Refine
Year of publication
- 2019 (90) (remove)
Document Type
- Article (31)
- Review (31)
- Book (10)
- Doctoral Thesis (10)
- Contribution to a Periodical (4)
- Conference Proceeding (3)
- Bachelor Thesis (1)
Has Fulltext
- yes (90)
Is part of the Bibliography
- no (90)
Keywords
- Contact-sheets (2)
- Direct Cinema (2)
- Dokumentarfilme (2)
- Filmgespräche (2)
- Gisela Tuchtenhagen (2)
- Klaus Wildenhahn (2)
- Richard Leacock (2)
- Semantics (2)
- Uncontrolled Cinema (2)
- language production (2)
Institute
- Neuere Philologien (90) (remove)
Three experiments investigated the interpretation and production of pronouns in German. The first two experiments probed the preferred interpretation of a pronoun in contexts containing two potential antecedents by having participants complete a sentence fragment starting either with a personal pronoun or a d-pronoun. We systematically varied three properties of the potential antecedents: syntactic function, linear position, and topicality. The results confirm a subject preference for personal pronouns. The preferred interpretation of d-pronouns cannot be captured by any of the three factors alone. Although a d-pronoun preferentially refers to the non-topic in many cases, this preference can be overridden by the other two factors, linear position and syntactic function. In order to test whether interpretive preferences follow from production biases as proposed by the Bayesian theory of Kehler et al. (2008), a third experiment had participants freely produce a continuation sentence for the contexts of the first two experiments. The results show that personal pronouns are used more often to refer to a subject than to an object, recapitulating the subject preference found for interpretation and thereby confirming the account of Kehler et al. (2008). The interpretation results for the d-pronoun likewise follow from the corresponding production data.
German free relative constructions allow for case requirement mismatches under two types of circumstances. The first is when the case required in the embedded clause is more complex (NOM < ACC < GEN < DAT) than the case required in the main clause, and the relative pronoun takes the form of the embedded clause case. The second type of circumstance is when the form that corresponds to the two required cases is syncretic. I propose an analysis that combines Caha’s (2009) case hierarchy in Nanosyntax with Van Riemsdijk’s (2006a) concept of Grafting. By placing case features as separate heads in the syntax, a less complex case can be Grafted into a different clause, explaining the first type of circumstance. The second type makes reference to the fact that syncretic forms are inserted via the same lexical entry (Superset Principle). A cross-linguistic comparison shows that it is language-specific whether a more complex case requirement in the main or embedded clause causes non-matching non-syncretic free relatives to be grammatical. For all languages it holds that the relative pronoun appears in the most complex case required, which provides additional evidence for case being complex and more complex cases being able to license less complex cases.
Filmgespräche und Contact-sheets als Mittel der Analyse von Dokumentarfilmen des Uncontrolled Cinema
(2019)
In dieser Arbeit betrachte ich den Herstellungsprozess von Dokumentarfilmen aus der subjektiven Sicht der Filmemacher. Anhand von ausgewählten Filmen hinterfrage ich die Umstände ihrer Entstehung. Es ist eine Filmgespräch zentrierte Arbeit. Bevor ich den Filmemacher oder die Filmemacherin besuche schaue ich mir einige seiner Filme an und spreche dann gezielt über ein, zwei oder drei verschiedene Filmprojekte mit ihm. Ich nehme den Filmemacher mit der Kamera auf und bin dabei gleichzeitig auch Gesprächspartner. Zu Beginn meiner Arbeit wurde mir einmal geraten, doch mit Büchern zu arbeiten und auf Interviews zurückzugreifen, die schon verschriftlicht worden sind. Doch jedes Buch verfolgt seine eigene Agenda, seine eigene Zielsetzung, und der Herstellungsprozess wird meistens nur fragmentarisch behandelt. Das Filmemachen ist eine gesellschaftliche ästhetische Praxis, die sehr komplex ist und sehr vielen Einflüssen unterliegt, wie zum Beispiel 1.) ständig wechselnde Orte, an denen ein Filmteam über einen längeren Zeitraum zusammenarbeitet; 2.) Protagonisten, mit denen man über einen längeren oder kürzeren Zeitraum etwas zu tun hat und wodurch sich auch noch nach den Dreharbeiten Freundschaften entwickeln können; 3.) das Arbeiten mit einer Kamera- und Tontechnik, die sich immer wieder verändert, wodurch man sich auf neue Technik einlassen muss und lernen muss, damit umzugehen; 4.) finanzielle Probleme, weil das Filmemachen als freier Filmemacher teuer ist und Fördermittel beantragt werden müssen; 5.) die Frage, ob mit dem gefilmten Bildmaterial am Ende eine Geschichte erzählt werden kann und ob die Protagonisten sich damit wohl fühlen.
This dissertation deals with the lexical, morphological, syntactic, and semantic properties of (VP )idioms and their behavior in combination with restrictive relative clauses, raising, constituent fronting, wh-movement, VP-ellipsis, pronominalization, the progressive form, verb placement, passivization, conjunction modification, and the N-after-N construction. It provides empirical evidence towards a combinatorial analysis of both semantically non-decomposable idioms (SNDIs) and semantically decomposable idioms (SDIs) and contributes to the (formal) formulation of such an account.
The Introduction (Chapter 1) first motivates why idioms are an exciting and challenging phenomenon and then gives a definition of the term idiom, a classification of idioms, and an overview of the wide spectrum of idiom analyses found in the linguistic literature.
Chapter 2, “Idioms as evidence for the proper analysis of relative clauses”, shows that the Modification Analysis beats the other two major analyses of restrictive relative clauses (RRCs), namely Raising and Matching, as (i) the latter two lead to a loss of numerous empirical generalizations in syntax and morphology, and (ii) contrary to the assumption in the literature, idioms in RRCs can, in fact, be licensed without literal syntactic movement of the RRC-head, which makes modification fully compatible with idiom reconstruction effects.
Chapter 3, “How frozen are frozen idioms?”, presents new empirical observations on the lexical, morphological, and syntactic flexibility of kick the bucket and displays that this idiom is not completely frozen with respect to its NP complement, the progressive form, and, in some contexts, even passivization. The chapter concludes that analyses of kick the bucket as a single lexical entry should be replaced by analyses of this and other SNDIs with a syntactically regular shape as consisting of individual word-level lexical entries that combine according to the standard rules of syntax.
This idea is taken up in Chapter 4, “The syntactic flexibility of semantically non-decomposable idioms”, which – based on the differences between English and German with regard to verb placement, constituent fronting, and passivization as well as a short outlook on Estonian and French – spells out a combinatorial analysis of SNDIs and augments it with a semantic analysis formulated in Lexical Resource Semantics, according to which some idiom parts make identical semantic contributions to the overall meaning of the idiom. The analysis further suggests that the syntactic flexibility of idioms is due to the semantic and pragmatic constraints on the involved constructions, rather than the syntactic encoding of the idioms.
Chapter 5, “Modification of literal meanings in semantically non-decomposable idioms”, reviews Ernst’s (1981) classical three types of idiom modification (internal, external, and conjunction) to then closely investigate the most challenging type, namely conjunction modification, in SNDIs. Based on naturally occurring examples of four SNDIs (two English, two German), it sketches an analysis in terms of two or more conjoined independent propositions, each of which can be the result of figurative reinterpretation. One of the propositions contains the idiomatic meaning, in (one of) the other(s), the meaning of the modifier applies to the literal meaning of the idiom’s noun.
Chapter 6, “Semantically decomposable idioms in the N-after-N construction”, offers a formal syntactic and semantic account of SDIs like pull strings in the N-after-N construction, as in Kim pulled string after string to get Alex into a good college. While the idiom contributes the type of entity at stake (‘string’ in the case of pull strings), N-after-N contributes that there are several instantiations of that type of entity and that these are subject to temporal or spatial succession. The chapter first summarizes the empirical properties of N-after-N, then provides an account of N-after-N in Head-driven Phrase Structure Grammar (HPSG), presents an updated version of the account of SDIs suggested in Chapter 2 within HPSG, and combines it with the HPSG account of N-after-N.
L'auteur sénégalaise Ken Bugul focalise dans son oeuvre surtout des destins féminins. Dans le cas du roman La Folie et la Mort les mouvements des héroïnes se réalisent dans un paysage urbain et rural centralisé par le pouvoir d'un parti unique. En subissant constamment la violence, les deux femmes se métamorphosent. À travers leurs changements intérieurs et extérieurs le récit réalise la mise en scène d'une dictature qui ne laisse guère une lueur d'espoir. Cette conversation propose une lecture qui perçoit l'ouverture d'un discours critique par un tiers espace littéraire, voyant la métamorphose autant comme destruction que comme point de départ.
Cette communication a pour but de révéler l'implication du personnage dans des discours hégémoniques qui mettent en scène une société de la diversité par une apparente absence de la ligne de couleur. Deux générations seront confrontées existentiellement- et ontologiquement avec des imaginaires interchangeables autour de la notion de « Noir de France ». Les deux romans Blues pour Élise (2010) et Ces âmes chagrines (2011) offrent un parallélisme dans leur description similaire, tant sur le plan diachronique que dans la variation des significations des points de vue.