emotive meaning
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2021 ◽  
pp. 284-301
Author(s):  
Charles Leslie Stevenson
Keyword(s):  

2021 ◽  
Vol 6 (1) ◽  
Author(s):  
Netiasa Adab ◽  
Frans Asisi Datang

This toponymy study discusses the origin names of beaches in Tanjungsari Subdistrict, Gunungkidul Regency, Yogyakarta which are spread in three villages, namely Kemadang, Ngestirejo, and Banjarejo. This research aims to documents the naming of beaches in the area and classifies the naming into three presuppositions meaning based on Nyström’s theory, which are categorical, associative, and emotive meaning. This study used a qualitative research method. Research data were collected by means of observation and interviews with Village Hall officials and the community. The results of this study can be used to add information that can be conveyed to tourists. The results showed that categorical meaning on the beaches in Tanjungsari District is dominated by geographical condition, while the least is people’s name category. Associative presupposition meaning is dominated by neutral associative meaning, which are sea and conditions geographical. Meanwhile, the least dominant meaning of the associative presupposition is positive associative meaning. The dominant meaning of the emotive presupposition is the emotive meaning positive, which is happy. The least dominating out of the emotive presupposition meaning is the neutral emotive presupposition. Most beach naming comes from Javanese. This is influenced by the language spoken by most local community


2020 ◽  
Vol 11 ◽  
Author(s):  
Uli Sauerland ◽  
Artemis Alexiadou

The theory of language must predict the possible thought—signal (or meaning—sound or sign) pairings of a language. We argue for a Meaning First architecture of language where a thought structure is generated first. The thought structure is then realized using language to communicate the thought, to memorize it, or perhaps with another purpose. Our view contrasts with the T-model architecture of mainstream generative grammar, according to which distinct phrase-structural representations—Phonetic Form (PF) for articulation, Logical Form (LF) for interpretation—are generated within the grammar. At the same time, our view differs from early transformational grammar and generative semantics: We view the relationship between the thought structure and the corresponding signal as one of compression. We specify a formal sketch of compression as a choice between multiple possible pronounciations balancing the desire to transmit information against the effort of pronounciation. The Meaning First architecture allows a greater degree of independence between thought structures and the linguistic signal. We present three arguments favoring this type of independence. First we argue that scopal properties can be better explained if we only compare thought structures independent of the their realization as a sentence. Secondly, we argue that Meaning First architecture allows contentful late insertion, an idea that has been argued for in Distributed Morphology already, but as we argue is also motivated by the division of the logical and socio-emotive meaning content of language. Finally, we show that only the Meaning First architecture provides a satisfying account of the mixing of multiple languages by multilingual speakers, especially for cases of simultaneous articulation across two modalities in bimodal speakers. Our view of the structure of grammar leads to a reassessment of priorities in linguistic analyses: while current mainstream work is often focused on establishing one-to-one relationships between concepts and morphemes, our view makes it plausible that primitive concepts are frequently marked indirectly or unpronounced entirely. Our view therefore assigns great value to the understanding of logical primitives and of compression.


2020 ◽  
pp. 24-37
Author(s):  
J. O. Urmson
Keyword(s):  

2020 ◽  
Vol 22 (1) ◽  
pp. 242-250
Author(s):  
O. A. Kukatova

The present research features predicates expressed by Russian reflexive emotive verbs. The paper focuses on statements containing reflexive emotive verbs and their convertible correlates, e.g. volnovatsia – volnovat, trevozhitsia – trevozhit, serditsia – serdit, etc. The research objective was to determine the place of these pairs of emotive verbs in the semantic classification of predicates of the Russian language. The author used the method of semantic testing for localization / non-localization on time axis and controllability / non-controllability. The method made it possible to assign these predicates to a particular class, as well as to reveal in their semantic structure a derived value that has not been fixed by explanatory dictionaries. As a result, the predicates were split into two semantic classes, i.e. properties and states. The division was confirmed by semantic tests for localization / non-localization on time axis and controllability / non-controllability. According to the tests, the predicates expressed by the convergent pairs of emotive verbs were included in the group of state predicates, due to their localization on the time axis. The semantic sign of uncontrollability was inherent in the studied predicates of the state in their emotive meaning. Acquisition by these predicates of the meaning "purposeful activity", "imitation of an emotional state", "opportunity, duty", and, accordingly, the sign of controllability made it possible to classify them as a group of activity predicates.


2020 ◽  

The article focuses on revealing the multimodal instantiation of anger, fear, sadness, and disgust in English cinematic discourse and determining the mechanisms of their construction by verbal, nonverbal, and cinematographic semiotic resources. The cognitive-pragmatic linguosemiotic approach enables to identify cognitive and communicative characteristics of negative emotions, and focuses on the process of emotive meaning-making as a social practice. Emotions in cinematic discourse undergo primary (in the screenplay) and secondary semiosis (in the film diegetic space through multimodal realization). The communicative properties of film emotions are based on conceptual features that are entrenched in the semantic space structured by a lexical-semantic field with a dominant ‒ the name of the concept. The tokens of a certain field serve as indicators of negative emotions in the screenplay and enable to objectively define the film emotion. The specific multisemiotic nature of cinematic discourse emphasizes the characteristics of the concept to be marked by heterogeneous signs and determines verbal, nonverbal, and cinematographic profiles of the emotion. Semiotic means of the corresponding profiles form combinations of emotive meaning instantiation. Each negative emotion is realized by specific models of heterogeneous semiotic resources interaction according to static and dynamic criteria. The former identifies the models by the parameters of quantity (two-/three-componental), quality (convergent/ divergent), and prominence (parity/non-parity). The latter determines synchronous and consequent models.


2019 ◽  
Vol 39 (3) ◽  
pp. 229-261
Author(s):  
Fabrizio Macagno ◽  
Douglas Walton

Donald Trump’s speeches and messages are characterized by terms that are commonly referred to as “thick” or “emotive,” meaning that they are characterized by a tendency to be used to generate emotive reactions. This paper investigates how emotive meaning is related to emotions, and how it is generated or manipulated. Emotive meaning is analyzed as an evaluative conclusion that results from inferences triggered by the use of a term, which can be represented and assessed using argumentation schemes. The evaluative inferences are regarded as part of the connotation of emotive words, which can be modified and stabilized by means of recontextualizations. The manipulative risks underlying the misuse and the redefinition of emotive words are accounted for in terms of presuppositions and implicit modifications of the interlocutors’ commitments.   


HUMANIS ◽  
2019 ◽  
Vol 23 (3) ◽  
pp. 196
Author(s):  
Ni Made Sri Maharani ◽  
Ni Made Sri Satyawati ◽  
I G.N.K. Putrayasa

The study entitled “Konstruksi Kalimat Pada Film Dialogue Rumah Tanpa Jendela karya Aditya Gumay”. The purpose of this study is to describe the structure, type, and meaning of the sentence in Film Dialogue Rumah Tanpa Jendela. The theoretical basic used in this study is structural theoryaccording to Verhaar (2012) and is supported by operational approaches in semantic cognitive, connotative,  and emotive meaning. The method and technique used to collect data in this study is the method refer to thenote taking technique. At the stage of presenting the results of data analysis, the method used is ushed. At the stage of presenting the results of data analysis informal and formal methods are used.The results of this study are foundin the structure of single sentences and compound sentences divided into two sentence patterns, namely single sentence patterns and compound sentence patterns. Single sentence pattern consist of SPO type, SPKet type, SPOKet type, SPPel type, PO type, POKet type, SP type, PS type, Pket type, and PSKet type. Compound sentence patterns consist SPKe+Pket type, SP+SPKet type, SPKet+SP type, SP+SketPO type, PKet+SPKet type, SPKet+Pket type, Konj+SP+SPO, and SP+SP type. Type of sentence based onthe nuber of clauses based on syntatic form, basedon the internal struture ofthe main clause, based on the presence or absence of changes in exclusion, based on syntactic functions.


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