Browsing by Author "Mekonnen, Assefa"

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    Relative Clause in Gawwada
    (Addis Ababa University, 2010-09) Mekonnen, Assefa; Christ, Jesus
    The thesis deals with relative clause in Gawwada. The study focuses on the description of facts in the formation of the relative clause in the language. Accordingly, the necessary data are collected, and the analysis is carried on the bases of the typological parameters of the relative clauses as (Keenan and Comrie 1977, Keenan 1985, Downing 1978, Payne 1997) states. Gawwada relative clauses are external headed and postnominal type. The relative clause follows either a head nominal or a pronominal particle. Besides, there are two types of relative clauses in Gawwada: restrictive and non restrictive. The difference of the two types of relative clauses is mainly based on their modification relation to the head noun and intonation breaks. The strategy of relativization in various relativized NP positions, i.e., in subjects, objects (direct and indirect), oblique complements and possessor NP positions have also been examined. In relation to this, the accessibility hierarchy of the relative clause formation proposed by Keenan and Comrie (1977) has been justified in Gawwada. The strategy that is employed in the formation of relative clause in Gawwada has to be pro in situ in subject, object (direct and indirect) and oblique complement relativization, as in the case of Oromo (Baye 1987), Gumuz (Assfaw 1983), Chaha ( alemayehu 1990) and Silti ( Rawda 2003) and pronoun retention strategy in relativization of possessor NPs. Moreover, the study examines the property of verbs in Gawwada. Thus, in Gawwada, there are two forms of verbs: the perfective and the imperfective verbs. Both the perfective and the imperfective verbs drop preverbal subject marker in relative clause formation.
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    A Study of Narrative Techniques in Adafrls and Gracha Ka Chiloch: Point of Viewand Speech and Thought Presentation in Focus
    (Addis Ababa University, 2009-01) Mekonnen, Assefa; Matthews, Birhanu (PhD)
    The continuous debate among scholars in the field, students of literature and the intuition he has about the novels, Adafris and Gracha Kachiloch have initiated this researcher, for example, Zerihun Asfaw , Debebe Saifu and others in BIen, august, 1982 E.C, and Alemayehu Gelagay (1998E.C.) and Teferi Mekonnen(1998 E. C.) are the few ones. Lack of studies on the narrative techniques point of view and speech and thought presentation has encouraged it further. With the hypothesis that point of view and speech and thought presentation utilized to create some artistic effects and sound meanings that elaborate the themes of the novels, formulation of frame of analysis and critical reading of the theories written on the selected categories are worked out. To ascertain the hypothesis these novels have been examined thoroughly and an analysis has been implemented. The outcome of the exploration (the analysis) has indicated that Adafris is narrated from the third person point of view (limited, in most cases, unlimited, in some cases). The influence of the narrator is very limited: most of the time he/she is hidden behind the characters. However, the narrator in Gracha Kachiloch is first person narrator, very subjective, unreliable, with greater influence commenting every characters actions and events. He gives new meanings to the things he sees and new definitions for some concepts; he foregrounds objects and actions of characters based on his bias perspective. In doing this, he creates some amusing artistic effects for some purposes. Within the mode, it seems that the perception of the narrator is more important than the subject matters to be described. This is mostly expected in the first person subjective point of view. These two extremes of point of view are also reflected in the speech and thought presentation modes. When direct speech and direct thought presentations are utilized in Adafris, direct and indirect speeches, and direct and free Indirect Thought modes are applied in Gracha Kachiloch. All these modes have some significant contributions in creating sound meanings and some artistic effects in both novels. In regarding to stream of consciousness, when the attempt is made in applying stream of consciousness within the mode interior monologue in Adafris, it is surely occurred in Gracha Kachiloch in the form of direct and free indirect thought (psychonarration). It has been used in both novels to elaborate or to be accessed to the minds of characters like characters emotions, imaginations and some feelings of love affair. The mode is used for same purpose in different ways in the two novels. The result in the end has affirmed that the narrative techniques of style selected for this study, point of view and speech and thought presentations are the major narrative modes in the novels and utilized effectively and appropriately in different ways. Then, this study concludes its discussion by commending other narrative techniques used in the novels that should be studied.