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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.
Metonymy and the growth of lexical categories related to the conceptual category female human being
(2000)
Metaphorical awareness of the native speakers of English in the conceptualisation of happiness
(2000)
Old masters and new frameworks : a pilot analysis of selected semantic changes in the field economy
(2003)
"Back to basics" : a cognitive analysis of conversion de-adjectival nominalisation in English
(2003)
The interpretation of traces
(2004)
This paper argues that parts of the lexical content of an A-bar moved phrase must be interpreted in the base position of movement. The argument is based on a study of deletion of a phrase that contains the base position of movement. I show that deletion licensing is sensitive to the content of the moved phrase. In this way, I corroborate and extend conclusions based on Condition C reconstruction by N. Chomsky and D. Fox. My result provides semantic evidence for the existence of traces and gives semantic content to the A/A-bar distinction.
War and death in business : some remarks on the nature of conceptualisation in the field economy
(2005)
Metaphorization and selected translation techniques : the case study of "National Geographic"
(2008)
Judging by appearances : a study of human-oriented metonymic developments in the domain of dress
(2008)
Iako se prevedenicama aktiviraju vlastite izražajne mogućnosti jezika, one su također predmet purističkih reakcija. Cilj je rada analizirati latentni utjecaj engleskoga jezika na različite jezične razine kao pojavu koja je prisutna u hrvatskome i u drugim europskim jezicima. Primjeri pokazuju da se radi o rasprostranjenoj pojavi koja proizlazi iz doslovnoga i nemarnoga prijevoda, nepoznavanja norme vlastitoga jezika i pomodnoga slijeda engleske jezične norme.
The flâneur has been depicted in several different ways in 19th as well as 20th and 21st century literature and criticism. The focus of this brief paper will be on the roles given him in English writings from or around the time of the 1848 revolutions in France and Germany, in which the flâneur comes to represent not only a street idler, but also a critical traveller to, and observer of, the continental city and its revolutionary activities.
It could be said that learner’s dictionaries are the most reliable expression of lexicography in terms of providing the necessary tools to help the learning process of a foreign language. This paper analyses three English learner’s dictionaries in order to establish its stylistic patterns as well as to compare them with four German learner’s dictionaries. Undoubtly, the lexicography of English learner’s dictionaries is a model. However, we argue that this model can not be transfered to German lexicography since each language has its own particularities which demand specific solutions.
For reasons of space, we only discussed one text in which the metaphors used seem to take their root in the context in which it has been written. One text is definitely not enough to make any definite claims on how widespread this phenomenon is. Given what we know about the two domains - Food and taste - one has reasons to believe that when speakers/conceptualisers (e.g. journalists) describe something which stands in some relation to both, they may intuitively be reaching for taste metaphors of the kind described above on the premise that this kind of ‘ornamentation’ will add some spice to what the addressee might otherwise consider a trivial (and boring) topic. At the same time, taste is only one among many properties a particular item of food or a substance (e.g. sugar) has. In consequence, one may well imagine contexts in which it is not its taste, but other properties (e.g. what Harbottle [1997:183] refers to as its 'pure white and deadly’ image) that will make the conceptualiser reach for a particular linguistic or conceptual metaphor.
In this paper I tried to demonstrate that the British films depicting football hooliganism could be viewed as glorifying violence. A considerably great number of scenes and a great amount of time devoted to the presentation of violence, together with the unpunished, painless and heroic aspects of such presentations are just one side of the glorifying coin. The other side is occupied with the deeper meaning of particular scenes or the general overtones of the films which seem to develop a tendency to present a hooligan firm as a family-like community that offers happiness and produces a strong feeling of belonging and solidarity that adds spice to the boring working or middle class life. Violent confrontations are depicted as a source of pleasurable emotional arousal that surpass other forms of enjoyment. Moreover, confronting other hooligans helps hooligans to construct hard masculine identity based on physical prowess. Finally, being a good fighter is a fast track to earning a reputation that provides hooligans with a sense of power and importance. Real hooligans starring in the films, thus potentially encouraging viewers to become “wannabe warriors”, is also of great importance. However, the way the audiences react to the on-screen presentation of violence with all its aspects is a topic for much broader research.
This article will attempt to suggest translation procedures necessary to translate culturally bound items in the referential level of a literary work illustrated with examples from two novels: “The Bluest Eye” by Toni Morrison and “Vineland” by Thomas Pynchon. First, the article will include a general description of the referential level in literary works offering possible avenues of 285 its rendition, then and finally suggest a translation methodology and techniques together with practical examples of the theory at work.