By Rui Linhares-Dias
"How to teach issues with phrases" is an interdisciplinary examine research on the interface among linguistics and philosophy which sheds new mild at the narrative-theoretical factor of proximal vs. distal stance adoption in discourse. Narrative distance eventually will depend on the epistemological resource of the data conveyed, yet English and different Indo-European languages don't have any inflectional platforms for (en)coding that resource of information. To fill within the hole, speech act conception is (re)considered within the gentle of philosophical examine on linguistic features and a parallel is drawn among grammaticalized evidential different types and the objectifying acts of Husserl's phenomenology of structure. those intuitive vs. signitive intentional acts do, certainly, approximately correspond to direct vs. oblique evidentiary varieties and will be inferred from the temporal-perspectival association of discourse via the so-called intimation or statement functionality of language-systems. It seems that perspectival immediacy calls for tenses with overlapping occasion- and reference-points, yet predictions of the kind are non-monotonic types of reasoning defeasible via quantificational point differences, at the one hand, and inhere! nt which means issues, at the different. to verify this declare, the majority of the booklet presents an in-depth formal semantic account of stressful, point and Aktionsart, interwoven with a close research of the cognitive techniques linked to eventuality-description kinds. The booklet adresses an viewers of linguists ordinarily, formal semanticists, cognitive scientists, philosophers and narratologists with an curiosity in ordinary language semantics.
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Extra info for How To Show Things With Words: A Study On Logic Language And Literature
SAW him to be too long for the bed/intelligent. ι SAW that he was too long for the bed/intelligent. have been a heavyweight prize-fighter. having been a heavyweight prize-fighter. to have been a heavyweight prize-fighter. he had been a heavyweight prize-fighter. There are four types of Perception Verb Complement (Felser 1999): bare Infinitive Perception Verb Complements, Participial Perception Verb Complements, full infinitives or to-PVGs and finite that-PVCs. Except for their failure to occur with non-stative predicates in (24c), full infinitival clauses pattern with that-PCVs rather than with Bis.
Unlike a passage of quoted speech, which is supposed to report every word pronounced in a dialogue,6 it is only by convention that there is a sort of equality between discourse- and story-time in a text like (8). As soon as the page is turned, however, the speed limit of the average narrative rhythm of the novel taken as a whole is definitely broken. Text (9) is no longer the slow exposition of a single entire episode, but a generalized account or report of a series of recurrent situations covering a considerably lengthy period of time and a variety of locales.
C. d. i SAW him [}i SAW that (27) a. b. c. d. i SAW him be too long for the bed/*intelligent. ι SAW him being too long for the bed/*intelligent. ι SAW him to be too long for the bed/intelligent. ι SAW that he was too long for the bed/intelligent. have been a heavyweight prize-fighter. having been a heavyweight prize-fighter. to have been a heavyweight prize-fighter. he had been a heavyweight prize-fighter. There are four types of Perception Verb Complement (Felser 1999): bare Infinitive Perception Verb Complements, Participial Perception Verb Complements, full infinitives or to-PVGs and finite that-PVCs.
How To Show Things With Words: A Study On Logic Language And Literature by Rui Linhares-Dias