On the Form of Lexical Entries and their Use in the Construction of Discourse Representation Structures

Author(s):  
Hans Kamp ◽  
Antje Roßdeutscher
2007 ◽  
Vol 15 (3) ◽  
pp. 219-235 ◽  
Author(s):  
Ted Sanders ◽  
Jentine Land ◽  
Gerben Mulder

Text coherence can be marked linguistically by using connectives and lexical signals that make coherence relations explicit. This study focuses on the influence of such markers on text comprehension in ecologically valid contexts. A first experiment shows how readers in a business meeting and in a laboratory study benefit from the explicit marking of coherence relations. A second experiment shows how poor readers in secondary education benefit from coherence marking while answering text comprehension questions. We argue in favor of an interaction between cognitively oriented research on discourse representation and document design research, to solve crucial questions like: how do we design optimally readable texts?


CALL ◽  
2020 ◽  
Vol 2 (2) ◽  
Author(s):  
Dite Nursyamsi Mahmutami

This research discusses the representation and discourse which focused on the elements of characterization and narration which is presented by mental disorder character in Silver Linings Playbook (2012), Touched with Fire (2015), and The Other Half (2016). In this research, mental illness is not analyzed as a medical narration but also is one of signifying practices. The approaches of media representation analysis from Simon Cross (2014) and Harper (2008) are used to determine the representation of life experiences and disassemble the emerging discourses. The result indicates that when mental illness is represented in the romantic film, the stereotype about abnormality, rejection, and exclusion still becomes the main structure of the narrative. The romance story that wraps it up still refers to the stereotype. Therefore, those three films can be concluded as a part of dominant statements on abnormality discourse against mental disorder sufferers. In this case, mental disorder sufferers are subjected as a subject that must change. It is because only one choice for mental disorder sufferers to be accepted in society, that is recovery.Keywords: Mental Disorder Character, Discourse, Representation, Film


JURNAL RUPA ◽  
2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Muhammad Surya Gumilang

Creative children paintings are not only meant as children's freedom of expressing their creativity in processing shapes and media. Moreover, the paintings can be creativity to read gender representation. Those paintings can read perfect gender representation. In addition children paintings can be seen by how representation of gender structures is in the object of children paintings, chosen color, idea that is expressed by the children. Therefore, seeing the creative children paintings will be seen how close the gender structures is in the paintings. This research used qualitative method with semiotic analysis approach. Result of the research shows that creative children paintings are read by three components of object meaning procedure, color, and idea, each phase of children growth can explain how gender is reflected in discourse representation.


2010 ◽  
Vol 17 (2) ◽  
pp. 207-241 ◽  
Author(s):  
Francis Cornish

The traditional definition of anaphora in purely co-textual terms as a relation between two co-occurring expressions is in wide currency in theoretical and descriptive studies of the phenomenon. Indeed, it is currently adopted in on-line psycholinguistic experiments on the interpretation of anaphors, and is the basis for all computational approaches to automatic anaphor resolution (see Mitkov 2002). Under this conception, the anaphor, a referentially-dependent expression type, requires “saturation” by an appropriate referentially-autonomous, lexically-based expression — the antecedent — in order to achieve full sense and reference. However, this definition needs to be re-examined in the light of the ways in which real texts operate and are understood, where the resulting picture is rather different. The article aims to show that the co-textual conception is misconceived, and that anaphora is essentially an integrative, discourse-creating procedure involving a three-way relationship between an “antecedent trigger”, an anaphoric predication, and a salient discourse representation. It is shown that it is only in terms of a dynamic interaction amongst the interdependent dimensions of text and discourse, as well as context, that the true complexity of anaphoric reference may be satisfactorily described. The article is intended as a contribution to the broader debate within the pages of this journal and elsewhere between the formalist and the functionalist accounts of language structure and use.


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