater effort of the relevant muscles. | Concise Oxford Dictionary of Linguistics, 2007

TENSE PHRASE
See TP.

TENSE TRANSPOSITION

1. (Grammar) The category Tense is specific only for verbs. Grammatical tenses can be absolute or relative.
   • Absolute tenses are determined on the time axis in terms of the moment of speaking about the event.
   • For determining relative tenses, in addition to the moment of speaking about the event, some other moment or time segment of the time axis is relevant as well. In Macedonian, relative tenses are future perfect and past perfect tense.
    In a language, forms are associated with meanings. Elementary forms that have meanings are morphemes. Accordingly, the forms of the grammatical category of tense which are formed with appropriate morphemes, but with auxiliary verbs and particles or other forms of verbs (non-finite or tense related) as well, have their own meanings. Forms of grammatical tenses can be used in their essential meanings, but they can also be used in meanings that are not their essential meanings, which are primary for other grammatical forms. This usage of forms of grammatical tenses, in their non-essential meanings, a usage which is essential for other forms of grammatical tenses, is called a transpositional usage of forms of grammatical tenses. It is a transposition of form, characteristic for a respective tense up to the meaning of another grammatical tense, which in turn has its basic form of expression. | Violeta Nikolovska, 2016
2. (Grammar) By a certain method for generating exercises for transposition of verb tenses, it is possible to transpose each verb tense on a sentence to another verb tense. The verb tenses transposition method can also be applied in other contexts, making it easy to choose an action (verb) and applying it to verb tense. | Kledilson Ferreira and Álvaro R. Pereira Jr., 2018
3. (Grammar) There are cases where a perfect is interpreted locally in a protasis or apodosis. Wolfgang Klein actually provides a few examples of these mixed constructions, as in (3). Semantically, such would (have)-conditionals are still embedded under a semantic present:
   1. Present counterfactuals
       NOW [would/could [-ed protasis] [apodosis]]
   2. Past counterfactuals
       NOW HAVE [would/could [had protasis] [apodosis]]
   3. Mixed present perfect counterfactuals
      a. NOW [would/could [-ed protasis] [HAVE apodosis]]
      b. NOW [would/could [-ed HAVE protasis] [apodosis]]
    The phenomenon is known as tense transposition: What looks like a past is semantically present; what looks like a pluperfect is a semantic past, or, more marginally, a semantic present perfect. Our analysis of this anti-past behavior makes use of a theory of temporal agreement in terms of interpreted/uninterpreted features. | Atle Grønn, 2021

TH-FRONTING
(Sociolinguistics) Th-fronting is the pronunciation of the English [θ] as [f] or [v]. When th-fronting is applied, [θ] becomes [f] (for example, three is pronounced as free) and [ð] becomes [v] (for example, bathe is pronounced as bave). (Here fronting refers to the position in the mouth where the sound is produced, not the position of the sound in the word, with the [θ] coming from the tongue as opposed to the [f] or [v] coming from the more-forward lower lip.) Unlike the fronting of [θ] to [f], the fronting of [ð] to [v] usually does not occur word-initially (for example, while bathe can be pronounced as bave, that is rarely pronounced as vat) although this was found in the speech of South-East London in a survey completed 1990-4 (Tollfree 1999). Th-fronting is a prominent feature of several dialects of English. | Wikipedia, 2022

THAT-TRACE EFFECT aka THAT-T EFFECT
(Syntax) The phenomenon that the complementizer (that) cannot be followed by a trace (except in relative clauses) in some languages (e.g. English). Thus, in languages showing the that-t(race) effect, a subject cannot be extracted when it follows that. This is shown by the contrast in (1) and (2).

1. who did you think [_CP t' [_C' e [_IP t would win ] ] ]
2. * who did you think [_CP t' [_C' that [_IP t would win ] ] ]

3. wie denk je [_CP t' [_C' dat [_IP t gewonnen heeft ] ] ]

THEMATIC ROLE

1. (Semantics) Thematic roles such as Agent, Patient, and Goal have a long-standing presence in theories of linguistics and cognitive science. By way of illustration, the verb eat encodes a relation between someone who eats and something that gets eaten: these participants have been given the role labels Agent and Patient, respectively. Thematic roles are routinely invoked in studies of the syntax∼semantics interface, language production and comprehension, and child language learning. They are argued to be part of innate, core knowledge (Carey 2009; Strickland 2016), to be cross-culturally universal (Fillmore 1968), and to have played a pivotal role in language evolution (Calvin and Bickerton 2000).
    Despite this prevalence, discussion of the problematic nature of thematic roles also has a long-standing tradition. Dowty (1991) states "there is perhaps no concept in modern syntactic and semantic theory which is so often involved in so wide a range of contexts, but on which there is so little agreement as to its nature and definition, as thematic role". Nearly 20 years later, Newmeyer (2010) evinces a similar sentiment: "there is no construct as murky in any subdivision of linguistic theory as that of 'thematic role'. Literally dozens have been proposed over the years, and nothing approaching a consensus has been achieved in terms of delineating the set that are needed for natural language semantics". | Lilia Rissman and Asifa Majid, 2019
2. (Semantics) It is often convenient to identify arguments of (Fregean) predicates in terms of the following thematic roles:
    Agent, Cause, Instrument: Agents are arguments that bring about a state of affairs. The line between agents, on the one hand, and causes or instruments, on the other, can be fuzzy, but agents are (or are perceived to be) conscious or sentient, in a way that causes or instruments aren't.
   1. Agent: The lions devoured the wildebeest.
   2. Cause: Hurricane-force winds demolished much of the town.
   3. Instrument: This key opens the door to the main office.
    Experiencers are arguments that undergo a sensory, cognitive, or emotional experience.
   4. The rhesus monkey had never seen snow before.
    Recipients are arguments that receive something (whether good or bad) in a situation.
   5. They gave the workers a raise.
    Locations are simply places.
   6. We always eat breakfast in the kitchen.
    Paths connect locations.
   7. Lucky raced down the driveway.
    When locations serve as endpoints of paths, we generally refer to them as goals.
   8. We traveled to Paris quite a bit in those days.
    Measure or amount arguments express extensions along some dimension (length, duration, cost, and so on).
   9. They rowed for three days.
    Finally, the thematic role of theme is something of a catch-all. According to one definition, theme refers to an argument undergoing motion of some sort, including motion in a metaphorical sense, such as a change of state. As is usual in the syntactic literature, we will also use the term for arguments that are most "affected" in a situation or for the content of an experience.
   10. The lions devoured the wildebeest.
   11. This key opens the front door.
   12. Hurricane-force winds demolished much of the town.
   13. They gave the workers a raise.
   14. I'd like to send this package to France.
   15. Many people fear snakes.
    | Beatrice Santorini and Anthony Kroch, 2007

THEMATIC VOWEL
(Morphology) Or, theme vowel. In Indo-European studies, the vowel *e or *o from ablaut placed before the ending of a Proto-Indo-European (PIE) word. Nouns, adjectives, and verbs in the Indo-European languages with this vowel are thematic, and those without it are athematic.
 Used more generally, a thematic vowel is any vowel found at the end of the stem of a word. Outside Indo-European, the term thematic vowel is also used in the grammar of Kartvelian languages.
 PIE verbs and nominals (nouns and adjectives) consist of three parts:

[_Word [_Stem root + suffix ] + ending ]

1. *g^whér-mo-s 'heat' > Ancient Greek θέρμος (thérmos)
2. *b^hér-e-ti '(he) bears' > Sanskrit bhárati, Gothic baíriþ

3. *ph₂-tér-s 'father' > English father
4. *h₁és-mi '(I) am' > English am

THEMATIZATION
(Discourse) Discourse producers, particularly those producing written discourse, will often arrange smaller chunks of the text in a certain order so as to give prominence to that chunk or to another chunk. These chunks are composed of thematically related material. For example, it is not uncommon for writers to begin with one discourse chunk made up of one or more broad propositions only to follow that chunk with another (or series of others) that draws specific points from those preceding propositions. This kind of organization is often referred to as thematization, though I prefer to use the less technical term staging.
 Given that linearization affects both the smaller and larger ranks of discourse (from the clause up), then it stands to reason that one ought to be able to determine the thematic structure at the discourse level by determining the thematization in each of its constituent parts. | James D. Dvorak, 2008

THETA CRITERION
(Syntax) As is well known, Chomsky's Theta-Criterion actually has two versions. Let us discuss the earlier version first.

1. Theta-Criterion (Chomsky 1981)
   Each argument bears one and only one theta-role, and each theta-role is assigned to one and only one argument.

2. Theta-Criterion (Chomsky 1986)
   Each argument a appears in a chain containing a unique visible theta-position P, and each theta-position P is visible in a chain containing a unique argument α.

3. John left the room angry.

THETA-ROLE

1. (Semantics) The semantic relationship of an argument with the predicate it is an argument of is expressed through the assignment of a role by the predicate to the argument, in conformity with the theta-criterion. Different theta-roles have different labels, such as Agent and Theme. E.g., in Ken sent me, the argument Ken is the Agent of the predicate sent me, and the argument me is the Theme of the predicate sent. Other theta-roles that have been distinguished are Goal, Source, Experiencer. | Utrecht Lexicon of Linguistics, 2001
2. (Semantics) Or, thematic role. The semantic relationship of an argument with its predicate is expressed through the assignment of a role by the predicate to the argument. Different theta-roles have different labels, such as Agent, Theme, Patient, Goal, Source, Experiencer, etc. Example:
   1. Bart kicked the ball.
      kicked → predicate
      Bart → Agent
      ball → Theme/Patient
   2. The ball was kicked by Bart.
      kicked → predicate
      Bart → Agent
      ball → Theme/Patient
    | Laura Kallmeyer and Benjamin Burkhardt, 2018

THETIC CONSTRUCTION
(Grammar) A subtype of sentence focus construction characterized by a maximal degree of informational integration. Theticity is thus understood as referring to a range of formally defined (language-specific) construction types, not to a "logical" utterance type, despite the historical origin of the term in a more philosophical tradition (for discussion, see Kuroda 1972, Sasse 1987). Both the English example in (1) and the Hungarian example in (2) are typical sentence focus utterances of the thetic type, most felicitous as an answer to a general question such as What's going on?

1. English
   There's a knock on the door!
2. Hungarian (Uralic)
   Jönnek
   come.PRS

   a
   DEF

   szomszédok.
   neighbor.PL

   'The NEIGHBORS are coming!' (Sasse 2006)

THETICAL GRAMMAR
(Discourse) One of the two domains of discourse grammar, the other domain being sentence grammar. The building blocks of thetical grammar are theticals (Kaltenböck 2011), that is, linguistic expressions which are interpolated in, or juxtaposed to, clauses or sentences but syntactically, semantically and, typically, prosodically independent from these structures. The two domains are associated with contrasting principles of designing texts: Whereas sentence grammar is essentially restricted to the structure of sentences in a propositional format, thetical grammar concerns the overall contours of discourse beyond the sentence, thereby being responsible for a higher level of discourse production (Kaltenböck, Heine, and Kuteva 2011, Heine et al 2013).
 The following example, taken from the Comprehensive Grammar of English (1985), illustrates the main characteristics of thetical grammar.

1. They considered Miss Hartley a very good teacher.
2. They considered Miss Hartley, a very good teacher.

• They are syntactically unattached.
• They are typically set off prosodically from the rest of the utterance.
• Their meaning is non-restrictive.
• They tend to be positionally mobile.
• Their internal structure is built on principles of sentence grammar but can be elliptic.

TOBI

1. (Prosody) Acronym for Tones and Break Indices. A set of conventions for transcribing and annotating the prosody of speech.
    A full ToBI transcription consists of six parts:
   1. An audio recording.
   2. An electronic print-out or paper record of the F0 (fundamental pitch).
   3. A tones tier, with an analysis of the tonal events in terms of H and L.
   4. A words tier with the words of the utterance in ordinary writing.
   5. A break-index tier showing the strength of the junctures.
   6. A miscellaneous tier with comments. (Cooper 2015)
    Tonal events include:
   • Pitch accents, written as H* or L* (high and low tones, respectively), are typically realized on words that carry the most information in a sentence. Other kinds of pitch accents include L*+H (a syllable which starts with a low accent and then rises) and L+H* (again low-high on one syllable, but with the second part accented) (Port 1999).
   • Phrase accents, written H- or L-, are the tones between a pitch accent and a boundary tone. For example, the intonation at the end of a question might be H*L-H%, indicating that the pitch starts high, falls to a low, and rises again.(Port 1999)
   • Boundary tones, written with H% and L%, are affiliated not to words but to phrase edges.
    Break indices are numbers indicating how strong the break is between words (Port 1999):
   • 0 = clitic boundary, e.g. who's.
   • 1 = normal word boundary.
   • 2 = perceived juncture with no intonation effect, or apparent intonational boundary without a pause or any other clues.
   • 3 = intermediate phrase, marked with H- or L-.
   • 4 = full intonation phrase, marked L% or H%, at the end of a phrase or sentence.
    | Wikipedia, 2022
2. (Prosody) The most useful method for transcribing English prosody (and many other languages). There are 3 types of tone:
   • Pitch accents (H* peak, L* low, L*+H scoop, L+H* rising peak, H+!H downstep high).
   • Phrasal tones (H-, L-).
   • Final boundary tones (L%, H%).
    Some common patterns are the Declarative phrase intonation, List item intonation, and Nuclear accent (a pitch accent near the end of an intonation phrase). | Robert F. Port, 1999

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