Teaching English Tense and Aspect with the Help of Cognitive Grammar: an Empirical Study
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Perfect Tenses 8.Pdf
Name Date Lesson 7 Perfect Tenses Teaching The present perfect tense shows an action or condition that began in the past and continues into the present. Present Perfect Dan has called every day this week. The past perfect tense shows an action or condition in the past that came before another action or condition in the past. Past Perfect Dan had called before Ellen arrived. The future perfect tense shows an action or condition in the future that will occur before another action or condition in the future. Future Perfect Dan will have called before Ellen arrives. To form the present perfect, past perfect, and future perfect tenses, add has, have, had, or will have to the past participle. Tense Singular Plural Present Perfect I have called we have called has or have + past participle you have called you have called he, she, it has called they have called Past Perfect I had called we had called had + past participle you had called you had called he, she, it had called they had called CHAPTER 4 Future Perfect I will have called we will have called will + have + past participle you will have called you will have called he, she, it will have called they will have called Recognizing the Perfect Tenses Underline the verb in each sentence. On the blank, write the tense of the verb. 1. The film house has not developed the pictures yet. _______________________ 2. Fred will have left before Erin’s arrival. _______________________ 3. Florence has been a vary gracious hostess. _______________________ 4. Andi had lost her transfer by the end of the bus ride. -
The Formation, Translation and Use of Participles in Latin, and the Nature of Relative Time
Chapter 23: Participles Chapter 23 covers the following: the formation, translation and use of participles in Latin, and the nature of relative time. At the end of the lesson we’ll review the vocabulary which you should memorize in this chapter. There are four important rules to remember in Chapter 23: (1) Latin has four participles: the present active, the future active; the perfect passive and the future passive. It lacks, however, a present passive participle (“being [verb]-ed”) and a perfect active participle (“having [verb]-ed”). (2) The perfect passive, future active and future passive participles belong to first/second declension. The present active participle belongs to third declension. (3) The verb esse has only a future active participle (futurus). It lacks both the present active and all passive participles. (4) Participles show relative time. What are participles? At heart, participles are verbs which have been turned into adjectives. Thus, technically participles are “verbal adjectives.” The first part of the word (parti-) means “part;” the second part (-cip-) means “take,” indicating that participles “partake, share” in the characteristics of both verbs and adjectives. In other words, the base of a participle is verbal, giving it some of the qualities of a verb, for instance, tense: it can indicate when the action is happening (now or then or later; i.e. present, past or future); conjugation: what thematic vowel will be used (e.g. -a- in first conjugation, -e- in second, and so on); voice: whether the word it’s attached to is acting or being acted upon (i.e. -
Narrative Genres Narrative Text 1
Moorgate Primary School English: INTENT Grammar, Punctuation and Writing Genres Criteria for Fiction and Non-Fiction Genres This is a suggested overview for each genre, giving a list of grammar and punctuation. It is not a definitive list. It will depend on the age group as to what you will include or exclude. For each genre you will work on vocabulary such as prefixes, suffixes, antonyms, synonyms, homonyms, etc. Where possible, different sentence structures should be taught. This will be developed through the year and throughout the Key Stage. Narrative Genres Narrative text 1. Adventure and mystery stories – past tense First or third person 2. Myths and legends – past tense Inverted commas 3. Stories with historical settings – past tense Personification 4. Stories set in imaginary worlds – past or future tense Similes 5. Stories with issues and dilemmas – past tense Metaphors 6. Flashback – past and present tense Onomatopoeia 7. Traditional fairy story – past tense Noun phrases 8. Ghost story – past tense Different sentence openers (prepositions, adverbs, connectives, “- ing” words, adverbs, “-ed” words, similes) Synonyms Antonyms Specific nouns (proper) Semicolons to separate two sentences Colons to separate two sentences of equal weighting Informal and formal language Lists of three – adjectives and actions Indefinite pronouns Emotive language Non-Fiction Genres Explanation text Recount text Persuasive text Report text Play scripts Poetry text Discussion text Present tense (This includes genres Present tense Formal language Exclamation -
Chapter 6 Mirativity and the Bulgarian Evidential System Elena Karagjosova Freie Universität Berlin
Chapter 6 Mirativity and the Bulgarian evidential system Elena Karagjosova Freie Universität Berlin This paper provides an account of the Bulgarian admirative construction andits place within the Bulgarian evidential system based on (i) new observations on the morphological, temporal, and evidential properties of the admirative, (ii) a criti- cal reexamination of existing approaches to the Bulgarian evidential system, and (iii) insights from a similar mirative construction in Spanish. I argue in particular that admirative sentences are assertions based on evidence of some sort (reporta- tive, inferential, or direct) which are contrasted against the set of beliefs held by the speaker up to the point of receiving the evidence; the speaker’s past beliefs entail a proposition that clashes with the assertion, triggering belief revision and resulting in a sense of surprise. I suggest an analysis of the admirative in terms of a mirative operator that captures the evidential, temporal, aspectual, and modal properties of the construction in a compositional fashion. The analysis suggests that although mirativity and evidentiality can be seen as separate semantic cate- gories, the Bulgarian admirative represents a cross-linguistically relevant case of a mirative extension of evidential verbal forms. Keywords: mirativity, evidentiality, fake past 1 Introduction The Bulgarian evidential system is an ongoing topic of discussion both withre- spect to its interpretation and its morphological buildup. In this paper, I focus on the currently poorly understood admirative construction. The analysis I present is based on largely unacknowledged observations and data involving the mor- phological structure, the syntactic environment, and the evidential meaning of the admirative. Elena Karagjosova. -
<HAVE + PERFECT PARTICIPLE> in ROMANCE and ENGLISH
<HAVE + PERFECT PARTICIPLE> IN ROMANCE AND ENGLISH: SYNCHRONY AND DIACHRONY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Diego A. de Acosta May 2006 © 2006 Diego A. de Acosta <HAVE + PERFECT PARTICIPLE> IN ROMANCE AND ENGLISH: SYNCHRONY AND DIACHRONY Diego A. de Acosta, Ph.D. Cornell University 2006 Synopsis: At first glance, the development of the Romance and Germanic have- perfects would seem to be well understood. The surface form of the source syntagma is uncontroversial and there is an abundant, inveterate literature that analyzes the emergence of have as an auxiliary. The “endpoints” of the development may be superficially described as follows (for English): (1) OE Ic hine ofslægenne hæbbe > Eng I have slain him The traditional view is that the source syntagma, <have + noun.ACC + perfect participle>, is structured [have [noun participle]], and that this syntagma undergoes change as have loses its possessive meaning. In this dissertation, I demonstrate that the traditional view is untenable and readdress two fundamental questions about the development of have-perfects: (i) how is the early ability of have to predicate possession connected with its later role in the perfect?; (ii) what are the syntactic structures and meanings of <have + noun.ACC + perfect participle> before the emergence of the have-perfect? With corpus evidence, I show that that the surface string <have + noun.ACC + perfect participle> corresponds to three different structures in Old English and Latin; all of these survive into modern English and the Romance languages. -
Serial Verb Constructions Revisited: a Case Study from Koro
Serial Verb Constructions Revisited: A Case Study from Koro By Jessica Cleary-Kemp A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Lev D. Michael, Chair Assistant Professor Peter S. Jenks Professor William F. Hanks Summer 2015 © Copyright by Jessica Cleary-Kemp All Rights Reserved Abstract Serial Verb Constructions Revisited: A Case Study from Koro by Jessica Cleary-Kemp Doctor of Philosophy in Linguistics University of California, Berkeley Associate Professor Lev D. Michael, Chair In this dissertation a methodology for identifying and analyzing serial verb constructions (SVCs) is developed, and its application is exemplified through an analysis of SVCs in Koro, an Oceanic language of Papua New Guinea. SVCs involve two main verbs that form a single predicate and share at least one of their arguments. In addition, they have shared values for tense, aspect, and mood, and they denote a single event. The unique syntactic and semantic properties of SVCs present a number of theoretical challenges, and thus they have invited great interest from syntacticians and typologists alike. But characterizing the nature of SVCs and making generalizations about the typology of serializing languages has proven difficult. There is still debate about both the surface properties of SVCs and their underlying syntactic structure. The current work addresses some of these issues by approaching serialization from two angles: the typological and the language-specific. On the typological front, it refines the definition of ‘SVC’ and develops a principled set of cross-linguistically applicable diagnostics. -
Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C
Loyola University Chicago Law Journal Volume 40 Article 3 Issue 1 Fall 2008 2008 Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C. Farrell Quinnipiac University School of Law Follow this and additional works at: http://lawecommons.luc.edu/luclj Part of the Law Commons Recommended Citation Robert C. Farrell, Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions, 40 Loy. U. Chi. L. J. 1 (2008). Available at: http://lawecommons.luc.edu/luclj/vol40/iss1/3 This Article is brought to you for free and open access by LAW eCommons. It has been accepted for inclusion in Loyola University Chicago Law Journal by an authorized administrator of LAW eCommons. For more information, please contact [email protected]. Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C. Farrell* I. INTRODUCTION Does it matter that the editors of thirty-three law journals, including those at Yale and Michigan, think that there is a "passive tense"? l Does it matter that the United States Courts of Appeals for the Sixth2 and Eleventh3 Circuits think that there is a "passive mood"? Does it matter that the editors of fourteen law reviews think that there is a "subjunctive tense"?4 Does it matter that the United States Court of Appeals for the District of Columbia Circuit thinks that there is a "subjunctive voice'"? 5 There is, in fact, no "passive tense" or "passive mood." The passive is a voice. 6 There is no "subjunctive voice" or "subjunctive tense." The subjunctive is a mood.7 The examples in the first paragraph suggest that there is widespread unfamiliarity among lawyers and law students * B.A., Trinity College; J.D., Harvard University; Professor, Quinnipiac University School of Law. -
Spanish Verbs and Essential Grammar Review
Spanish Verbs and Essential Grammar Review Prepared by: Professor Carmen L. Torres-Robles Department of Foreign Languages & Literatures Purdue University Calumet Revised: 1 /2003 Layout by: Nancy J. Tilka CONTENTS Spanish Verbs Introduction 4 Indicative Mood 5 ® simple & compound tenses: present, past, future, conditional Subjunctive Mood 12 ® simple & compound tenses: present, past Ser / Estar 16 Essential Grammar Pronouns 20 Possesive Adjectives and Pronouns 23 Prepositional Pronouns 25 Por versus Para 27 Comparisons / Superlatives 31 Preterite / Imperfect 34 Subjunctive Mood 37 Commands 42 Passive Voice 46 2 Spanish Verbs 3 INTRODUCTION VERBS (VERBOS) MOODS (MODOS) There are three moods or ways to express verbs (actions) in Spanish. 1. Indicative Mood (objective) 2. Subjunctive Mood (subjective) 3. Imperative Mood (commands) INFINITIVES (INFINITIVOS) A verb in the purest form (without a noun or subject pronoun to perform the action) is called an infinitive. The infinitives in English are characterized by the prefix “to” + “verb form”, the Spanish infinitives are identified by the “r” ending. Example estudiar, comer, dormir to study, to eat, to sleep CONJUGATIONS (CONJUGACIONES) Spanish verbs are grouped in three categories or conjugations. 1. Infinitives ending in –ar belong to the first conjugation. (estudiar) 2. Infinitives ending in –er belong to the second conjugation. (comer) 3. Infinitives ending in –ir belong to the third conjugation. (dormir) VERB STRUCTURE (ESTRUCTURA VERBAL) Spanish verbs are divided into three parts. (infinitive: estudiar) 1. Stem or Root (estudi-) 2. Theme Vowel (-a-) 3. "R" Ending (-r) CONJUGATED VERBS (VERBOS CONJUGADOS) To conjugate a verb, a verb must have an explicit subject noun (ex: María), a subject pronoun (yo, tú, usted, él, ella, nosotros(as), vosotros(as), ustedes, ellos, ellas), or an implicit subject, to indicate the performer of the action. -
30. Tense Aspect Mood 615
30. Tense Aspect Mood 615 Richards, Ivor Armstrong 1936 The Philosophy of Rhetoric. Oxford: Oxford University Press. Rockwell, Patricia 2007 Vocal features of conversational sarcasm: A comparison of methods. Journal of Psycho- linguistic Research 36: 361−369. Rosenblum, Doron 5. March 2004 Smart he is not. http://www.haaretz.com/print-edition/opinion/smart-he-is-not- 1.115908. Searle, John 1979 Expression and Meaning. Cambridge: Cambridge University Press. Seddiq, Mirriam N. A. Why I don’t want to talk to you. http://notguiltynoway.com/2004/09/why-i-dont-want- to-talk-to-you.html. Singh, Onkar 17. December 2002 Parliament attack convicts fight in court. http://www.rediff.com/news/ 2002/dec/17parl2.htm [Accessed 24 July 2013]. Sperber, Dan and Deirdre Wilson 1986/1995 Relevance: Communication and Cognition. Oxford: Blackwell. Voegele, Jason N. A. http://www.jvoegele.com/literarysf/cyberpunk.html Voyer, Daniel and Cheryl Techentin 2010 Subjective acoustic features of sarcasm: Lower, slower, and more. Metaphor and Symbol 25: 1−16. Ward, Gregory 1983 A pragmatic analysis of epitomization. Papers in Linguistics 17: 145−161. Ward, Gregory and Betty J. Birner 2006 Information structure. In: B. Aarts and A. McMahon (eds.), Handbook of English Lin- guistics, 291−317. Oxford: Basil Blackwell. Rachel Giora, Tel Aviv, (Israel) 30. Tense Aspect Mood 1. Introduction 2. Metaphor: EVENTS ARE (PHYSICAL) OBJECTS 3. Polysemy, construal, profiling, and coercion 4. Interactions of tense, aspect, and mood 5. Conclusion 6. References 1. Introduction In the framework of cognitive linguistics we approach the grammatical categories of tense, aspect, and mood from the perspective of general cognitive strategies. -
Language Reference
Language reference Unit 1 | Tenses Past perfect Present simple Use the past perfect to put events in the past in sequence. The past perfect indicates that the action it refers to happened before a Use the present simple reference to the past simple. 1 to talk about general facts, states, and situations I had heard from the locals that there were several interesting sites. The purpose of business is to make a profit. 2 to talk about regular or repeated actions, or permanent situations Past perfect continuous Jack works for Nissan. Use the past perfect continuous to refer to an action in progress before something else happened. 3 to talk about timetabled future events He was the one who had been working on the project, but his boss The meeting starts at 10.00. was the one who got all the credit. Present continuous Should Use the present continuous 1 Use should + infinitive to recommend something strongly. 1 to talk about an action in progress at the time of speaking / You should try that vegetarian restaurant on the river. writing 2 Use should + perfect infinitive to talk about a lost opportunity. I’m trying to get through to Jon Berks. You should have gone this morning – it was quite an interesting 2 to talk about a very current activity, taking place around the time meeting. of speaking 3 Use could / should + infinitive to predict. They are pushing the area for development. It could / should turn out to be quite an interesting conference. 3 to talk about fixed plans or arrangements in the future I am meeting the management committee on Friday. -
Children's Comprehension of the Verbal Aspect in Serbian
PSIHOLOGIJA, 2021, Online First, UDC © 2021 by authors DOI https://doi.org/10.2298/PSI191120003S Children’s Comprehension of the Verbal Aspect in Serbian * Maja Savić1,3, Maša Popović2,3, and Darinka Anđelković2,3 1Faculty of Philology, University of Belgrade, Serbia 2Institute of Psychology, Faculty of Philosophy, University of Belgrade, Serbia 3Laboratory of Experimental Psychology, Faculty of Philosophy, University of Belgrade, Serbia The aim of the study was to investigate how Serbian native speaking preschool children comprehend perfective and imperfective aspect in comparison to adults. After watching animated movies with complete, incomplete and unstarted actions, the participants were asked questions with a perfective or imperfective verb form and responded by pointing to the event(s) that corresponded to each question. The results converged to a clear developmental trend in understanding of aspectual forms. The data indicate that the acquisition of perfective precedes the acquisition of imperfective: 3-year-olds typically understand only the meaning of perfective; most 5-year-olds have almost adult-like understanding of both aspectual forms, while 4-year-olds are a transitional group. Our results support the viewpoint that children's and adults’ representations of this language category differ qualitatively, and we argue that mastering of aspect semantics is a long-term process that presupposes a certain level of cognitive and pragmatic development, and lasts throughout the preschool period. Keywords: verbal aspect, language development, comprehension, Serbian language Highlights: ● The first experimental study on verbal aspect comprehension in Serbian. ● Crucial changes in aspect comprehension happen between ages 3 and 5. Corresponding author: [email protected] Note. This work was supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia, grant number ON179033. -
Tenses and Conjugation (Pdf)
Created by the Evergreen Writing Center Library 3407 867-6420 Tenses and Conjugation Using correct verb forms is crucial to communicating coherently. Understanding how to apply different tenses and properly conjugate verbs will give you the tools with which to craft clear, effective sentences. Conjugations A conjugation is a list of verb forms. It catalogues the person, number, tense, voice, and mood of a verb. Knowing how to conjugate verbs correctly will help you match verbs with their subjects, and give you a firmer grasp on how verbs function in different sentences. Here is a sample conjugation table: Present Tense, Active Voice, Indicative Mood: Jump Person Singular Plural 1st Person I jump we jump 2nd Person you jump you jump 3rd Person he/she/it jumps they jump Person: Person is divided into three categories (first, second, and third person), and tells the reader whether the subject is speaking, is spoken to, or is spoken about. Each person is expressed using different subjects: first person uses I or we; second person uses you; and third person uses he/she/it or they. Keep in mind that these words are not the only indicators of person; for example in the sentence “Shakespeare uses images of the divine in his sonnets to represent his own delusions of grandeur”, the verb uses is in the third person because Shakespeare could be replaced by he, an indicator of the third person. Number: Number refers to whether the verb is singular or plural. Tense: Tense tells the reader when the action of a verb takes place.