Conjunction, deduction and their effect on semantic cohesion Study in Alkhasaes book

Language is a coherent system that is subject to many relationships, and the sentence is the most important linguistic structure in this system. Words do not perform a function on their own. Rather, their function becomes clear when the parts capable of carrying the meaning are fused into the interconnected sentence and by the convergence of interconnected sentences a coherent text is formed. Therefore, modern linguistics has tended to study the necessity. Text beyond is a network of sentences linked by multiple linguistic relationships. The aim of the research is to highlight the role of linkage in the construction and cohesion of the text by addressing the links of succession and conclusion for their clear effect on the coherence and harmony of the text. The importance of research appears through monitoring and following up the succession and conclusion links and showing how they are used in building texts. The most prominent expected results are: It turns out that most of the deduction links consist of words and phrases, while most of the sequence links consist of letters and a few words. The researcher also found that succession links are always more used in texts than deduction links.

Ancient Element of Kem in Oronymia Chatkal and Toponymia of South Siberia

It is well known that oronyms are the nuclear system of the lexical fund of the linguistic structure as such and are closely related to the historical formation of the linguistic mentality of the carrier. Of course, the Kyrgyz oronyms, that is, the names of the mountains, are extraterritorial and ancient nominations in Eurasia. In this regard, the oronymy of modern Kyrgyzstan, manifesting the echoes of the ancient area, primarily reflects the linguistic picture, or rather, the worldview of the once powerful nomadic state, the so-called historians of the Kyrgyz Great Power. Therefore, this article analyzes, first of all, the conceptual foundations of the oronyms of the Kyrgyz language.

Suffixation and sequentiality

This paper offers some reflections on the study of morphology – broadly speaking, ‘word formation’ – as a participants’ resource in social interaction. I begin by calling attention to morphology as a comparatively underexamined component of linguistic structure by conversation analysts and interactional linguists, in that it has yet to receive the same dedicated consideration as have, e.g., phonetics and syntax. I then present an ongoing study of suffixes/suffixation in Spanish – focusing on diminutives (e.g., –ito), augmentatives (e.g., –ote), and superlatives (i.e., –ísimo) – and describe how the sequentiality of interaction can offer analysts profound insight into participants’ orientations to morphological resources. With what I refer to as ‘morphological transformations’ – exemplified here in both same-turn and next-turn positions – interactants sequentially construct and expose morphological complexity as such, locally instantiating its relevance in the service of action. It is argued that a focus on transformations therefore provides analysts with a means to ‘break into’ morphology-based collections. A range of cases are presented to illustrate this methodological approach, before a concluding discussion in which I describe how morphology-focused investigations may intersect with explorations of other interactional phenomena.

Poetic Exploration of Obasa’s Prolegomenous Poetry

Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements because the principal task of poetics is to measure its legitimate domain in language. Tus, it is averred that literature depends on linguistic structure for its existence since language is the substance of literature (in our own instance, poetry). The essay adopts an eclectic theoretical approach since Obasa’s craftsmanship and subject-matter span an avalanche of forms and structures imbued with stylistic features. Primary data are largely drawn from his anthologies which facilitate the content analysis. In its findings, the paper has brought to the fore the fact that Obasa employed adaptation and mimesis in his presentation creatively, ̣ while different stylistic elements in his trilogy are replete with deviation. An attempt is made to bring into bold relief the suggestion that metaphor forms the hub of all other tropes that give grandeur to poetics in Obasa.

The concept of “Linguistic structure” as the basis of the Methodic for analyzing Vocal Composition

Relevance of the study. In the art vocal music of the second half of the 20 th — early 21st centuries the approaches to the selection of verbal texts are changing, they become the fundamental principle of musical works. The variety of verbal lines gives rise to a variety of composer’s work with them. Composers offer different, including previously unused, ways of working with a verbal text. In this regard, it is necessary to find new methods for the analysis of modern compositions, because traditional methods are no longer suitable for such material. The purpose of the study. The using of the concept of linguistic structure for the analysis of modern vocal scores and its approbation on the example of “Choven” (“Boat”) for three voices a cappella by Alla Zagaykevych is proposed. Methods. The article is based on general scientific and especially scientific methods. Among general scientific methods descriptive, comparative, systemic ones are applied. Among special scientific methods structural and functional ones are used. The results and conclusions. The conception of “language structure” was developed in structural linguistics and is now common in linguistics. It is based on the consideration of verbal language as a holistic system, which is divided into four tiers: phonological, morphological, lexicalsemantic and syntactic. Each tier has a main element, which is the smallest component in its layer. The composer, choosing a specific verbal text, works with it, applying changes at different language levels, which leads to individualization in the interpretation and sound embodiment of the verbal source. Based on the concept of language structure, a method of analysis of a modern vocal work is proposed, which in the article finds approbation on the example by Alla Zagaykevycs work “Choven” [“Boat”] on the text by Mykola Vorobyov’s poetry. It is proved that the composer works only on three language levels: phonological, morphological and lexical-semantic. It was found that when the composer is working at the phonological level it is important to highlight a separate phoneme, presenting its sound color. At the morphological level, the key is the morpheme, which becomes the main expression of the image. If M. Vorobyov works only at the lexical-semantic level, then A. Zagaykevych develops two other levels (phonological and morphological), based on the fact that the lexeme is a combination of smaller quantities. To identify the core of the lexeme, the composer breaks it down into smaller details: from the most important lexeme “choven” the phoneme “ch” stands out, which becomes the core of the whole composition.

How language learning and language use create linguistic structure

Languages persist through a cycle of learning and use: you learn a language through immersion in the language used in your linguistic community, and in using language to communicate you produce further linguistic data which others might learn from in turn. We know that languages change over historical time as a result of errors and innovations in these processes of learning and use; this paper reviews experimental and computational methods which have been developed to test the hypotheses that those same processes of learning and use are responsible for creating the fundamental structural properties shared by all human languages, including some of the design features that make language such a powerful tool for communication.

Language, Thought, and the Linguistics Wars

This chapter provides brief overviews of the role that language plays in culture and thought, of the job that linguists do to investigate the roles that language plays, and of the dispute among linguists that forms the narrative core of this book, as well as introducing the linguists who drove that dispute: Noam Chomsky, Ray Jackendoff, Robin and George Lakoff, Jim McCawley, Paul Postal, and Haj Ross. That dispute hinged on the relative significance of linguistic structure and linguistic meaning for the way we understand language and its relation to thought.

The role of linguistic structure in the perceptions of vernacular speech

This study explores the role of linguistic structure in speakers’ perceptions of vernacular English, i.e. speech used in informal interactions. In so doing, it tests the assumptions of the Interface Principle (Labov 1993) and its major claim that semantic and discourse-pragmatic features will elicit a greater degree of social awareness than morphosyntactic variants (Levon and Buchstaller 2015). Relying on data obtained from 372 respondents, we explore the social perceptions of two discourse-pragmatic and two morphosyntactic variables. We show that the morphosyntactic features investigated here are generally available to the sociolinguistic monitor of L1 speakers as well as highly advanced learners of English as a Foreign Language. However, these morphosyntactic features are less salient than the semantic/discourse pragmatic variants, and their social indexation is, for this reason, more pliable. We argue for the weaker version of the Interface Principle and propose that the differences in the recognisability of vernacular features is gradient. We additionally propose that juxtaposing different types of speaker data is instrumental in discerning those differences.

Coming and going in time: a multimodal study

In this paper, we look at co-speech gestures when using a Time Unit +come/go construction. We analise 326 gestures in terms axis, direction of the movement, direction in relation to the speaker and gesture-speech congruency. We conclude that gestures performed with these verbs are adapted to the lateral axis. We hypothesise that factors such as the frequency of the linguistic expression, the level of spatial information contained in the linguistic structure, and the type of temporal frame of reference employed by time metaphors may condition several gesture features such as frequency, congruency and direction.