RENEWAL: a FIGURE of SPEECH OR a PROCESS SUI GENERIS? Uta Reinöhl Nikolaus P
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Phonological Optimization and Syntactic Variation: the Case of Optional That*
BLS 32, No 1 2006. DOI: http://dx.doi.org/10.3765/bls.v32i1.3453 (published by the Berkeley Linguistics Society and the Linguistic Society of America) Phonological Optimization and Syntactic Variation: The Case of * Optional That T. FLORIAN JAEGER Stanford University 1. Introduction The principle of Phonology-Free Syntax (see papers in Zwicky 1969) states that syntax should not be influenced by phonological constraints. This predicts that choice in syntactic variation should not be affected by phonological constraints, such as the avoidance of identical adjacent elements (Frisch et al. 2004; Leben 1973). Only a few studies have investigated the extent to which phonological encoding can influence syntactic encoding and they have come to conflicting results (see Bock and Eberhard 1993; Haskell and MacDonald 2003; MacDonald et al. 1993). I investigate the influence of phonological optimization at different levels of linguistic form on so called optional that, as in the following comple- 1 ment clauses (CC*s) and relative clauses (RC*s): (1a) You would think [CC* (that) there's no place for capital punishment in a ci- vilized western country]. (1b) I heard [CC* (that) that’s the second happiest day of your life]. (2a) I mean [NP any drugs [RC* (that) you want _ ]]. (2b) I mean [NP the way [RC* (that) it vibrates _ ]]. * I am grateful for the discussions that lead to this paper. I would like to thank D. Pesetsky, N. Richards, and A. Marantz for raising the question whether optional that is allomorphy rather than syntactic variation. I am particularly thankful to A. Antilla and L. -
Choosing a Verb Tense the Present Tense Add –S to Make the Third Person Singular Present Tense
Choosing a Verb Tense The Present Tense Add –s to make the third person singular present tense. Since most academic, scientific, and technical writing is done in present tense, this is a very important reminder! The system permits Each operator controls Use the present tense --to show present states or conditions: The test program is ready. The bell sounds shrill. --to show natural laws or eternal truths: The earth rotates around the sun. Carbon and oxygen combine to form carbon dioxide. --to show habitual actions and repeated acts: We hold a staff meeting every Tuesday. The new file boots the computer. --to quote from or paraphrase published work: Nagamichi claims that calcium inhibits the reaction. MCI’s brochure reads “We are more efficient than AT&T.” --to define or explain procedures or terminology: The board fits in the lower right-hand slot. BOC stands for “British Oxygen Corporation.” --to show possible futures in time and conditional clauses: Your supervisor will recommend you for promotion if she likes your work. The minutes of the meeting will be circulated once I type them. The Past Tense Add the proper suffix (usually –ed) or infix to the verb stem to make the past tense. Consult a dictionary if you have questions about the correct past form. Use the past tense --for events that happened at a specific time in the past: The fax arrived at 4:59 PM. Kennedy died in 1963. --for repeated or habitual items which no longer happen: We used to have our department meetings on Tuesday. He smoked cigarettes constantly until his coronary. -
Writing Speech: Lolcats and Standardization Brittany Brannon Denison University
Articulāte Volume 17 Article 5 2012 Writing Speech: LOLcats and Standardization Brittany Brannon Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Brannon, Brittany (2012) "Writing Speech: LOLcats and Standardization," Articulāte: Vol. 17 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol17/iss1/5 This Article is brought to you for free and open access by the English at Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Writing Speech: LOLcats and Standardization refined men...in their speech and writing" (quoted in Lerer 159). What becomes apparent in Gil's statement is that for the orthoepists, education was Brittany Brannon '12 tied to class—and, therefore, proper language was based as much on class interests as it was on the speech of the educated. It is here that Lerer's use of the term "educated" begins to become problematic. Today, most people in our society believe that education is From the time we are small, we are taught that there are only certain largely separate from class concerns. The American dream tells us that forms of spelling and grammar that are appropriate for written work, anyone who works hard enough can make something of themselves, often regardless of how closely those forms align with our speech. This distinction through education. This myth perpetuates the common lack of recognition is not an innocent one. The inability to use standard written English has that one's level of education still often has more to do with socioeconomic many social judgments attached to and embedded in it. -
On Four Differences Between Two Metaphorical Expressions of Future
63 佐渡一邦 On Four Differences between Two Metaphorical Expressions of Future Kazukuni SADO* Abstract The aim of this paper is to clarify the differences between two types of expressions whose forms are in the present, but express a future event. The simple present and present in present are compared with regard to four perspectives: modality, human endeavor, present relevance, and proximity to the present. We may conclude from research that the simple present allows only modalization, is neutral to human endeavor, has much stronger relevance to the present moment and is neutral to the distance from the time of utterance, while the present in present allows both types of modality, expresses the results of human endeavor and although is less related to the present moment, is likely to describe the near future. 0. Introduction Most of us would accept that verb tenses in the English language are far from simple. The expression of a future event, for example, is not necessarily expressed in the future tense. The use of the present tense to express the future is well explained as “futurate” in Huddleston and Pullum (2002) and elaborated further in Sado (2016). However, we are of the view that English has a future tense and thus, it seems no longer appropriate to use the term, ”futurate” in our discussion as Sado (2016) did. Sado (2017:60) replaced the term with “present of futurity” to refer to all present tense forms that are employed to express events in the future. This discrepancy between form and meaning is explained by Huddleston and Pullum (2002) in terms of knowledge in the present like schedules of public transportation as thus illustrated in the example below from Kreidler (2014:111). -
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 -
The Futur Proche and the Futur Simple
page: taf4 1. futur proche vs. futur simple 2. differences between French and English French has two future tenses -- the futur proche and the futur simple. The futur proche is formed with the auxiliary aller which is followed by an infinitive (Je vais partir. 'I'm going to leave'). The futur simple doesn't have an auxiliary. Instead, the infinitive form becomes the stem to which future endings are added (Je partirai . 'I will leave'). For more details on the formation of these two future tenses, including irregular forms, see the related links: future: regular, future: irregular, and futur proche. futur proche vs. futur simple The two tenses are virtually interachangeable in most contexts, especially in spoken French. So what is the difference? In general, the two tenses differ in their level of formality; the future proche is used in more informal contexts and the simple future in more formal contexts. Thus, the futur proche is primarily used in speech and less frequently in writing. According to traditional grammars, the two tenses also differ in their relative distance to the present moment. The future proche, also called the futur immédiat, typically refers to a time very close to the present moment, i.e, the near or immediate future. The futur simple, on the other hand, is often used for events in the more distant future. Because the futur simple is associated with distant future events, it often takes on a detached, objective quality making it the preferred tense for future events that represent general truths. Qui vivra, verra. Whoever will live, will see. -
Phonological Evidence for Exemplar Storage of Mul Tiword Sequences
SSLA. 24. 215-221 DOl 111.1111; S02722ti:llll21111211til PHONOLOGICAL EVIDENCE FOR EXEMPLAR STORAGE OF MULTIWORD SEQUENCES Joan Bybee University of New Mexico Phonological evidence supports the frequency-based model pro posed in the article by Nick Ellis. Phonological reduct1on occurs ear lier and to a greater extent in high-frequency words and phrases than in low-frequency ones. A model that accounts for this effect needs both an exemplar representation to show phonet1c variation and the ability to represent multiword combinations. The maintenance of alternations conditioned by word boundaries. such as French liai son, also provides evidence that multiword sequences are stored and can accrue representational strength. The reorganization of pho netic exemplars in favor of the more frequent types prov1des evidence for some abstraction in categories beyond the simple registration of tokens of experience. Ellis's review article paints a very different landscape for linguistic knowledge from that provided by structural theories of language. In this landscape, fre quency of use is not a constraint added to an otherwise structural or genera tive architecture (as in Hammond, 1999), nor is it just invoked when the facts do not yield entirely to structural analysis (see, e.g., Kaisse, 1985, p. 59). Rather, the picture that emerges from the array of studies that Ellis cites is one in which linguistic knowledge is based firmly on experience with language, and frequency of use is a foundational determinate of grammatical properties of language. The article demonstrates that there is a major convergence of re search from many different perspectives-corpus-based analysis, computational linguistics, discourse, cognitive and functional linguistics, and psycholinguis tics-that all point to a new theory of grammar with its attendant theory of language acquisition. -
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. -
Enhancing the Students' Rhetoric Attainments in Teaching of College
Sino-US English Teaching, July 2019, Vol. 16, No. 7, 300-305 doi:10.17265/1539-8072/2019.07.003 D DAVID PUBLISHING Enhancing the Students’ Rhetoric Attainments in Teaching of College English Intensive Reading ZHANG Rong-gen Shanghai Publishing and Printing College, Shanghai, China Beginning with various definitions of rhetoric, the paper gives a survey of some common English rhetoric figures found in College English intensive reading, such as metaphor, simile, transferred epithet, allusion, hyperbole, personification, metonymy, antithesis, onomatopoeia, double negative, inversion, rhetoric question, parady, transferred negation, and the like. By elaborating the functions of those rhetoric figures, the paper attempts to enhance the students’ rhetoric attainments and arouse their interest in learning English. Keywords: rhetoric attainments, rhetoric figures, College English teaching Introduction Some students often complain that the teaching of College English intensive reading course is so monotonous. It is really the case. How can a tasteless person feel his delicious food? And a certain rhetoric attainment is the prerequisite for the student to enjoy this “delicious food” of College English intensive reading course. The category of rhetoric is quite broad, one of which definitions is given by Aristotle as the art of public speaking by means of persuasion (Aristotle, 1954, pp. 2-12); and Hartwell extends the definition of rhetoric as the art of using words in speaking or writing (Hartwell & Bentley, 1982, pp. 1-15). That is to say, rhetoric contains both the art of public speaking and the method of composition. According to Chen Wangdao, a modern Chinese rhetorician, rhetoric includes both active rhetoric and passive rhetoric. -
In Formal Contexts: the Paratextual Features of Historiographic Metafiction
In Formal Contexts: The Paratextual Features of Historiographic Metafiction By Keith Kirouac, B.A. A Thesis submitted to the Department of English California State University Bakersfield In Partial Fulfillment for the Degree of Masters of English Fall 2015 Copyright By Keith Laurien Kirouac 2015 In Formal Contexts: The Paratextual Features of Historiographic Metafiction By Keith Kirouac This thesis or project has been accepted on behalf of the Department of English by their supervisory committee: D~:*~~Commt ee Chair 16(~~ Dr. Carol Dell'Amico Acknowledgements Upon the completion of this thesis project (my death as an author if for no cause other than exhaustion) I would like to thank my readers, Dr. Monica Ayuso and Dr. Carol Dell'Amico, for taking time out of their busy schedules to examine this relatively insignificant work. I am also grateful to Dr. Kim Flachmann, Dr. Charles MacQuarrie, Dr. Susan Stafinbil, Dr. Andrew Troup, and Christy Gavin for helping to guide me through the research which led to this paper. Abstract The Introduction to this thesis defines a number of key terms and concepts related to the study of paratexts in historiographic metafiction. The chapters that follow describe how paratextual forms operate within specific historiographic metafictional novels. The first of these chapters covers the footnotes in The Brief Wondrous Life of Oscar Wao, painting the novel's narrator as a fairly typical historiographer. The second chapter delves into the metafictional elements tied to the appendices which conclude The Lord of the Rings and argues that J.R.R. Tolkien's reputation as an author and scholar may have influenced the development of that novel. -
Descriptive Writing.Pdf
Let's f)escribe Descriptive writing rto: of writing thar i i atempts ro share with the reader j": *n;; m u s, u s e w ord "; with*:i:,r.T* the color, #:j::: age, size, ::: s de a,i n g "::'":J::jshape, scent, sound,^:::rr9,i" materiar, ,""r".l,lttnllrlJTHrfi:ffi temperature' The use of descriptive words and phrases esting and gives rur.., the writing more inter- the reader a tetter understaniing of and settings' problems, characters, Descriptive writing makes the subjeJt.o.n.-utiu"."urnir, when this happens, easier for the readei to ;lffi"#:t become invotved with the characters unoit.i. Read the folrowing exampre of descriptive writing. Then answer the questions. My rittle brother Andrew had a very large, flrffy, brlc-k -{ white blaze dog. The dog,s name was decorated her forehead uno Murphy. onJorrr". r.gr.-uer shiny coat glistened. Murphy was^very smart. By the time she was one yelr_grd, Murphy was already weil things when instructed Her ravorit"iov ::il:lr:f;ffT;:;lrTjfl.iTf# 'u, a sort, red, Murphy tu'1very friendly doug' very quier and serdom tiiendliness' Murphy would lT :l barked or growred. In her t'n to uiyon" who came near. prayful pant leg or sleeve Murphy might tug on your if given the chance. rhor" who play' knew h", uno"rrtood that she just Strangers' however' were often wanted to frightened u, ,rr" ,igrr, ,r this.big, shaggy dog running at rrom this;;"d";:""t ffi'ilTl; lll;Ji3J,,??T::ifl**1iJ.",,l::?; '.'"; Murphy ivas l. -
Literary Terms-Key
Malcolm Literary Terms ________________________ English 11 Name 1. Allegory – A story with 2 levels of meaning: literal and symbolic 2. Alliteration – Repetition of a consonant sound at beginning of words. 3. Allusion – Reference to well-known people, places, events, work of literature, etc. 4. Ambiguity – When a statement contains 2 or more possible meanings. (“I promise I’ll give you a ring tomorrow.”) 5. Ambivalence – The state of having 2 opposing feelings toward a person or thing at the same time. (“Can’t live with you, can’t live without you.”) 6. Analogy – The comparison of a new idea to a well-known idea to aid in comprehension 7. Anecdote – A brief story about an interesting, unusual, or humorous event 8. Antagonist – Character or force in conflict with the main character. (The Joker, The Green Goblin) 9. Antanaclasis – Stylistic repetition of a word utilizing different definitions of the word each time (“We must all hang together, or assuredly we will all hang together.”) 10.Antithesis – The use of phrases with opposite meanings in close conjunction. (“One small step for man; one giant leap for mankind.”) 11.Aphorism – A general truth or observation about life, often witty. (An apple a day keeps the doctor away.) 12.Apostrophe – figure of speech in which the writer directly addresses the reader or an absent/abstract idea. (Build thee more stately mansions, oh my soul.) 13.Aside – In drama, a short passage that an actor speaks to the audience and the other characters pretend they cannot hear. 14.Assonance – repetition of vowel sounds. (Ashley asked for applesauce after her anchovies.) 15.Autobiography – Work of nonfiction in which the author writes about his/her own life.