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MORPHOSYNTACTIC ARCHITECTURE IN SHADAB ZEEST HASHMI’S THE GREEN WALLS: A DISTRIBUTED MORPHOLOGY APPROACH | Journal of Applied Linguistics and TESOL (JALT)
Abstract
Abstract
This study examines Shadab Zeest Hashmi’s poem The Green Walls through the lens of Distributed Morphology(DM), a generative model that views word formation as a syntactic process with post-syntactic phonologicalrealization. The poem employs dense lexical clustering, hyphenated words, and strategic punctuation toreconstruct memory, social experience, and identity. Drawing on the theoretical contributions of Halle andMarantz (1993, 1994) and subsequent refinements by Embick and Noyer (2007), the study analyzes how commas,full stops, and hyphenated constructions function as morphosyntactic cues analogous to DM features. Using aqualitative textual analysis, the paper demonstrates that these elements—through compounding, derivation, androot assembly—encode continuity, termination, and semantic complexity. The findings reveal that the poem’smorphosyntactic structure actively shapes rhythm, meaning, and ideological commentary, showing how form andinterpretation are inseparable in poetic language.
This study examines Shadab Zeest Hashmi’s poem The Green Walls through the lens of Distributed Morphology(DM), a generative model that views word formation as a syntactic process with post-syntactic phonologicalrealization. The poem employs dense lexical clustering, hyphenated words, and strategic punctuation toreconstruct memory, social experience, and identity. Drawing on the theoretical contributions of Halle andMarantz (1993, 1994) and subsequent refinements by Embick and Noyer (2007), the study analyzes how commas,full stops, and hyphenated constructions function as morphosyntactic cues analogous to DM features. Using aqualitative textual analysis, the paper demonstrates that these elements—through compounding, derivation, androot assembly—encode continuity, termination, and semantic complexity. The findings reveal that the poem’smorphosyntactic structure actively shapes rhythm, meaning, and ideological commentary, showing how form andinterpretation are inseparable in poetic language.