Pragmatics of Focus

Author(s):  
Jon Scott Stevens

Generally speaking, ‘focus’ refers to the portion of an utterance which is especially informative or important within the context, and which is marked as such via some linguistic means. It can be difficult to provide a single precise definition, as the term is used somewhat differently for different languages and in different research traditions. Most often, it refers to the linguistic marking of (i) contrast, (ii) question-answering status, (iii) exhaustivity, or (iv) discourse unexpectability. An illustration of each of these possibilities is given below. In English, the focus-marked elements (indicated below with brackets) are realized with additional prosodic prominence in the form of a strong pitch accent (indicated by capital letters). (i) An [AMERICAN] farmer met a [CANADIAN] farmer… (ii) Q: Who called last night? A: [BILL] called last night. (iii) Only [an ELEPHANT] could have made those tracks. (iv) I can’t believe it: The Ohioans are fighting [OHIOANS] ! The underlying intuition common to all these instantiations is that a focus represents the minimal information needed to convey an important semantic distinction. Focus can be signaled prosodically (e.g., in the form of a strong pitch accent), syntactically (e.g., by moving focused phrases to a special position in the sentence), or morphologically (e.g., by appending a special affix to focused elements), with different crosslinguistic focus marking strategies often carrying slightly different restrictions on their use. Example (i) evokes a set of two contrasting alternatives, {‘American farmer,’ ‘Canadian farmer’}, and the meaning ‘farmer’ is common to both members of the set. That is, within this evoked set of alternatives, ‘farmer’ is redundant, and it is the nationality of the farmers which differentiates the two people. Example (ii) exhibits a similar property. One of the standard theories of question semantics represents questions as sets of possible appropriate answers. For (ii), this would be a set of propositions like {‘Bill called last night, ‘Sue called last night,’ etc.}. As with (i), there is an evoked set of meanings whose members share some overlapping semantic material. Within this set, the verb phrase meaning ‘called last night’ is redundant, and it is the identity of the subject that serves to differentiate the true answer. Example (iii) demonstrates a relationship between focus and certain words like only. The sentence means something like ‘of all the animals who might have made these tracks, it must be an elephant.’ As with (i) and (ii), this involves a set of alternatives: the set of possible track makers. That the sentence serves to single out a unique member of this set as being the true track maker makes the subject an elephant a natural focus of the sentence. Finally, in (iv), we see that focus on ‘Ohioans’ is being used to contrast the semantic content of the sentence with some preconception, namely that Ohioans are unlikely fighters of Ohioans. Examples (iii) and (iv) point to more specific uses of focus in different languages. In Hungarian, so-called identificational focus, which is marked syntactically, requires an exhaustive interpretation, as if a silent only were present. And in some Chadic languages, a meaning of “discourse unexpectability,” as in (iv), is required to mark focus via syntactic or morphological means.

2018 ◽  
Vol 34 (2) ◽  
pp. 223-243
Author(s):  
Noriko Kawasaki

Abstract Back in the 1970s, Kazuko Inoue observed that some active sentences in Japanese allow a prepositional subject. Along with impersonal sentences pointed out by S.-Y. Kuroda, such examples suggest that the nominative subject is not an obligatory element in Japanese sentences. While this observation supports the hypothesis that important characteristics of the Japanese language follow from its lack of (forced-)agreement, Japanese potential sentences require the nominative ga on at least one argument. The present article argues that the nominative case particle ga is semantically vacuous even where a ga-marked phrase is indispensable or the ga-marked phrase is construed as exhaustively listing. Stative predicates require a ga-marked phrase because they can ascribe a property to an argument only by function application. The exhaustive listing reading arises by conversational implicature when the presence of a ga-marked phrase signals that a topic phrase is being avoided. The discussion leads to a semantic account of subject honorification whereby the honorification only concerns the semantic content of the predicate, and does not involve agreement with the subject. It is also shown that sentences with a prepositional subject allow zibun only as a long-distance anaphor, which indicates that they do lack a subject with the nominative Case.


Author(s):  
Sergey V. Malanov ◽  
◽  
Marina S. Polyakova ◽  

In the article describes the influence of syntactic organization of speech utterances on peculiarities of actualization and reproduction of their subject-semantic content (meanings). There has been tested the hypotheses that the semantic content of subjects, predicates, and objects is reproduced more efficiently: 1) when attributes are used in the composition of statements with nouns (subjects and objects), and with verbs (predicates) – adverbial modifiers; 2) when there is a deliberate focus on highlighting the semantic content of nouns or verbs in the composition of statements. The methods of varying lexical and syntactic means in the text composition presented to respondents were used as independent variables. The language means respondents used to manifest fragments of semantic content were analyzed as dependent variables. The study involved 90 respondents (72 men, 18 women) aged 25-40. While the first hypothesis has been confirmed, the second still requires additional research. The results obtained indicate that in updating and reproducing the subject-semantic content of speech utterances it is the attribution of signs and properties to objects and processes that is of great importance.The experimental organization scheme used in the study reveals a wide range of patterns that can serve to confirm / refute various hypotheses and theoretical models in psycholinguistics.


Author(s):  
Tatiana Eduardovna Gribakina

This article explores the creation of the image of a Soviet woman within the Soviet cinematography. The subject of this research is the female image formed by the Russian cinematography at certain stages and its dynamics. The author suggest understanding of the image of woman as a combination of sensible images, which include representations on the place, role, functions, traits that are potentially common to her, but are yet to be formed and realized. Detailed analysis of the films of the early XX century allows examining creation of the female image, the expectations, moods, perceptions of the future presented in the films, as well as tracing the correlation between semantic content and its visualization. Due to the fact that the image was designed gradually, the author considered the key social and political factors that affected its creation and found reflection within it. Special contribution of the author into the research of this topic consists in demonstration of a relatively holistic image of a Soviet woman in cinematography, which was comprise bit by bit and transformed, meeting the challenges, demands and needs of society and the state.  


Nordlyd ◽  
10.7557/12.25 ◽  
2004 ◽  
Vol 31 (1) ◽  
Author(s):  
Kyle Johnson

This paper examines the connection between certain island phenomena for long distance movement, and matching island conditions on focus projection. Based on a description of focus projection that Lisa Selkirk and Michael Rochemont formulate, I take the basic pattern to be that pitch accent on a word may license focus marking on a phrase only if the pitch accented word is not separated from the focus marked phrase by a phrase in Specifier position or in adjunct position. Long distance movement operations are similarly incapable of moving a phrase out of a phrase in Specifier or adjunct position. Using Chomsky's notion of "phase," I argue that this is because Specifiers and adjuncts are phonological phases, and make proposals about what movement and focus projection is that thereby derives this effect. I then propose an interpretation of Chomsky's Bare Phrase Structure that derives the phaseness of these phrases.


Author(s):  
Ksenia G. Kostina

Introduction. Any language’s verb system has many resources for denoting various actions of people. The relations of the action or state of the subject to its object are determined by the grammatical category of the voice, represented in the Udmurt language by the pairs of causative – non-causative, reflexive – non-reflexive forms of voices. The article considers the functioning of the verb’s reflexive voice in the modern Udmurt language, including the etymology of the voice’s affix, the grammatical meanings of reflexive verbs. Materials and Methods. The main material of the research is based on the Udmurt-Russian Dictionary (2008) and the texts of Udmurt writers included into the National Corpus of the Udmurt Language. The article used a set of such research methods as descriptive, continuous sampling, contextual analysis, taking into account the situational conditioning of the verb voice. On specific examples, the use of these methods makes it possible to consider the structure, dynamics and features of the functioning of the reflexive voice of the verb in the Udmurt language. Results and Discussion. As a result of the research, for the first time, among the reflexive voice’s groups we include verbs of passive voice. The reason of it is the low probability of using passive constructions in colloquial speech. The frequent cases of using passive meanings of verbs in the literature and in the press are defined by the calcified translation of foreign-language constructions. Conclusion. The grammatical structure of the Udmurt language is represented by two binary voice’s forms: reflexive/non-reflexive voice and causative/non-causative voice. Specific indicators of reflexive voice are affixes -ськ(ы)-/-ск(ы), -иськ(ы)-/-üськ(ы)-. From the point of view of semantic content, five semantic groups of returnable pledges are distinguished: reflexive, medial, reciprocal, impersonal, passive. The proposed classification is determined by the specifics of the relations between the subject and the object of action.


World Science ◽  
2018 ◽  
Vol 2 (12(40)) ◽  
pp. 56-59
Author(s):  
Решетілов Б. Ю.

The subject of this research is to consider the compositional properties of the chamber tendency in relation to drama in compositions for solo instruments within a chamber orchestra. As twentieth century composers' raised interest in chamber-orchestral concert genres, this caused a number of consequences affecting the formation of dramatic specifics. Some of these include those trends of chamber tendency, which relate to timbre, form, genre, neoclassical manifestations, aesthetics, character directivity, etc. Revision of the semantic component of the chamber orchestra toolkit can appear as a movement towards single-timbre or an emphatic ensemble style. Neoclassical trends through the prism of chamber tendency influence the semantic content of character spheres. Keeping and development of chamber-instrumental music traditions create a special kind of musical material presentation, manifested in the deepening of the sphere of individualization and characterization of a subject. Genre orientation, addressed to the rebirth of the main achievements of past epochs, affects not only the semantic load of character spheres, but also a drama in general. Overall miniaturization as one of tendencies of the twentieth century in the context of the chamber nature leaves its trace in formation of character spheres as a tendency to concentration or continuity. Thus, in general, in the concert genre of the twentieth century the specific innovation patterns are created in the formation of conceptual intonation of character dramaturgy.


Author(s):  
Darina Viktorovna Kocheva

The subject of this research is the approaches existing in the theory and practice of prosecutorial activity towards determination of the concept of “prosecutor's authority” and its constituent definitions, their correlation with the scientific views of legal scholars upon the state-legal category of “authority”. Due to the fact that any science is based on the terminological framework, featuring units that differ in their semantic content, the research of the cognizable basic category that does not have a universal definition, neither in science nor effective legislation, as well as the contradicting legal phenomena of different legal nature (rights and obligations) at its part, substantiates the relevance of this research. The scientific novelty of lies in the author’s argumentation of similar, identical and opposite perspectives on the subject matter existing in the literature, effective legal regulation, personal experience of working in the prosecutor's office, justification of conclusion in the indicated category of “legal obligations”. The author comes to the conclusion there is no need for normative differentiation the rights and responsibilities of the prosecutor within the framework of his “general oversight” authority and optimality of the existing regulation, which authorizes the prosecutor to act at the own discretion (making decisions based on subjective opinion and assessment) in terms of the grounds  and means set by law, with consideration of private and public interests.


2021 ◽  
pp. 65-73
Author(s):  
Ivchenko V.I.

The purpose of the article is to substantiate the concept of using the possibilities of artistic and aesthetic interpretation in the process of artistic design activities for the аestheticization of the artistic image.Methods. The following scientific methods were used to solve the tasks and ensure the reliability of the provisions and conclusions: study and generalization of theoretical and practical scientific experience, analysis, synthesis, comparison, classification, artistic and aesthetic interpretation of works of art.Results. The essence of the concept of “artistic image” in its broad and narrow scientific sense is substantiated in the article. The author analyzes the dialectical relationship of the main components of the artistic image, such as: external form, internal form and content. The article describes the specific features of the artistic image, which constitute its nature as a whole. In the article the author highlights the features and specifics of understanding the “aesthetic” in works of art in the Middle Ages, the Renaissance, modern times and postmodern society. The author focuses on the relationship between the purposeful formation of the artistic image of the subject environment and the peculiarities of the request of the target audience. The author reflects the distinctive features of the artistic aesthetic image from the visual advertising image. The article describes the tendencies of transformation of the value picture of the personality under the influence of the visual advertising image. In the article the author analyzes various samples of modern design products. The author compares the aesthetic visualizations and semantic content of artistic images of the XXI century with analogues in the history of art and design on the example of the artistic image of man. The article describes the negative influence of quasi-values of postmodern society on the formation of the artistic image of design products designed for different gender and age groups. In the article the author highlights the examples of competent use of artistic and aesthetic interpretation in the design of artistic images of design products. The article describes the main possibilities of artistic and aesthetic interpretation in design and in the development of the designer’s personality.Conclusions. The author argues that the use of artistic and aesthetic interpretation is effective in the aestheticization of the subject environment. The article identifies its main capabilities in art and design activities and in the development of the designer’s personality.Key words: artistic and aesthetic interpretation, artistic image, visual advertising image, design, aesthetics of the subject environment.


2018 ◽  
Vol 4 (s1) ◽  
Author(s):  
Aoju Chen ◽  
Barbara Höhle

AbstractThis study investigated Dutch-speaking four- to five-year-olds’ use of word order and prosody in distinguishing focus types (broad focus, narrow focus, and contrastive narrow focus) via an interactive answer-reconstruction game. We have found an overall preference for the unmarked word order SVO and no evidence for the use of OVS to distinguish focus types. But the children used pitch and duration in the subject-nouns to distinguish focus types in SVO sentences. These findings show that Dutch-speaking four- to five-year-olds differ from their German- and Finnish-speaking peers, who show evidence of varying choice of word order to mark specific focus types, and use prosody to distinguish focus types in subject and object nouns in both SVO and OVS sentences. These comparisons suggest that typological differences in the relative importance between word order and prosody can lead to differences in children’s use of word order and prosody in unmarked and marked word orders. A more equal role of word order and prosody in the ambient language can stimulate more extensive use of prosody in the marked word order, whereas a more limited role of word order can restrict the use of prosody in the unmarked word order.


2021 ◽  
Vol 4 ◽  
Author(s):  
Nicole R. Holliday

This study tests the effects of intonational contours and filtering conditions on listener judgments of ethnicity to arrive at a more comprehensive understanding on how prosody influences these judgments, with implications for austomatic speech recognition systems as well as speech synthesis. In a perceptual experiment, 40 American English listeners heard phrase-long clips which were controlled for pitch accent type and focus marking. Each clip contained either two H* (high) or two L+H* (low high) pitch accents and a L-L% (falling) boundary tone, and had also previously been labelled for broad or narrow focus. Listeners rated clips in two tasks, one with unmodified stimuli and one with stimuli lowpass filtered at 400 Hz, and were asked to judge whether the speaker was “Black” or “White”. In the filtered condition, tokens with the L+H* pitch accent were more likely to be rated as “Black”, with an interaction such that broad focus enhanced this pattern, supporting earlier findings that listeners may perceive African American Language as having more variation in possible pitch accent meanings. In the unfiltered condition, tokens with the L+H* pitch accent were less likely to be rated as Black, with no effect of focus, likely due to the fact that listeners relied more heavily on available segmental information in this condition. These results enhance our understanding of cues listeners rely on in making social judgments about speakers, especially in ethnic identification and linguistic profiling, by highlighting perceptual differences due to listening environment as well as predicted meaning of specific intonational contours. They also contribute to our understanding of the role of how human listeners interpret meaning within a holistic context, which has implications for the construction of computational systems designed to replicate the properties of natural language. In particular, they have important applicability to speech synthesis and speech recognition programs, which are often limited in their capacities due to the fact that they do not make such holistic sociolinguistic considerations of the meanings of input or output speech.


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