A variable syntax of speech, gesture, and sound effect: Direct quotations in Spanish

1998 ◽  
Vol 10 (1) ◽  
pp. 43-83 ◽  
Author(s):  
Richard Cameron
Keyword(s):  
Noun Phrase ◽  
Natural World ◽  
Social Constraints ◽  
Sound Effect ◽  
Effect Data ◽  
Sound Effects ◽  
Linguistic Constraints ◽  
Age Grading ◽  
Definition Of

ABSTRACTA variationist account of how direct quotations are framed in spoken Spanish requires definition of the variable and the envelope of variation followed by investigation of linguistic, stylistic, and social constraints. The variable is defined as a set of three strategies for directly quoting the speech, gestures, and sound effects of people, animals, or things in the natural world, real or imagined, faithfully or not. These strategies involve verbs of direct report, a bare noun phrase (Y yo, “¡¿Ay qué hago?!” ‘And I, “Oh, what should I do?’), and freestanding quotation with no frame. Investigation of linguistic constraints finds influence both from within and above the sentence. These include clause type, person, number, animacy of speaker, quotation content, switch reference, and a “birds of a feather” effect. Data on stylistic constraints provide evidence for style as a function of attention to form. Social constraints reveal complicated, yet familiar influences of age, sex, and class, with teenagers showing parallels to Eckert's work on gender and variation. Evidence also emerges for both age grading and a change in progress.

Variable plural marking in Jamaican Patwa and Tok Pisin: A linguistic perspective

2011 ◽  
Vol 56 (1) ◽  
pp. 37-60
Author(s):  
Ekaterina Bobyleva
Keyword(s):  
Noun Phrase ◽  
Lexical Semantics ◽  
Phrase Structure ◽  
Free Standing ◽  
Linguistic Differences ◽  
Number Marking ◽  
Bare Plurals ◽  
Plural Marking ◽  
Linguistic Constraints ◽  
Definition Of

AbstractThis article is concerned with plural marking in two English-lexified creoles, Jamaican Patwa and Tok Pisin. In addition to bare plurals, these creoles possess two overt strategies of plural marking—a free-standing morpheme and the suffix -s. The analytic and inflectional plural markers occur according to different linguistic constraints. It appears that the creoles use two conceptually and typologically different number marking systems — that of set noun languages, based on the opposition between singleton and collective sets, and that of singular object noun languages, based on the opposition between singular and plural individuals. This poses problems for the definition of the lexical semantics of the creole nouns if one assumes the existence of cross-linguistic differences. The analysis proposed here is based on the universalist approach to lexical semantics. Under this approach, individuated and collective (set) interpretations of plurals are encoded in the noun phrase structure.

Beyond the Bower

2020 ◽  
pp. 41-60
Author(s):  
Heather Braun
Keyword(s):  
Nineteenth Century ◽  
Women Writers ◽  
Natural World ◽  
Female Characters ◽  
Artistic Production ◽  
Interior Spaces ◽  
Romantic Era ◽  
Definition Of ◽  
Poetic Creation ◽  
Female Poets

Romantic male poets typically describe bowers as lush, ecological spaces for quiet introspection and poetic creation within a distinctly masculinize landscape. In contrast to these idyllic spaces in Nature, the word bower meant something quite different for many nineteenth-century British women writers. For Romantic female poets, these garden bowers were isolated and fragmented spaces where artistic production was inhibited rather than nurtured. Their poems imagine a very different kind of bower, one that is aligned most directly with a second definition of the term: namely, a lady’s apartment in which “embowered” characters are trapped in interior spaces. These barren, claustrophobic bowers offered the antithesis of the freedom and inspiration male poets of the Romantic-era associated with outdoor garden bowers. Poet, essayist, and activist Caroline Norton demonstrates how these artificial domestic prisons produced paralysis and self-division rather than comfort and poetic inspiration. Cut off from the ecological spaces available to their male contemporaries, Norton’s female characters are silenced, distracted, and confined unable to leave their stifling bowers to create space for themselves in the natural world. Many nineteenth-century women writers reconfigured the Romantic garden bower as an unnatural lady’s bower from which female artists must flee in order to create.

Film Sound Design

2015 ◽  
Author(s):  
Laura Anderson
Keyword(s):  
Film Music ◽  
The United States ◽  
Sound Design ◽  
Early 21St Century ◽  
Sound Effects ◽  
Holistic Understanding ◽  
History Of ◽  
Definition Of ◽  
Classical Hollywood ◽  
Film Sound

Sound design is a relatively recent term, first used to credit Walter Murch’s work on Francis Ford Coppola’s Apocalypse Now (1979). Murch has frequently drawn an analogy between how he perceived his role as decorating the three-dimensional film theater with sound and the work of an interior designer who decorates an architectural space (LoBrutto 1994, p. 92, cited under Key Practitioners: Compilations). Sound design is also a topic of increasing interest within film music scholarship, particularly its history and how it might be analyzed. The history of sound design is inextricably bound up with the history of technology, notably the emergence of Dolby in the 1970s. In his Oxford Bibliographies article “Music and Cinema, Classical Hollywood,” David Neumeyer noted in the introduction that the end of the Classical Hollywood era could be situated c. 1972 when the “contemporary era of sound design began in earnest,” and this particular period is indeed crucial. Yet, this is not to suggest that the history of film sound design is brief; in fact, it has a long history of antecedents that have shaped the role of the sound designer into a somewhat fluid concept. As of the early 21st century, no consensus has been reached on the definition of “sound design” in current research; however, the distinction between sound design as the work of one individual as opposed to a mode of practice is apparent. Furthermore, “sound designer” also has a professional meaning; in the United States the labor union defines the sound designer as a person who designs the sound effects. Some scholars expound this relatively narrow definition of sound design as akin to sound effects editing in the post-production process, whereas others see it as a broad undertaking, concerned with every aspect of the sonic environment. Murch encourages a broader definition of the sound designer as “someone who plans, creates the sound effects and mixes the final soundtrack, and thereby takes responsibility for the sound of a film the way a director of photography takes responsibility for the image” (Murch 1995, p. 246, cited under Key Practitioners: Articles). Sound design can encapsulate all components of film sound, including music, dialogue, sound effects, and voiceovers. This holistic understanding of the term is reflected in a significant interdisciplinary edition that takes the concept of the integrated soundtrack as a central theme (Greene and Kulezic-Wilson 2016, cited under Analyzing Film Sound Design). Sound design can involve conceptualization and practical efforts as well as cooperation with the director, producer, composer, editors, and other creative personnel. Sound designer Randy Thom has highlighted the importance of developing opportunities for the creative use of sound when making a film and has appealed for filmmakers to design their films for sound (Thom 1999, cited under Key Practitioners: Articles). The combination of creativity, technical expertise, and the ability to conceptualize innovative interactions between sound and image inherent in the concept is reflected in the very title of “sound designer,” a label that is not officially recognized by the Academy of Motion Picture Arts and Sciences awards. With the growing popularity of the term among some industry professionals, it is becoming common for sound artists to claim the credit “sound designer” in addition to those for recognized roles such as “sound editor” or “re-recording engineer” (Whittington 2007, p. 26, cited under Histories and Definitions of Sound Design). Within film music studies, the concept of sound design is increasingly used as a filter for analysis of a film’s soundscape, and thus publications now address how to analyze more complex film soundtracks. The focus of this article is divided into three broad strands: textbooks that give practical and technical direction for film sound design or aspects of it, literature on the history of sound design and the purview of the sound designer, and publications about and interviews with key practitioners.

Gender Agreement as a "Decreolizing" Feature of an Afro-Brazilian Dialect

1997 ◽  
Vol 12 (1) ◽  
pp. 1-57 ◽  
Author(s):  
Alan N. Baxter ◽  
Dante Lucchesi ◽  
Maximiliano Guimaraes
Keyword(s):  
Noun Phrase ◽  
Brazilian Portuguese ◽  
Gender Agreement ◽  
Structural Variables ◽  
Definition Of ◽  
L1 Acquisition ◽  
Relationship Of ◽  
The Relationship ◽  
Afro Brazilian

This paper examines variation in the noun phrase gender agreement rule in the Afro-Brazilian Portuguese dialect of Helvétia. The analysis of the variation proceeds within a quantitative framework; it considers structural implications, in generative terms, and sociolinguistic aspects, yielding evidence relevant to the definition of the postcreole nature of the dialect. Structural parallels are found with Portuguese L1 acquisition and with varieties of creole Portuguese, and the relationship of the Helvétia dialect to more standard varieties of Brazilian Portuguese is clarified. An evaluation of structural variables reveals how the gender agreement rule is being incorporated into the grammar of the dialect at different rates along different structural paths and in different pragmatic functions, reflecting intricacies of the grammar associated with the noun. Finally, a scrutiny of the effect of extralinguistic variables on gender agreement clearly reveals the acquisitional nature of the variation.

scholarly journals AUDIOBOOK: MEDIA PEMBELAJARAN MASYARAKAT MODERN

2015 ◽  
pp. 54-62
Author(s):  
Oos M. Anwas
Keyword(s):  
Communication Technology ◽  
Rapid Development ◽  
Modern Society ◽  
Sound Effect ◽  
Sound Effects ◽  
Technology Products ◽  
Reading Culture ◽  
The Government ◽  
Text Images ◽  
Book Publishers

Abstrak: Kehidupan masyarakat modern cenderung instan dan praktis, serta familier dengan produk teknologi informasi dan komunikasi. Namun tuntutan pekerjaan dan budaya bertutur ini menjadikan malas untuk membaca apalagi buku teks. Padahal membaca buku sangat perlu dalam mengikuti perkembangan iptek yang begitu cepat. Tulisan ini bertujuan melakukan kajian terhadap audiobook sebagai media pembelajaran alternatif bagi masyarakat modern. Kajian difokuskan pada 1) konsep dan karakteristik audiobook, 2) produksi audiobook, dan 3) manfaat audiobook. Hasil kajian diketahui bahwa audiobook merupakan rekaman audio yang ada dalam buku baik berupa teks, gambar, dan ilustrasi lainnya. Produksi audiobook dapat dilakukan melalui: analisis kebutuhan, membuat rancangan, rekaman dan editing, review revisi, ujicoba, dan pemanfaatan. Produksi juga dapat mengotimalkan musik dan sound effect. Manfaat audiobook dapat memahami isi buku tanpa harus membaca, bahkan bisa sambil melakukan aktivitas seharihari. Audiobook juga sesuai dengan budaya bangsa Indonesia yang senang bertutur dan kurang suka membaca, membantu bagi kaum tunanetra, dapat menyelamatkan buku-buku kuno, sebagai contoh penghayatan buku karya sastra, serta membantu belajar bahasa asing/ daerah. Oleh karena itu pemerintah dan swasta serta penulis dan penerbit buku perlu membuat konten audiobook baik dari buku teks maupun dari buku fiksi. Begitu pula perlunya regulasi yang jelas terutama hak cipta penulis dan penerbit buku.Kata kunci: audiobook, buku teks, buku fiksi, media audio pembelajaran  Abstract: Modern society has a tendency to be instant and practical, as well as to be familiar with information and communication technology products. However, the demands of work and storytelling culture has created a hindrance towards the reading culture, especially the less-stimulated tendency to read textbook whereas reading is necessary as a way to keep up with the rapid development of science and technology. This paper aims to conduct a review of the audiobook as a instructional media for modern society. The study focused on: 1) the concept and characteristics of the audiobook, 2) audiobook production, and 3) the benefits of\ audiobooks. The results of the study show that the audiobook is an audio recording in the consists of text, images, and other illustrations. Audiobook Production can be done through 6 stages: needs analysis, desigining, recording and editing, reviewing/revising, implementing trial, and the utilization. Through production, the music and sound effects can be optimized. One of its primary benefits of audiobooks is that it can enable people to understand the contents of the book while performing daily activities without having to read them. Audiobooks are also the perfect fit for the storytelling culture of Indonesian people who prefer to enjoy speaking more but reading less. This way, the audiobooks can also help the blind and visually impaired to obtain knowledge from books especially ancient books as the way to express literary appreciation as well as to learn a foreign/local language. Therefore, the government and private sector as well as authors and book publishers need to make good contents of audiobook developed from the textbook or from a book of fiction. Similarly, clear regulations, particularly copyrights of authors and book publishers is also needed.Keywords: audiobook, textbook, fiction book, instructional audio mediaAbstrak:  Kehidupan masyarakat modern cenderung instan dan praktis, serta familier dengan produkteknologi informasi dan komunikasi. Namun tuntutan pekerjaan dan budaya bertutur ini menjadikan malasuntuk membaca apalagi buku teks. Padahal membaca buku sangat perlu dalam mengikuti perkembanganiptek yang begitu cepat. Tulisan ini bertujuan melakukan kajian terhadap audiobook sebagai mediapembelajaran alternatif bagi masyarakat modern. Kajian difokuskan pada 1) konsep dan karakteristikaudiobook, 2) produksi audiobook, dan 3) manfaat audiobook. Hasil kajian diketahui bahwa audiobookmerupakan rekaman audio yang ada dalam buku baik berupa teks, gambar, dan ilustrasi lainnya. Produksiaudiobook dapat dilakukan melalui: analisis kebutuhan, membuat rancangan, rekaman dan editing, reviewrevisi, ujicoba, dan pemanfaatan. Produksi juga dapat mengotimalkan musik dan sound effect. Manfaataudiobook dapat memahami isi buku tanpa harus membaca, bahkan bisa sambil melakukan aktivitas seharihari. Audiobook juga sesuai dengan budaya bangsa Indonesia yang senang bertutur dan kurang sukamembaca, membantu bagi kaum tunanetra, dapat menyelamatkan buku-buku kuno, sebagai contohpenghayatan buku karya sastra, serta membantu belajar bahasa asing/ daerah. Oleh karena itu pemerintahdan swasta serta penulis dan penerbit buku perlu membuat konten audiobook baik dari buku teks maupundari buku fiksi. Begitu pula perlunya regulasi yang jelas terutama hak cipta penulis dan penerbit buku. Kata kunci: audiobook, buku teks, buku fiksi, media audio pembelajaran Abstract: Modern society has a tendency to be instant and practical, as well as to be familiar with informationand communication technology products. However, the demands of work and storytelling culture has createda hindrance towards the reading culture, especially the less-stimulated tendency to read textbook whereasreading is necessary as a way to keep up with the rapid development of science and technology. This paperaims to conduct a review of the audiobook as a instructional media for modern society. The study focusedon: 1) the concept and characteristics of the audiobook, 2) audiobook production, and 3) the benefits ofaudiobooks. The results of the study show that the audiobook is an audio recording in the consists of text,images, and other illustrations. Audiobook Production can be done through 6 stages: needs analysis,desigining, recording and editing, reviewing/revising, implementing trial, and the utilization. Throughproduction, the music and sound effects can be optimized. One of its primary benefits of audiobooks is thatit can enable people to understand the contents of the book while performing daily activities without havingto read them. Audiobooks are also the perfect fit for the storytelling culture of Indonesian people who preferto enjoy speaking more but reading less. This way, the audiobooks can also help the blind and visuallyimpaired to obtain knowledge from books especially ancient books as the way to express literary appreciationas well as to learn a foreign/local language. Therefore, the government and private sector as well asauthors and book publishers need to make good contents of audiobook developed from the textbook orfrom a book of fiction. Similarly, clear regulations, particularly copyrights of authors and book publishers isalso needed. Keywords: audiobook, textbook, fiction book, instructional audio media

scholarly journals Writing Nature with Darwin, Darwinism and Jung

2010 ◽  
Vol 6 ◽  
Author(s):  
Susan Rowland
Keyword(s):  
Human Nature ◽  
Charles Darwin ◽  
Natural World ◽  
Human Beings ◽  
Critical Practice ◽  
Major Significance ◽  
Mother Goddess ◽  
Literary Darwinism ◽  
Definition Of

Charles Darwin and C. G. Jung were revolutionary thinkers about the role of human beings in the natural world. While Darwin’s Origins of Species (1859) sought to remove both God and “man” from the centre of the understanding of nature, C. G. Jung, one generation later, aimed to remove the ego from the central definition of human nature. Although both theorists have been explored for their conceptual ideas, neither has been seriously considered as writers, and in particular as writers of nature and human nature. This paper shows how similar these authors are in treating the unknowable in the psyche and history as of major significance. In particular, both writers require the resources of ancient myth, especially of nature as an Earth Mother goddess in order to represent the inconceivable. The paper also looks at the new critical practice of “literary Darwinism,” which, while viable in its own terms, suffers from being neither “literary,” nor “Darwinian.”

scholarly journals Linguistic and social constraints on the variable palatalization of alveolar stops by derived [i] in a variety of Brazilian Portuguese

2020 ◽  
pp. 1-23
Author(s):  
Athany Gutierres ◽  
Elisa Battisti
Keyword(s):  
Brazilian Portuguese ◽  
Scaling Factor ◽  
Social Constraints ◽  
Place Of Residence ◽  
Data Set ◽  
Linguistic Constraints ◽  
Italian Dialects

In this paper we analyze the variable regressive palatalization of /t, d/ in a variety of Brazilian Portuguese (BP) in contact with Italian dialects. We follow Coetzee’s (2016) assumptions regarding the distinctive effects of grammatical and non-grammatical factors on the grammar. The aim of the study is to test such claims with Noisy-HG (BOERSMA; PATER, 2008; COETZEE, 2012; 2016; COETZEE; KAWAHARA, 2013). Palatalization in BP affects /t, d/ and it is triggered by a following underived /i/ (t/i/jolo ‘brick’, d/i/nheiro ‘money’) or derived [i] from /e/ in unstressed word positions (t/e/atro ® t[i]atro ‘theater’, nád/e/ga ® nád[i]ga ‘buttock’). We focus on palatalization triggered by derived [i]. Besides tokens of non-palatalized consonant plus non-raised vowel ([te]atro, ná[de]ga) and of palatalized consonant plus raised vowel ([ʧi]atro, ná[ʤi]ga), the data set comprises tokens of non-palatalized consonant plus raised vowel ([ti]atro, ná[di]ga), an innovation of the analysis regarding prior studies (BATTISTI; DORNELLES FILHO, 2010; GUTIERRES; BATTISTI; DORNELLES FILHO, 2018). The data were extracted from sociolinguistic interviews by Battisti et al. (2007). The linguistic constraints interacting in the grammar of palatalization come from Battisti and Dornelles Filho (2010). The analysis demonstrates that a non-grammatical factor as ‘place of residence’ works as a scaling factor on faithfulness constraints, moving their weights up or down and so affecting the variable raising of /e/, a process that feeds palatalization.

scholarly journals Giambattista Della Porta and the Roman Inquisition: censorship and the definition of Nature's limits in sixteenth-century Italy

2012 ◽  
Vol 46 (4) ◽  
pp. 601-625 ◽  
Author(s):  
NEIL TARRANT
Keyword(s):  
Sixteenth Century ◽  
Catholic Church ◽  
Modern Science ◽  
Natural World ◽  
Philosophical Investigation ◽  
Complex Picture ◽  
Definition Of ◽  
The Church ◽  
The Catholic Church

AbstractIt has long been noted that towards the end of the sixteenth century the Catholic Church began to use its instruments of censorship – the Inquisition and the Index of Forbidden Books – to prosecute magic with increased vigour. These developments are often deemed to have had important consequences for the development of modern science in Italy, for they delimited areas of legitimate investigation of the natural world. Previous accounts of the censorship of magic have tended to suggest that the Church as an institution was opposed to, and sought to eradicate, the practice of magic. I do not seek to contest the fact that ecclesiastical censors prosecuted various magical and divinatory practices with greater enthusiasm at this time, but I suggest that in order to understand this development more fully it is necessary to offer a more complex picture of the Church. In this article I use the case of the Neapolitan magus Giambattista Della Porta to argue that during the course of the century the acceptable boundaries of magical speculation became increasingly clearly defined. Consequently, many practices and techniques that had previously been of contested orthodoxy were categorically defined as heterodox and therefore liable to prosecution and censorship. I argue, however, that this development was not driven by the Church asserting a ‘traditional’ hostility towards magic, but was instead the result of one particular faction within the Church embedding their conception of orthodox philosophical investigation of the natural world within the machinery of censorship.

scholarly journals Cognition as a Mechanical Process

NeuroSci ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 141-150
Author(s):  
Robert Friedman
Keyword(s):  
Large Scale ◽  
Natural World ◽  
Neural System ◽  
Cellular Level ◽  
Dual Process ◽  
Proximate Mechanisms ◽  
Natural Processes ◽  
Physical Mechanisms ◽  
Organ Systems ◽  
Definition Of

Cognition is often defined as a dual process of physical and non-physical mechanisms. This duality originated from past theory on the constituent parts of the natural world. Even though material causation is not an explanation for all natural processes, phenomena at the cellular level of life are modeled by physical causes. These phenomena include explanations for the function of organ systems, including the nervous system and information processing in the cerebrum. This review restricts the definition of cognition to a mechanistic process and enlists studies that support an abstract set of proximate mechanisms. Specifically, this process is approached from a large-scale perspective, the flow of information in a neural system. Study at this scale further constrains the possible explanations for cognition since the information flow is amenable to theory, unlike a lower-level approach where the problem becomes intractable. These possible hypotheses include stochastic processes for explaining the processes of cognition along with principles that support an abstract format for the encoded information.

Africa’s Poverty and Its Neo-Pentecostal “Liberators”: An Ecotheological Assessment of Africa’s Prosperity Gospellers

Pneuma ◽  
2013 ◽  
Vol 35 (3) ◽  
pp. 366-384 ◽  
Author(s):  
Ben-Willie Kwaku Golo
Keyword(s):  
Environmental Sustainability ◽  
Natural World ◽  
Human Welfare ◽  
Narrow Focus ◽  
Material Things ◽  
Definition Of

Abstract The preponderance of various forms of liberation-oriented gospels among Africa’s neo-Pentecostals, particularly prosperity “gospelling,” should not be surprising when one considers the contexts within which they emerge. However, their narrow focus on the accumulation of wealth and material things as that which liberates from poverty is rather bewildering. Drawing on data collected from neo-Pentecostals, this article examines the definition of prosperity and the theological basis for such teachings, probes the environmental sustainability of the narrow wealth-seeking attitudes of these prosperity gospellers, and examines the ecological adequacy of the theology of salvation upon which prosperity gospelling is founded. The article concludes that the option available to the prosperity gospellers is a quest for liberation from poverty that correlates with the Christian vision for both human welfare and the health of the natural world.

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