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Transdisciplinary research is research not only on, but also for and, most of all, with practitioners. In the research framework of transdisciplinarity, scholars and practitioners collaborate throughout research projects with the aim of mutual learning. This paper shows the value transdisciplinarity can add to media linguistics. It does so by investigating the digital literacy shift in journalism: the change, in the last two decades, from the predominance of a writing mode that we have termed focused writing to a mode we have called writing-by-the-way. Large corpora of writing process data have been generated and analyzed with the multimethod approach of progression analysis in order to combine analytical depth with breadth. On the object level of doing writing in journalism, results show that the general trend towards writing-by-the-way opens up new niches for focused writing. On a meta level of doing research, findings explain under what conditions transdisciplinarity allows for deeper insights into the medialinguistic object of investigation.
This article presents an analysis of the police television series A Touch of Frost (Yorkshire Television, 1992) and the crime novels by Rodney Wingfield upon which it is based.
In order to analyse the way the protagonist, Inspector Jack Frost, is characterised in either version, data is drawn from the pilot episode of the series and Wingfield’s debut novel Frost at Christmas (1984). Wingfield was less than impressed with television’s version of Frost, stating, ‘He just isn’t my Frost’. The rationale for this article is to apply established models in stylistics to investigate the differences between the original and the adaptation. A core motivation for stylistics is to ‘support initial impressions in various extracts’ readings’ and to ‘describe the readers’ response with some precision’ (Gregoriou 2007: 19); this article therefore offers a close linguistic explanation for an author’s dissatisfaction with the adaptation of his own work. The famously reticent Wingfield did not elaborate in detail on why he disapproved of the television version of Frost, although several critics observed that Wingfield felt television had ‘softened’ his creation. This article contends that ‘softness’ is represented in language through politeness strategies adopted by speakers whilst impoliteness represents the ‘tougher’ speech of Wingfield’s original iteration of Jack Frost. In order to demonstrate this contention, this study will analyse pragmatic elements of the dialogue of both novel and television versions of Frost through the analytical framework for impoliteness developed by Culpeper (1996; 2010). This framework will be integrated into the model for analysing the elements of narrative outlined by Simpson and Montgomery (1995), in turn suggesting an elaboration of this model. In investigating whether television’s Jack Frost is ‘softer’ than the character envisaged by Wingfield, free direct speech and accompanying physical behaviour in novel and television adaptation are analysed, focussing on whether the perceived softness of the latter has been partly achieved by making the speech of Frost less impolite on television.
In ihrer neuesten Publikation befasst sich die ausgewiesene Wortbildungsexpertin Elke Donalies mit Fällen wie Wetterbeobachter, Dickhäuter, Vergissmeinnicht, zartfühlend und wieviel, deren linguistische Erfassung nach wie vor Probleme bereitet. Grund dafür dürfte zum einen sein, dass die Worthaftigkeit der untersuchten Einheiten vielfach fraglich ist (z. B. zart fühlend als syntaktische Fügung vs. zartfühlend als Wort bzw. Wortbildungsprodukt). Zum anderen ist die Analyse der Einheiten – bei Zuordnung zum Bereich Wortbildung – schwierig und im Resultat entsprechend vielfältig (z. B. Dickhäuter als Derivation, Zusammenbildung oder synthetic compound (vgl. S. 114)). Donalies hat sich also mit der Wahl derartiger "linguistischer Problemmacher" viel vorgenommen und insgesamt drei Jahre Projektzeit im Rahmen ihrer IDS-Tätigkeit dafür aufgewendet (Januar 2015–Januar 2018).
Multiple exponence in morphology has recently attracted a good deal of attention (see, among others, Harris 2017; Caballero & Inkelas 2018). In this paper, I examine Modern Greek verbs which take an extra verbalizer (implicit multiple exponence). The simple base (bare form) and the base with the verbalizer co-exist in the lexicon without any semantic or aspectual opposition and can be used in the same syntactic context. Thus, they raise important questions for morphological theory. I argue that the explanation of this pleonastic addition may be hidden in the relation between inflection and derivation and the polyfunctional character of verbalizers in synthetic languages. Since the two forms co-exist and one member of each pair features an idiomatic association of meaning and complex form, morphological theory is challenged. I argue that these formations find a natural account within the framework of Construction Morphology (Booij 2010; Jackendoff & Audring 2019).
Deutsche Komposita haben einige forschungsrelevante Eigenarten, zum Beispiel die Fugenelemente. Kopf hatte deshalb befürchtet, das Thema Fugenelement sei längst "leergeforscht" (S. 1). Natürlich ist kein Thema wirklich leergeforscht. Weil wir verschiedene Ansichten und Einsichten haben. Weil niemand auf Forschungsfragen definitiv antworten kann. Weil sich unsere Sprache – wie alles in der Welt – ständig verändert.
This paper deals with complex prefix-particle structures like aberkennen in German. First, it presents a scheme to analyse these double complex words from a synchronic point of view. Second, it is shown for words with ab-, that this type of word formation is typical for Middle and Early Modern High German and reasons for the decrease are discussed.