Knowing that the so-called voiced and voiceless stops in languages like English and German do not always literally differ in voicing, several linguists — among them Roman Jakobson — have proposed that dichotomies such as fortis/lenis or tense/lax might be more suitable to capture the invariant phonetic core of this distinction. Later it became the dominant view that voice onset time or laryngeal features are more reasonable alternatives. However, based on a number of facts and arguments from current phonetics and phonology this book claims that the Jakobsonian feature tense was rejected prematurely. Among the theoretical aspects addressed, it is argued that an acoustic definition of distinctive features best captures the functional aspects of speech communication, while it is also discussed how the conclusions are relevant for formal accounts, such as feature geometry. The invariant of tense is proposed to be durational, and its ‘basic correlate’ is proposed to be aspiration duration. It is shown that tense and voice differ in their invariant properties and basic correlates, but that they share a number of other correlates, including F0 onset and closure duration. In their stop systems languages constitute a typology between the selection of voice and tense, but in their fricative systems languages universally tend towards a syncretism involving voicing and tenseness together. Though the proposals made here are intended to have general validity, the emphasis is on German. As part of this focus, an acoustic study and a transillumination study of the realization of /p,t,k,f,s/ vs. /b,d,g,v,z/ in German are presented.
CONTRIBUTIONS TO THE SOCIOLOGY OF LANGUAGE brings to students, researchers and practitioners in all of the social and language-related sciences carefully selected book-length publications dealing with sociolinguistic theory, methods, findings and applications. It approaches the study of language in society in its broadest sense, as a truly international and interdisciplinary field in which various approaches, theoretical and empirical, supplement and complement each other. The series invites the attention of linguists, language teachers of all interests, sociologists, political scientists, anthropologists, historians etc. to the development of the sociology of language.
This book serves as a basis for the exploration of language in a more systematic way. By surveying the several major divisions of language (phonology, morphology, syntax, lexis, tropology) and explicating the way in which sound and meaning cohere in them, this text lays bare––for students, scholars and advanced readers alike––the lineaments of an understanding of what makes language the sign system par excellence, in the service of its most important function as the instrument of cognition and of communication. This book is intended as a companion volume to Shapiro’s The Speaking Self: Language Lore and English Usage. The two volumes taken in tandem will provide a solid grounding in the observational science of linguistics, linking theory with practice in a way that will expand one’s understanding of language as a global phenomenon.
This volume explains the generative approach to phonological analysis and theory through a rigorous examination of data from a diverse sample of languages. It will give students the theoretical background necessary to read the phonological literature critically, and the analytical tools required for describing phonological structure.
Topics in Phonological Theory is a six-chapter text that provides an explication of some of the most important problems in phonological theory, with a few, necessarily tentative, solutions. The first chapter deals with the problem of abstractness in terms of a series of successively weaker constraints that might be placed on the relationship between the underlying and phonetic representations of a morpheme. The second chapter begins with a discussion of the various ways in which the phonetic basis of a rule may be lost in the course of historical change, which lays the groundwork for a lengthy survey of the types of grammatical and lexical conditions that may control the application of a phonological rule. The third chapter describes the constraints and conditions on phonological representations, particularly the domain of these constraints, the level at which they hold, and their duplication of phonological rules. The fourth chapter examines the problem of natural rule interactions, focusing on Kiparsky's theories of maximal utilization and opacity-transparency and their deficiencies. The fifth chapter deals with Chomsky and Halle's simultaneous application principle as well as with more recent proposals The sixth chapter compares the relative merits of global rules versus rule ordering for the description of opaque rule interactions. This book is intended primarily for linguistics.
Traces the life of Bakhtin, a Russian literary critic recently rediscovered, and discusses his major works on Freud, Dostoevsky, Rabelais, Marxism, and the philosophy of language.
Each of these works is meticulously structured around a two-poem section that gives each its unique configuration and character. Yet, at the same time, each poem maintains its individual independence and singular integrity."--BOOK JACKET. "In Breaking New Ground, W. Michael Mudrovic presents a comprehensive reading and detailed analysis of Rodriguez's work to date, including Casi una leyenda."--BOOK JACKET.
What does poststructuralism mean for authors such as Foucault, Lyotard, Cixous, Derrida, and Haraway, to name a few, and what significance does it have for educational inquiry? This book takes on these central questions and explores the impact of postructuralism in language that makes the basic issues at stake accessible for a broad readership. Michael A. Peters and Nicholas C. Burbules highlight the implications of a postructuralist stance for the conception of the research subject and examine its standards of validity and methods of investigation.
This book critiques current assumptions about 'communication', particularly digitally mediated communication, by re-examining conceptual foundations in rhetoric, linguistics, semiotics, information theory, and cybernetics. The result is a dimensional account of interaction that is at once both intuitive and revolutionary.
On trial is young tearaway Ian Tanner, accused of the accidental but reckless hit-and-run killing of his own buddy. What really happened? The answer involves a ruthless gang, a gang that nearly disposes of yet another victim before Detective Constable Patrick Bramley figures it all out. Meanwhile the judge is facing a personal predicament so closely associated with the case itself that he doubts whether he should proceed ... 'Excellent' Current Crime
The advancement of a scientific discipline depends not only on the "big heroes" of a discipline, but also on a community’s ability to reflect on what has been done in the past and what should be done in the future. This volume combines perspectives on both. It celebrates the merits of Michael Otte as one of the most important founding fathers of mathematics education by bringing together all the new and fascinating perspectives, created through his career as a bridge builder in the field of interdisciplinary research and cooperation. The perspectives elaborated here are for the greatest part motivated by the impressing variety of Otte’s thoughts; however, the idea is not to look back, but to find out where the research agenda might lead us in the future. This volume provides new sources of knowledge based on Michael Otte’s fundamental insight that understanding the problems of mathematics education – how to teach, how to learn, how to communicate, how to do, and how to represent mathematics – depends on means, mainly philosophical and semiotic, that have to be created first of all, and to be reflected from the perspectives of a multitude of diverse disciplines.
Despite recent developments in epigraphy, ethnopoetics, and the literary investigation of colonial and modern materials, few studies have compared glyphic texts and historic Maya literatures. Parallel Worlds examines Maya writing and literary traditions from the Classic period until today, revealing remarkable continuities across time. In this volume, contributions from leading scholars in Maya literary studies examine Maya discourse from Classic period hieroglyphic inscriptions to contemporary spoken narratives, focusing on parallelism to unite the literature historically. Contributors take an ethnopoetic approach, examining literary and verbal arts from a historical perspective, acknowledging that poetic form is as important as narrative content in deciphering what these writings reveal about ancient and contemporary worldviews. Encompassing a variety of literary motifs, including humor, folklore, incantation, mythology, and more specific forms of parallelism such as couplets, chiasms, kennings, and hyperbatons, Parallel Worlds is a rich journey through Maya culture and pre-Columbian literature that will be of interest to students and scholars of anthropology, ethnography, Latin American history, epigraphy, comparative literature, language studies, indigenous studies, and mythology.
This book is about the role of disability and deafness in contemporary aesthetics and how physical and intellectual difference challenges generic terms for art and poetry. The book's title combines language that disturbs or causes anxiety with language that is ripped, worn, or damaged. This interplay brings together the social environment in which language is exchanged with the materiality of words that frustrate easy comprehension. Where hearing and speaking are considered normative conditions of the human, what happens when words are misheard and misspoken? How have writers and artists, both disabled and non-disabled, used error as generative elements in contesting the presumed value of "sounding good?" This book grows out of the author's experience of hearing loss in which misunderstandings have become a daily occurrence. Deafness becomes a guide in each chapter in considering how verbal confusions are less an aberration in understanding than a component of new knowledge"--
Slang, writes Michael Adams, is poetry on the down low, and sometimes lowdown poetry on the down low, but rarely, if ever, merely lowdown. It is the poetry of everyday speech, the people's poetry, and it deserves attention as language playing on the cusp of art. In Slang: The People's Poetry, Adams covers this perennially interesting subject in a serious but highly engaging way, illuminating the fundamental question "What is Slang" and defending slang--and all forms of nonstandard English--as integral parts of the American language. Why is an expression like "bed head" lost in a lexical limbo, found neither in slang nor standard dictionaries? Why are snow-boarding terms such as "fakie," "goofy foot," "ollie" and "nollie" not considered slang? As he addresses these and other lexical curiosities, Adams reveals that slang is used in part to define groups, distinguishing those who are "down with it" from those who are "out of it." Slang is also a rebellion against the mainstream. It often irritates those who color within the lines--indeed, slang is meant to irritate, sometimes even to shock. But slang is also inventive language, both fun to make and fun to use. Rather than complain about slang as "bad" language, Adams urges us to celebrate slang's playful resistance to the commonplace and to see it as the expression of an innate human capacity, not only for language, but for poetry.
In Looking Beyond the Structure, architect Dan Bucsescu and philosopher Michael Eng record their conversations about the relationship of the built environment and other forms of design to the culture in which they are created. The authors exchange their interpretations of selected readings about design theory and invite the reader to join in the discussion. Questions following each chapter's reading stimulate critical thinking about the philosophies and theories of design, and additional assignments encourage students to express their critical thinking skills visually.
First Published in 1990. How we perceive and respond to the visual image has been a traditional concern of psychologists, philosophers and art historians. Today, where the visual image increasingly permeates our everyday life and consciousness, the question becomes ever more relevant. How do we, for instance, instinctively ‘know’ what it is that a picture represents without having to be taught? How is it that we experience (aesthetic) pleasure in looking at certain pictures? How is it that we often want to talk about the pictures we look at? Such questions are currently asked by a wide range of disciplines, including: semiotics, psychoanalysis, anthropology, neuropsychology, and in general, contemporary critical analysis of the visual arts. In A Transformational Theory of Aesthetics, Michael Stephan breaks new ground by linking the findings of these areas. Drawing on their common area of knowledge, he has developed a radically new theory of picture perception and aesthetic response, arguing that images can generate in us a complex pattern of mental changes, or transformations. This is because the left and right hemispheres of the brain do not always work in harmony, hence the wide-ranging nature of aesthetic response to distinct art forms. A Transformational Theory of Aesthetics is essential reading to those seriously involved in linking the arts and cognitive sciences.
Academic analysis has not always kept pace with the dramatic changes that have occurred in the USSR since Stalin’s time, for objective study has often been overshadowed—especially in the 1980s—by publicity concerning the negative aspects of the “Evil Empire.” Recently, however, because of reforms initiated by Gorbachev, the dynamics of the Soviet system have come into sharper focus. This book provides a wide-ranging, detailed view of economic, social, ideological, and literary aspects of the Soviet system leading up to the Gorbachev era. The essays include both historical and contemporary perspectives on the sources of stability (and stagnation) in the post-Stalin years. Examining the intricate fabric of Soviet society, the contributors provide insights into the social and cultural motivations for Gorbachev’s “restructuring” policies. Their themes echo the work of Vera S. Dunham, who for more than four decades has focused on diverse aspects of Soviet society and culture, particularly on the noncoercive means of social control that have often been overlooked but that are a vital component of the Soviet system.
Michael Ferber's accessible introduction to poetry's unusual uses of language tackles a wide range of subjects from a linguistic point of view. Written with the non-expert in mind, the book explores current linguistic concepts and theories and applies them to a variety of major poetic features. Equally appealing to linguists who feel that poetry has been unjustly neglected, the broad field of investigation touches on meter, rhyme (and other sound effects), onomatopoeia, syntax, meaning, metaphor, style, and translation, among others. Close study of poetic examples are mainly in English, but the book also focuses on several French, Latin, Greek, German, and Japanese examples, to show what is different and far from inevitable in English. This original, and unusually wide ranging study, delivers an engaging and often witty summary of how we define what poetry is.
In Volume Three of this four-volume series, we examine the rhetorical development that occurred during the first two terms of Vladimir Putin’s tenure as president of the Russian Federation. Initially, Putin appeared to follow in the path set by his predecessor, Boris Yeltsin, vowing that Russia was, at heart, a European nation and would be a westward facing democracy going forward. He even mentioned partnering with the EU and NATO. Eight years later, at the 2007 Munich Security Conference, Putin excoriated the West for, in his words, attempting to create a “unipolar world” in which NATO expansion threatened Russia’s security, the United States acted as the world’s sole “hegemon,” and Europe simply followed orders, relinquishing any sense of agency in its own affairs.
The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing both form and content with meaning. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrealism as an allegorical art, Golston defines a distinct engagement with allegory among philosophers, theorists, and critics from 1950 to today. Reading Fredric Jameson, Angus Fletcher, Roland Barthes, and Craig Owens, and working with the semiotics of Charles Sanders Pierce, Golston develops a theory of allegory he then applies to the poems of Louis Zukofsky and Lorine Niedecker, who, he argues, wrote in response to the Surrealists; the poems of John Ashbery and Clark Coolidge, who incorporated formal aspects of filmmaking and photography into their work; the groundbreaking configurations of P. Inman, Lyn Hejinian, Myung Mi Kim, and the Language poets; Susan Howe's "Pierce-Arrow," which he submits to semiotic analysis; and the innovations of Craig Dworkin and the conceptualists. Revitalizing what many consider to be a staid rhetorical trope, Golston positions allegory as a creative catalyst behind American poetry's postwar avant-garde achievements.
The Problems of Viewing Performance challenges long-held assumptions by considering the ways in which knowledge is received by more than a single audience member, and breaks new ground by, counterintuitively, claiming that viewing performance is not a shared experience. Given that viewers come to each performance with differing amounts and types of knowledge, they each make different assumptions as to how the performance will unfold. Often modified by other viewers and often after the performance event, knowledge of performance is made more accurate by superimposing the experiences and justified beliefs of multiple viewers. These differences in the viewing experience make knowledge surrounding a performance intersubjective. Ultimately, this book explains the how and the why audience members have different viewing experiences. The Problems of Viewing Performance is important reading for theatre and performance students, scholars and practitioners, as it unpacks the dynamics of spectatorship and explores how audiences work.
The purpose of this book is to illustrate the relevance to linguistics today of Whitehead's philosophy of organism. Although largely ignored by linguists, Whitehead has in fact much to say as regards the cognitive processes underpinning language pattern. His theory of symbolism conceives of language as the 'systematization of expression', and relates meaning to feeling (in the broadest sense). The Whiteheadian perspective allows a synthesis of the psychological and the social approaches to language that does not fall into one or another fashionable form of reductionism. The volume represents a first application of Whitehead's thinking to a broad range of linguistic phenomena, ranging from speech act theory to the production and comprehension of texts, from language acquisition to historical change and the evolution of language. It is argued that Whitehead's holistic philosophy is uniquely suited to the view of language as an emergent phenomenon - regardless of whether one's approach to cognition is via the 'nativist' or the 'functionalist' route.
This volume contains the majority of the papers presented at the Fifth Annual Meeting of the Semiotic Society of America, held in Lubbock, Texas, October 16-19, 1980. The varied styles topics, methodologies, and intellectual traditions represented here reflect the current state of flux in semiotics--a healthy chaos, in which new ideas vie for survival and experiment is at a premium. Because of this variety, we have kept our editorial in terventions to a minimum. In addition, we have refrained from imposing any topical classification. While we could have used the panel titles as a taxonomic principle, this would not have produced a sufficiently even format. We have therefore uti lized the alphabetical order of authors' surnames as being os tensibly the least "loaded." These Proceedings represent a current view of the "semi otic scene," especially in the U.S.A. They also include some work representative of architectural semiotics from the U.K. We have tried to bring the volume to publication rapidly, since the immediacy of the contents would seem to be the pri mary asset of any such project. We would like to express the Society's collective grati tude to the 1980 Program Committee chaired by Richard Bauman (University of Texas-Austin), the Lubbock Local Arrangements Committee chaired by Nancy P. Hickerson (Texas Tech Universi ty), and our special thanks to Laurel Phipps of the School of Continuing Education at Texas Tech University.
Approaching the Qur’an presents brilliant translations of the short, hymnic chapters, or Suras, associated with the first revelations to the Prophet Muhammad. These early Suras contain some of the most powerful, prophetic, and revelatory passages in religious history, offering the vision of a meaningful and just life that anchors the faith of one fifth of the world’s inhabitants. In addition to these translations, Michael Sells provides an introduction to the Qur’an, commentaries on the Suras, a glossary of technical terms, and discussions of the auditory nature and gender aspects of the Arabic text. An ideal resource for students and interested lay readers, this third edition also includes a new full Sura and associated commentary, a new preface, and a thoroughly updated bibliography.
How the tropes of science fiction infuse and inform avant-garde poetics and many other kindred arts This insightful, playful monograph from Golston does exactly what it advertises: modeling poetics based on how poetry (and some parallel artistic endeavors) has filtered through a century-plus of science fiction. This is not a book about science fiction in and of itself, but it is a book about the resonances of science-fiction tropes and ideas in poetic language. The germ of Golston's project is a throwaway line in Robert Smithson's Entropy and the New Monuments about how cinema supplanted nature as inspiration for many of his fellow artists: "The movies give a ritual pattern to the lives of many artists, and this induces a kind of 'low budget' mysticism, which keeps them in a perpetual trance." Golston charts how the demotic appeal of sci-fi, much like that of the B-movie, cross-pollinated into poetry and other branches of the avant garde. Golston creates what he calls a "regular Rube Goldberg machine" of a critical apparatus, drawing on Walter Benjamin, Roman Jakobson, and Gilles Deleuze. He starts by acknowledging that, per the important work of Darko Suvin to situate science fiction critically, the genre is premised on cognitive estrangement. But he is not interested in the specific nuts and bolts of science fiction as it exists but rather how science fiction has created a model not only for other poets but also for musicians and landscape artists. Golston's critical lens moves around quite a bit, but he begins with familiar enough subjects: Edgar Rice Burroughs, Mina Loy, William S. Burroughs. From there he moves into more "alien" terrain: Ed Dorn's long poem Gunslinger, the discombobulated work of Clark Coolidge. Sun Ra, Ornette Coleman, and Jimi Hendrix all come under consideration. The result of Golston's restless, rich scholarship is the first substantial monograph on science fiction and avant-garde poetics, using Russian Formalism, Frankfurt School dialectics, and Deleuzian theory to show how the avant-garde inherently follows the parameters of sci fi, in both theme and form.
A nationally known scholar, essayist, and public advocate for the humanities, Michael Berube has a rapier wit and a singular talent for parsing complex philosophical, theoretical, and political questions. Rhetorical Occasions collects twenty-four of his major essays and reviews, plus a sampling of entries on literary theory and contemporary culture from his award-winning weblog. Selected to showcase the range of public writing available to scholars, the essays are grouped into five topical sections: the Sokal hoax and its effects on the humanities; cosmopolitanism, American studies, and cultural studies; daily academic life inside and outside the classroom; the events of September 11, 2001, and their political aftermath; and the potential discursive and tonal range of academic blog writing. In lively and entertaining prose, Berube offers a wide array of interventions into matters academic and nonacademic. By example and illustration, he reminds readers that the humanities remain central to our understanding of what it means to be human.
In this extensive and eclectic reconsideration of classical Hebrew poetics, O'Connor evaluates the assumptions that have guided scholars for more than two hundred years. The result is "a great leap forward in the analysis and interpretation of early Hebrew poetry." (David Noel Freedman)
This bibliography in two volumes, originally published in 1988, lists and describes works by and about Jacques Lacan published in French, English, and seven other languages including Japanese and Russian. It incorporates and corrects where necessary all information from earlier published bibliographies of Lacan’s work. Also included as background works are books and essays that discuss Lacan in the course of a more general study, as well as all relevant items in various bibliographic sources from many fields.
Reading Poetry offers a comprehensive and accessible guide to the art of reading poetry. Successive chapters introduce key skills and critical or theoretical issues, enabling users to read poetry with enjoyment, insight and an awareness of the implications of what they are doing. This new edition includes a new chapter on ‘Post-colonial Poetry’, a substantial increase in the number of end-of-chapter interactive exercises, and a comprehensive Glossary of poetic terms. Not just an add-on, the Glossary works as a key resource for the structuring of particular topics in any individual teaching or learning programme. Many of the exercises and interactive discussions develop not only the skills of competent close reading but also the necessary confidence and experience in locating historical and other contextual information through library or internet searches. The aim is to enhance readers' literary and scholarly competence – and to make it fun!
The Development of Russian Verse explores the Russian verse tradition from Pushkin to Brodsky, showing how certain formal features are associated with certain genres and, at times, specific themes. Michael Wachtel's basic thesis is that form is never neutral: poets can react positively in terms of stylization and development, or negatively in terms of parody or revision, to the work of their predecessors, but they cannot ignore it. Keeping technical terms to a minimum and providing English translations of quotations, Wachtel offers close readings of individual poems of more than fifty poets. He aims to help English-speaking readers reconstruct the strong sense of continuity that Russian poets have always felt, transcending any individual age or ideology. Ultimately, his 1999 book is an inquiry into the nature of literary tradition itself, and how it coalesces in a country that has always taken so much of its identity from its written legacy.
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