This accessible, hands-on textbook not only introduces students to the important topics in historical linguistics but also shows them how to apply the methods described and how to think about the issues. Abundant examples and exercises allow students to focus on how to do historical linguistics. The book is distinctive for its integration of the standard topics with others now considered important to the field, including syntactic change, grammaticalization, sociolinguistic contributions to linguistic change, distant genetic relationships, areal linguistics, and linguistic prehistory.
In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object.
In Lexical Analysis, Patrick Hanks offers a wide-ranging empirical investigation of word use and meaning in language. The book fills the need for a lexically based, corpus-driven theoretical approach that will help people understand how words go together in collocational patterns and constructions to make meanings. Such an approach is now possible, Hanks writes, because of the availability of new forms of evidence (corpora, the Internet) and the development of new methods of statistical analysis and inferencing.
In A Syntax of Substance, David Adger proposes a new approach to phrase structure that eschews functional heads and labels structures exocentrically. His proposal simultaneously simplifies the syntactic system and restricts the range of possible structures, ruling out the ubiquitous (remnant) roll-up derivations and forcing a separation of arguments from their apparent heads.
Willard Van Orman Quine begins this influential work by declaring, "Language is a social art. In acquiring it we have to depend entirely on intersubjectively available cues as to what to say and when." As Patricia Smith Churchland notes in her foreword to this new edition, with Word and Object Quine challenged the tradition of conceptual analysis as a way of advancing knowledge. The book signaled twentieth-century philosophy's turn away from metaphysics and what Churchland calls the "phony precision" of conceptual analysis.
These fifteen original essays address the core semantic concepts of reference and referring from both philosophical and linguistic perspectives. After an introductory essay that casts current trends in reference and referring in terms of an ongoing dialogue between Fregean and Russellian approaches, the book addresses specific topics, balanc ing breadth of coverage with thematic unity.
How is the information we gather from the world through our sensory and motor apparatus converted into language? It is obvious that there is an interface between language and sensorimotor cognition because we can talk about what we see and do. In this book, Alistair Knott argues that this interface is more direct than commonly assumed. He proposes that the syntax of a concrete sentence—a sentence that reports a direct sensorimotor experience—closely reflects the sensorimotor processes involved in the experience.
This groundbreaking study of the morphology of comparison yields a surprising result: that even in suppletion (the wholesale replacement of one stem by a phonologically unrelated stem, as in good-better-best) there emerge strikingly robust patterns, virtually exceptionless generalizations across languages. Jonathan David Bobaljik describes the systematicity in suppletion, and argues that at least five generalizations are solid contenders for the status of linguistic universals.
In Indefinite Objects, Luis López presents a novel approach to the syntax-semantics interface using indefinite noun phrases as a database. Traditional approaches map structural configurations to semantic interpretations directly; López links configuration to a mode of semantic composition, with the latter yielding the interpretation.
Understanding speech in our native tongue seems natural and effortless; listening to speech in a nonnative language is a different experience. In this book, Anne Cutler argues that listening to speech is a process of native listening because so much of it is exquisitely tailored to the requirements of the native language. Her cross-linguistic study (drawing on experimental work in languages that range from English and Dutch to Chinese and Japanese) documents what is universal and what is language specific in the way we listen to spoken language.