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The structure of natural languages as studied by linguists is connected in several ways with phenomena outside this domain. Problems of this kind are, to mention only three: (a) the acoustical and physiological interpretation of the primitive elements in which the sound structure is represented; (b) the conceptual or referential interpretation of the primitive elements that build up the meanings of the utterances; (c) the structural relationships that go beyond the single sentences, usually taken as the largest units to be analyzed linguistically, i.e., the question as to the conditions that two or more sentences must meet in order to form a connected text. ...
In his magnum opus (Syntax and Semantics, Leiden 1978, henceforth: S&S) C.L. Ebeling makes a distinction between temporal gradation (pp 301-308 and 337-339) and temporal limitation (pp 311-315). In the case of temporal gradation “p , q”, the meaning “q” specifies the time during which the referent carries the mean-ing “p”.
The focus of this paper is the perspectivization of thematic roles generally and the recipient role specifically. Whereas perspective is defined here as the representation of something for someone from a given position (Sandig 1996: 37), perspectivization refers to the verbalization of a situation in the speech generation process (Storrer 1996: 233). In a prototypical act of giving, for example, the focus of perception (the attention of the external observer) may be on the person who gives (agent), the transferred object (patient) or the person who receives the transferred object (recipient). The languages of the world provide differing linguistic means to perspectivize such an act of giving, or better: to perspectivize the participants of such an action. In this article, the linguistic means of three selected continental West Germanic languages –German, Dutch and Luxembourgish– will be taken into consideration, with an emphasis on the perspectivization of the recipient role.
Research on the music-language interface has extensively investigated similarities and differences of poetic and musical meter, but largely disregarded melody. Using a measure of melodic structure in music––autocorrelations of sound sequences consisting of discrete pitch and duration values––, we show that individual poems feature distinct and text-driven pitch and duration contours, just like songs and other pieces of music. We conceptualize these recurrent melodic contours as an additional, hitherto unnoticed dimension of parallelistic patterning. Poetic speech melodies are higher order units beyond the level of individual syntactic phrases, and also beyond the levels of individual sentences and verse lines. Importantly, auto-correlation scores for pitch and duration recurrences across stanzas are predictive of how melodious naive listeners perceive the respective poems to be, and how likely these poems were to be set to music by professional composers. Experimentally removing classical parallelistic features characteristic of prototypical poems (rhyme, meter, and others) led to decreased autocorrelation scores of pitches, independent of spoken renditions, along with reduced ratings for perceived melodiousness. This suggests that the higher order parallelistic feature of poetic melody strongly interacts with the other parallelistic patterns of poems. Our discovery of a genuine poetic speech melody has great potential for deepening the understanding of the music-language interface.
Pitch peaks tend to be higher at the beginning of longer than shorter sentences (e.g., ‘A farmer is pulling donkeys’ vs ‘A farmer is pulling a donkey and goat’), whereas pitch valleys at the ends of sentences are rather constant for a given speaker. These data seem to imply that speakers avoid dropping their voice pitch too low by planning the height of sentence-initial pitch peaks prior to speaking. However, the length effect on sentence-initial pitch peaks appears to vary across different types of sentences, speakers and languages. Therefore, the notion that speakers plan sentence intonation in advance due to the limitations in low voice pitch leaves part of the data unexplained. Consequently, this study suggests a complementary cognitive account of length-dependent pitch scaling. In particular, it proposes that the sentence-initial pitch raise in long sentences is related to high demands on mental resources during the early stages of sentence planning. To tap into the cognitive underpinnings of planning sentence intonation, this study adopts the methodology of recording eye movements during a picture description task, as the eye movements are the established approximation of the real-time planning processes. Measures of voice pitch (Fundamental Frequency) and incrementality (eye movements) are used to examine the relationship between (verbal) working memory (WM), incrementality of sentence planning and the height of sentence-initial pitch peaks.
This paper addresses the syntax and semantics plurals, and then applies it to reciprocal expressions. In the course of this investigation, I address two problems for the conventional view that a reciprocal makes essentially the same semantic contribution to the sentence as other noun phrases, but has an interesting internal structure. I will show that both problems are properties of plurality in general, and can be successfully explained along these lines. As a result, the paper is more about plurality in general than reciprocals though the goal of the paper is to account for the two problems relating to reciprocals.
Why variables?
(1999)
This paper addresses the question of how sentence-internal semantic dependencies are computed? The kind of semantic dependency I am looking at is that between a so called "bound (variable) pronoun" and its binder illustrated in (1), where the dependency is indicated by a connecting line. With all the literature on the topic (see for example Partee 1973, Percus 1998), I assume that this case is the prototype of all semantic dependencies, and therefore any result for this case generalizes to all types of sentence-internal semantic dependencies.
The late physicist Carl Sagan, whom I quote in the first part of my title, skillfully phrased the common sense view on evidence in the mature sciences. In linguistics, however, evidence has become a controversial issue, especially so when it comes to the investigation of less well studied languages. In this paper, I argue that Sagan's principle should be applied to linguistics. The growing accessibility of a wide array of experimental techniques and computational tools to analyze such data makes it feasible to back up extraordinary claims with evidence from a variety of sources. At the same time, it is in many cases possible to agree on what constitutes an ordinary claim and focus the extra effort on extraordinary claims. For non-controversial claims no more than the minimum effort to establish the claim and properly document the evidence is necessary.