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'Enough'-/'too'-constructions (E/T constructions) have an implicative reading: e.g., "Mary was clever enough to leave early yesterday" entails Mary left early yesterday. I argue that this implicative reading is not due to the lexical semantics proper of 'enough'/'too', but due to its bi-clausal structure (e.g., the above-mentioned example is analyzed as "Mary left early yesterday because she was clever enough"). I analyze 'enough' and 'too' simply as degree modifiers that involve a comparison: 'enough' means reaching the lower bound of an interval, while 'too' means exceeding the upper bound of an interval. Then inspired by Schulz (2011), Baglini and Francez (2015), and Nadathur (2016), I relate the semantics of E/T constructions to causal dependence: due to some sufficiency/excess, the infinitival complement clause in E/T constructions is episodically or generically (depending on its aspect being perfective or imperfective) true/false. I also argue that this infinitive has its tense and aspect marked on the main predicate of sentences, resulting in the seeming correlation between aspect and implication in languages that overtly make a distinction between perfective and imperfective aspects (e.g., French).
Jeanette Winterson's newest novel "Frankissstein: A Love Story" revolves around technological innovation and its effects on human development. The book's examinations feature trans* character Ry Shelley and transhumanist Victor Stein who interprets Ry's transitioned body as a metaphor for his ideal transhumanist future. This metaphor is based on three main textually conceptualized similarities between trans* identity and transhumanism: a hybridity in Ry's gender identity and embodiment as well as in a transhumanist vision of future human identity, the dissolution of biological determinism and the autonomy to change one's body, associated with recent technological advancement. The novel characterizes this metaphorization process as questionable, positing it with a character who represents not just the Frankenstein archetype but a possibly metaphysical, non-human entity. However, despite this inherent critique of harmful practices of objectification and exploitation of trans* people, "Frankissstein" ultimately reproduces similar practices in other aspects of its trans* representation.
The paper proposes a new semantics for good-predications involving finite if -and that-clauses. The proposal combines a standard semantics for conditionals with a standard semantics for the positive form of gradable adjectives and a minimal semantics for modal good. The predicted truth-conditions and conditions of use solve the mood puzzle presented in the first part of the paper. The remainder of the paper defends the classical notion of comparative goodness in terms of a comparison between possible worlds against Lassiter (2017)’s challenge.
The ways in which Self and Other are represented in fiction play a significant role in the formation of racial and other stereotypes in any culture. This article is a reading of the children's book "The Brave Rabbit in Africa" (1931) by Slovak modernist author Jozef Cíger-Hronský. It attempts to point out and analyse the ways in which racial and national identities are constructed in the written text of the book. Arguably, the story deploys colonialist motifs typical of Western literature in order to appraise the modern, civilized identity of the young Slovak nation.
With the rise of minimalism, many concepts related to the geometrical relations of phrase structure held fast to in earlier approaches have been reconsidered. This article deals with distinguishing (relational and technical) properties of specifiers and adjuncts in a Bare Phrase Structure framework (X'-Theory). I extend specific aspects of X-structure relevant to the discussion of specifiers vs. adjuncts. I argue that unique specifiers can be derived from the system and that adjunction, possibly multiple, results from Direct Merge only. The final product is a series of relationships in line with recent thoughts and minimalist premises, but formally more similar to earlier conceptions of the X'-schema.
I address conceptual, empirical and theoretical arguments against multiple specifiers and related issues next, that is beyond the predictions immediately following from the tripartitional view of clause structure proposed in Grohmann (2000). After laying out my motivations to critically consider the issue, I present a set of data that casts serious doubt over the justifications offered to replace Agr with v as the accusative casemarker. Having conceptual and empirical back-up, I then tackle the theoretical validity of specifiers, and ways to distinguish unique specifiers from (multiple) adjuncts. I introduce a version of Bare Phrase Structure that does so, yet keeps the spirit of defining structural identification over relational rather than categorial properties.
In "'Preventing Malicious and Wanton Cruelty to Animals': Historical Animal Welfare and Animal Rights Education," Andreas Hübner outlines future historical animal welfare and animal rights education, sketching concepts and themes such as animal agency and historicity as well as the relational, spatial, and material practices employed between humans and animals. Hübner then historicizes present-day attitudes toward anthropocentricism and discusses educational and learning processes that (can) help to overcome human-animal dichotomies in the history classroom. Hübner presents subject-specific recommendations for critically integrating topics into future curricula and shows that it is possible to teach in a way that acknowledges the role of nonhuman actors. He thereby challenges conventional human-centered narratives of historical learning.
This paper investigates the production and comprehension of intrasentential anaphoric pronominal reference in Russian. In particular, it examines the elicited imitation and comprehension of three anaphoric pronouns in subject position – personal 3rd singular masculine, demonstrative and zero – in one hundred and eighty monolingual Russian-speaking children and twenty adults. The three types of pronouns were designed to have an antecedent in the preceding sentence containing a verb and two arguments. These antecedents differ in their syntactical role and animacy. The sentence position, agentivity and topicality remained constant. The sentences with (in)animate subjects and objects constituted the following four 'conditions': two sentences with a subject and an object being either animate or inanimate and two sentences with a subject and an object exhibiting a diverse (in)animacy. Regarding the resolution of the anaphoric pronouns the similarity principle (or feature-concord rule) and its possible violations were tested. This principle suggests that an anaphoric pronoun is most likely resolved to the antecedent with a maximum of similar characteristics or features and it primarily governs the assignment of an antecedent to anaphoric pronouns in subject position in the absence of the violating conditions. Results show the influence of this rule on the anaphora resolution process increasing with age, on the one hand, and the development of the impact of animacy, syntactic role and the type of anaphoric pronouns that violate the feature-concord rule, on the other.
Taking her cue from Margo de Mello's "Teaching the Animal", Maria Moss employs a hands-on, didactic approach to teaching human-animal studies (THAS), introducing texts that she has used in her seminars in the past - from philosophical background materials and sociological surveys to novels, short stories, and poems. In her article, "'The skin and fur on your shoulders': Teaching the Animal Turn in Literature," Moss uses texts that "look at the animals from inside out," ending with a discussion of SF and chimp fiction. From James Lever's "Me Cheetah" to George Saunders's story "Fox 8", she focuses on animal agency within the narrative form, presenting texts that feature animals as narrators. Once we acknowledge that notions of language, cognition, and thinking about the future are no longer limited to human narrators and that "storying" is no longer specific to humans, Moss writes, interspecies storied imaginings mark one possible alternative to the long history of human dominance and exceptionalism - not just in life, but in literature, too.
Proceeding chronologically in terms of the events covered, Raimund Schieß in his paper „Too close to call: CNN’s politics of captions in the coverage of the Florida Recount“ focusses on Nov. 11, 2000, when the Bush campaign applied to Miami Federal Court to stop the manual recount of ballots which had been started in some counties. The paper studies the discursive practices employed by the CNN journalists to construct a particular version of the events, focussing on captions, i.e. the lines of text inserted at the bottom of the tv screen, and on the way in which they interact with the other verbal and visual components of the television text. Raimund Schieß concludes that captions, far beyond providing mere details of a speech event (who is talking to whom about what, where and when), are used to select, to highlight and hide, and thus to invite a preferred interpretation of the event. He is also able to show that captions are often employed to exploit a story’s potential for drama and sensation. His detailed micro-analysis of the verbal and visual dimensions of the television text is supported by careful documentation of the data, either through screen shots or via transcriptions of the stretches of broadcast discussed.
"We have always been living in bubbles" The opportunities and risks in the digitalisation of media
(2019)
This article contributes to the European history of musical nationalism with regard to operatic debates in the eighteenth century. The investigation reveals that within operatic debates national categories were used for all levels of the multimedia genre of opera: music, text, composer, and actor. Moreover, the relationship between national character and national taste was a highly critical point: there was general agreement that only outstanding aesthetic abilities enable composers to go beyond their own particular national character. Only in this respect could aesthetic abilities stand above national taste, which was said to be shaped by national character.
Herder's concept of a national literature [...] serves as a differential category formulated in opposition to the concepts generated by universalistic rationalism and the Classicist aesthetics which is based on it, this being an aesthetics which is incapable of accommodating cultural difference. Thus Herder's concept is to be read – primarily as one looking for ways of conceiving cultural difference syncronically as well as diachronically.
"Je suis Charlie" was used over 619.000 times in the two days that have followed the attack of the editorial team of Charlie Hebdo (Le Progrès, The Huffington Post) and has regularly been taken up in both written and spoken form since. In this paper, we argue that the structure of this sentence actually clashes with its meaning. More specifically, whereas its word order and default rightmost sentence stress are compatible either with an all-focus reading or a narrow focusing of Charlie, the context of use of this sentence as well as the solidarity/empathy message it intends to communicate suggest that its subject is narrowly focused. We will propose that two strategies have emerged to solve this conflict: (i) various alternative forms have appeared that allow proper subject focusing and (ii) speakers have reinterpreted the structure so as to pragmatically retrieve the (additive) focused nature of the subject.
Italy has experienced a high number of earthquakes. However, the identity of "the Italians" has not yet been defined by their "landscape of wounds." Referring to an earthquake in central Italy (Amatrice) in August 2016, the French satirical magazine Charlie Hebdo published a controversial caricature of two wounded Italians standing alongside the "Lasagnes," a pile of bodies layered like the well- known Italian pasta dish. By analysing the caricature's text, intertext, and context, while drawing on imagology and geopoetics, this article aims to show how earthquakes are linked to Italian cultural stereotypes and national identity.
Modifiability by almost has been used as a test for the quantificational force of a DP without stating the meaning of almost explicitly. The aim of this paper is to give a semantics for almost applying across categories and to evaluate the validity of the almost test as a diagnosis for universal quantifiers. It is argued that almost is similar to other cross-categorial modifiers such as at least or exactly in referring to alternatives ordered on a scale. I propose that almost evaluates alternatives in which the modified expression is replaced by a value close by on the corresponding Horn scale. It is shown that a semantics for almost that refers to scalar alternatives derives the correct truth conditions for almost and explains selectional restrictions. At the same time, taking the semantics of almost seriously invalidates the almost test as a simple diagnosis for the nature of quantifiers.
Early in his life Pasolini showed interest in Dante: in a letter sent to Luciano Serra in 1945, he declared that 'la questione di Dante è importantissima'. He later reaffirmed his interest in Dante in two attempts to rewrite the "Commedia": "La Mortaccia" and "La Divina Mimesis". [...] In 1963 he mentioned "La Divina Mimesis" for the first time. [...] Critics have mostly focused on the work's unfinished condition as a sign of the poetic crisis which Pasolini experienced at the end of his life. Scholarly interpretations of "La Divina Mimesis" can be divided into three main groups: the first strain can be primarily attributed to a 1979 essay by Giorgio Bàrberi Squarotti, four years after the publication of La Divina Mimesis. Bàrberi Squarotti attributes Pasolini's difficulty in completing his rewriting of the "Divine Comedy" to the author's ideology. The work's intermittent irony and its unfinished state are good indicators of the impossibility of recreating Dante's achievement, in particular the Dantean ideology. [...] The second strain of interpretation stresses the work's linguistic dimensions. The period when Pasolini conceives of the project of "La Divina Mimesis" corresponds, according to his repeated declarations, to a time of dramatic change in the Italian linguistic context. [...] Finally, the third type of interpretation locates "La Divina Mimesis" in the theoretical context of Pasolini's final conception of poetry. Here critics stress in particular the difference between the poet's intentions and the final result.[...] These three interpretative strains share the conviction that, in comparison with its model, Pasolini's project ends in failure. It is a failure in at least three senses: on the level of its ideology (not as strong as Dante's), on the level of reality (because of the linguistic standardization of Italian society), and on the level of aesthetics (even though the author pretends that his failure possesses an aesthetic value). This paper would like to question this conclusion: by redefining the object of mimesis and its conditions Davide Luglio tries to understand the reason why the author decided to print his work in a form that at first sight appears ill-defined and fragmentary.
Vsevolod Garshin's "Four Days" is the story of a wounded soldier left for dead on a deserted battlefield: During four days of physical and mental agony, he reassesses his formerly idealistic attitude towards war and ends up condemning it as something far from glorious and noble. However, the importance of Garshin's short story in literary history is not so much its anti-war message as the innovative nature of the form used to convey that message. Garshin was the first to explore the potential of direct interior monologue (hereinafter: DIM): a technique which seeks to create the artistic illusion that the reader is eavesdropping on a character's inner discourse without any mediation on the part of a narrator [...]. Because Garshin's text anticipated many of the devices later used by such masters of the genre as James Joyce and William Faulkner, the form of "Four Days" merits close analysis.
The 1935 Fox Films "Dante's Inferno" (directed by Harry Lachman) traces the rise and fall of an entrepreneur. Its protagonist, Jim Carter (played by Spencer Tracy), begins the story as a stoker on a cruise liner. The narrative opens with a burst of flames from the ship's boiler, and the ensuing scene goes on to show the protagonist competing at shovelling coal for a bet in the sweltering engine-room. Interspersed are shots of the superstructure directly above with a number of elegant and vapid passengers following the game below. This initial sequence thus concisely conveys the main features of the film's social agenda through imagery that anticipates that of two of its later 'infernal' sequences. [...] Spectacular admonition and concern about the ruthless pursuit of wealth are the main features which link this "Inferno" of the thirties to the one that had appeared some six hundred years earlier. Wealth and avarice were, of course, demonstrably serious concerns for Dante: as Peter Armour, for example, has shown, there is a recurrent and pervasive concern with money, its meaning, and its misuse throughout the "Commedia". So it is not surprising that the "Inferno" should also have been appropriated by social critics some hundred years before the 1935 Hollywood fable. [...] Some of the narrative and visual patterns in "Dante's Inferno" imply an uneasy underlying vision of the movie industry and its practices. Other productions, publicity, and journalism of the time reinforce suggestions of such a metafictional approach to movies, morality, and the market in the 1935 "Dante's Inferno".
This article reads Fred Moten's collection "B Jenkins" as literalizing the poetic appeal to the mother tongue to reveal its mediated essence. Approaching its first and last poems in terms of Friedrich Kittler's techno-psychological history of the family casts Moten's detuning of natural language in terms of cultural mastery streaked with affirmative disfluency. With the 'cant', slang slides towards a broader awareness of the limits of knowledge. There, language may emerge for perceiving the role of the technological mother tongue in our postnational age.
Even if the title of Wolfgang Koeppen's last novel, "Der Tod in Rom", alludes quite obviously to Thomas Mann's novella, "Der Tod in Venedig", Koeppen's text must be understood first and foremost as a response to Mann's most controversial novel, "Doktor Faustus". The novels of Mann and Koeppen rank among the most well-known literary examinations of National Socialism but stand in a complementary relation to each other. "Doktor Faustus", published in 1947, analyses the cultural and intellectual origins of German fascism, while "Der Tod in Rom", published only seven years later in 1954, criticizes the continuity of National Socialist ideologies in post-war Germany. Both authors focus their analyses of fascism on fictional avant-garde composers who seem at first glance detached from any political context. [...] The actual starting point of Florian Trabert's paper, however, is the fact that both novels are preceded by epigraphs taken from Dante's "Inferno". Trabert begins by commenting on the references to Dante in "Doktor Faustus" and then continues by analysing the allusions to the "Commedia" in Koeppen's novel, which constitute, as Trabert demonstrates, a complex constellation among the three texts.