Historical Linguistics Exercise on Proto-Quechuan Sound Reconstructions

Instructions

One of the core aspects of a course on historical linguistics is learning to apply the Comparative Method. However, this is also an unusual semester for many of you, with many new demands on your time.

For this reason, this assignment is formatted a bit differently from those I typically set: my goal was to create an assignment where if you could decide in advance how much time and effort you would put in—though this has consequences for the highest grade you can earn.

Refer to the data in Exercise 5.9 in the Campbell textbook, which provides cognates from 7 Quechuan languages. Follow the instructions there: identify all correspondence sets; provide a reconstructed Proto-Quechuan sound for each set; list the sound changes for each langauge/variety of Quechuan (including any necessary ordering of changes); and lay out the sound inventory your reconstructions result in for Proto-Quechuan.

What will be graded, though, is the following short written assignment:

Discuss the reconstruction you gave for Proto-Quechuan for 3 non-trivial correspondence sets. For each reconstruction, explain the reasoning/argument for your reconstruction, with specific reference to principles of phonological naturalness or the interaction with other correspondence sets.

Your explanation may mention other sound correspondences if they are relevant for your reconstruction. 

Though it will not be graded, attach one table with all correspondences, showing the form you reconstructed in each case (with an environment if relevant), a second table listing all sound changes that occur in each languages, with notes about any orderings that are necessary, and a chart showing the reconstructed sound inventory for Proto-Quechuan.

1. While the tables showing all correspondences will not be graded directly, failing to include them will mean that your highest possible score will be a B, regardless of your choices in point 2 below. These tables don't need to be complete!

But they should be complete for the correspondence sets you discuss and the rules that relate to them. If you aren't sure of some other reconstructions or some rules, just show what you have.

2. The grade range for your submission depends on what three sound correspondences you decide to discuss:

If you discuss straightforward correspondence sets that overlap (i.e. show the same sound change applied to different segments, or multiple sets that you reconstruct as the same segment), the highest possible grade is a C+; assuming your submission meets minimum requirements, the lowest possible score is a D-.

If you choose straightforward correspondence sets, but they do not overlap, the highest possible score is a B+; assuming your submission meets minimum requirements, the lowest possible score is a C-.

If you choose difficult correspondence sets that overlap (or where one is straightforward), the highest possible score is an A-; assuming your submission meets minimum requirements, the lowest possible score is a C.

If you choose difficult correspondence sets that don't overlap, the highest possible score in an A+; assuming your submission meets minimum requirements, the lowest possible score is a B-