Journal articles on the topic 'Deixis and anaphora'

Taking a cognitive perspective, and concentrating on instances of exophora (or so-called ‘antecedentless’ anaphora), where by definition there is no co-occurring expression in terms of which a given anaphor might be interpreted (i.e. a potential ‘antecedent’), I aim to show, firstly, that so-called exophora falls within the category of anaphora proper and not deixis; secondly, that it is in terms of a conceptual representation of the situation being evoked, and not in terms of the physical situation itself, that the anaphor is interpreted; and finally, that exophora is in reality a more central manifestation of anaphora than the ‘endophoric’ type, where the ‘antecedent’ expression co-occurs with the anaphor.I will base the discussion on naturally occurring data from French and English, and will consider the contributions of gender- and number-marking within pronominal anaphors, as well as of such features of the anaphoric segment as the argument and referent-order statuses assigned to an anaphor by the governing predicator and its modifiers, and the stress and pitch characteristics of the anaphor. All these features play an important role in the assignment of a full interpretation to so-called ‘endophoric’ anaphors just as much as ‘exophoric’ ones, thereby weakening the theoretical basis for the distinction between the two types.

Arguably, anaphora is one of the most interesting linguistic phenomena. Broadly speaking, the term refers to a relation between two linguistic elements. In this relation, the interpretation of one element, the anaphor, is determined by the interpretation of another: the antecedent. Thus, in the sentence Cordelia said she loved Manet, the pronoun ‘she’ is the anaphor, which refers back (the word ‘anaphor’ is derived from a Greek term which translates as ‘to carry back’), while Cordelia is its antecedent. Anaphora is closely linked to deixis, the phenomenon in language whereby the meaning of certain elements requires contextual and/or co-textual information.

In this paper, the cognitive importance of metaphor is shown by analysing text deixis, which can be thought of as an operation based on the metaphor text is space. After reviewing the concept of metaphor as found in cognitive linguistics, text deixis is defined and exemplified as a procedure related to both situational deixis and anaphora. The analysis of narrative examples highlights different types of text deixis which can be understood as metaphoric extensions of the above mentioned metaphor basic metaphor. Metaphorically, demonstratives can indicate proximity or distance from a textual, temporal or emotive perspective; in addition, deixis am Phantasma and presentational deixis, which are not related to any linguistic antecedent, are considered as special cases of text deixis. Keywords: Anaphor, Deixis, Demonstratives, Metaphor, Metalinguistic metaphor, Text deixis

This article evaluates the results of prior research on anaphoric reference in Latin, and tries to account for the various observations within a single explanatory framework. This framework combines insights from cognitive linguistic theory and from ongoing empirical research on the linguistic marking of discourse organization in Latin. After a brief discussion of recent cognitive linguistic views on the relation between deixis and anaphora, I concentrate on the various uses of the Latin demonstrativehicin Virgil’sAeneid. The examples discussed show thathic’s deictic aspect of proximity can be discerned in all its uses, the variety of which can best be described in terms of a ‘cline’, running from canonical deixis to canonical anaphora. It is argued that in its anaphoric use, Latinhicbehaves as a linguistic ‘anchoring’ device, and is used as part of a communicative strategy referred to as‘reculer pour mieux sauter’.

This article provides an extensive overview of the literature related to the phenomenon of non-nominal-antecedent anaphora (also known as abstract anaphora or discourse deixis), a type of anaphora in which an anaphor like “that” refers to an antecedent (marked in boldface) that is syntactically non-nominal, such as the first sentence in “It’s way too hot here. That’s why I’m moving to Alaska.” Annotating and automatically resolving these cases of anaphora is interesting in its own right because of the complexities involved in identifying non-nominal antecedents, which typically represent abstract objects such as events, facts, and propositions. There is also practical value in the resolution of non-nominal-antecedent anaphora, as this would help computational systems in machine translation, summarization, and question answering, as well as, conceivably, any other task dependent on some measure of text understanding. Most of the existing approaches to anaphora annotation and resolution focus on nominal-antecedent anaphora, classifying many of the cases where the antecedents are syntactically non-nominal as non-anaphoric. There has been some work done on this topic, but it remains scattered and difficult to collect and assess. With this article, we hope to bring together and synthesize work done in disparate contexts up to now in order to identify fundamental problems and draw conclusions from an overarching perspective. Having a good picture of the current state of the art in this field can help researchers direct their efforts to where they are most necessary. Because of the great variety of theoretical approaches that have been brought to bear on the problem, there is an equally diverse array of terminologies that are used to describe it, so we will provide an overview and discussion of these terminologies. We also describe the linguistic properties of non-nominal-antecedent anaphora, examine previous annotation efforts that have addressed this topic, and present the computational approaches that aim at resolving non-nominal-antecedent anaphora automatically. We close with a review of the remaining open questions in this area and some of our recommendations for future research.

Dynamic semantic accounts of presupposition have proven to quite successful improvements over earlier theories. One great advance has been to link presupposition and anaphora together (van der Sandt 92, Geurts 95), an approach that extends to integrate bridging and other discourse phenomena (Asher and Lascarides 1998a,b). In this extended anaphoric account, presuppositions attach, like assertions, to the discourse context via certain rhetorical relations. These discourse attachments constrain accommodation and help avoid some infelicitous predictions of standard accounts of presupposition. Further, they have interesting and complex interactions with underspecified conditions that are an important feature of the contributions of most presupposition triggers. Deictic uses of definites, on the other hand, seem at first glance to fall outside the purview of an anaphoric theory of presupposition. There seems to be little that a discourse based theory would have to say. I will argue, however, that a discourse based account can capture how these definites function in conversation. In particular such accounts can clarify the interaction between the uses of such deictic definites and various conversational moves. At least some deictic uses of definites generate presuppositions that are bound to the context via a rhetorical function that I'll call unchoring, which if successful entails a type of knowing how. If this anchoring function is accepted, then the acceptors know how to locate the referent of the definite in the present context. I'll concentrate here just on definites that refer to spatial locations, where the intuitions about anchoring are quite clear. But I think that this view extends to other deictic uses of definites and has ramifications for an analysis of de re attitudes as well.

This paper focuses on different types of deixis, particularly on anaphora and cataphora. Anaphora indicates what has been said previously, cataphora precedes what is going to be said. They are very important for the cohesion in the text in oral and written communication. These two constituents use the same means of expression.

This paper investigates indirect anaphora (IA) from a corpus-based linguistics (CBL) perspective. Indirect anaphora involves backward-pointing links between surface lexical items, such as demonstrative pronouns and objects, situations or concepts which are mentioned or hinted at in previous discourse, but which are not linguistically encoded as surface grammatical elements such as nouns or noun phrases. This paper reports an empirical study of three types of IA, namely labelling (Francis 1986, 1989, 1994), situation reference (Fraurud 1992, 1992a) and text/discourse deixis (Lyons 1977, Levinson 1983). Although the paper reveals some discernable patterns in the use of IA across different genres, the study ultimately points to the challenges of identifying hard and fast categories of IA in a corpus of real-life examples.

The main purpose of the article is to determine the syntax of the text in the Kazakh language and the means connecting it. The paper explores such concepts as deixis, anaphora, cataphora in the history of linguistics, differentiates the connecting means in the syntax of the text. The work uses deixic, anaphoric, and cataphoric means of communication that connect the text. Examples of the use of means of linking this text from the works of Kazakh writers are given. On the basis of linguistic material taksikuskit means of communication in the syntax of the text are defined and demonstrated with concrete examples. The type of anaphoric means of communication within the text is determined. The means of cataphoric communication in the text syntax were also analyzed. The language means that connect words, phrases, sentence members, predicates, sentences, syntactic integrity, reference texts are determined by consecutive reasoned examples.

The research investigates the types of deixis, the types of reference and the reference meaning used by Barack Obama and Chuck Todd in“Meet the Press” interview. In analyzing the data, the researcher uses descriptive qualitative method. The results of the research show that from the total of 372 deixis from 84 conversation, all the five types of Levinson’s (1983) deixis can be found. Regarding the references, President Barack Obama contains both anaphora and cataphora.

The current paper describes the deictic system of Kamaiurá, a language of the Tupí-Guaraní family. The Kamaiurá system of deictic demonstratives and adverbials has a high degree of complexity, including at least 17 different forms, of which several have different functions. The system codes four levels of Participant deixis, with proximal, medial, distal and far distal deixis. Forms can also code anaphora and highly specialized locations of the referent, such as ‘moving away’ and ‘located beside something’. A further peculiar and unusual characteristic of the Kamaiurá system is the coding of Modal and Evidential deixis, which is found among the forms marking far distal deixis. Our study has two foci: the first part describes the system in its independent or exophoric use, and this part is based on deep interviews with native speakers and a deixis elicitation study. The second part of the paper represents the core of our study. Here, we investigate the uses of the deictic system in a recorded frog story, looking at anaphoric and cataphoric usages of the forms as well as how they are used to mark topic and focus in the narrative discourse. The text is very rich in deictic forms, and out of the 17 different forms recorded for Kamaiurá, 9 occur in our frog story. We notice a tendency where the hierarchy of increasing distance from the ego in the independent forms is transferred into increasing focus of the narrative. Epistemic modality of the independent forms is used to mark uncertainty in the narrative, i.e., to indicate lack of terms for a specific item, whereas anaphoric deixis of the independent forms marks general reference in the narrative.

The title of this research is “Personal Deixis on Personal Pronoun of Barakamon Anime Created by Tachibana Masaki” that aimed to research the deixis form, deixis reference, and deictic shift on personal pronoun of Barakamon anime 1-12 episode created by Tachibana Masaki. This research was analyzed by using descriptive method and informal technique. Deixis form and deixis reference analysis used personal deixis of pragmatic theory by Yule (1996) and personal deixis reference by Halliday and Hasan (1976). While the deictic shift analysis used personal deictic shift theory by Purwo (1984). The result of this research is on Barakamon anime was found three types of person deixis in the personal pronoun with each type of person deixis divided into two forms are singular and plural i.e. first personal deixis e.g. watashi, atashi, boku, ore, uchi, watashitachi, watashira, atashira, bokutachi, bokura, oretachi, orera, uchira, and wareware, second personal deixis e.g. anata, anta, kimi, omae, anatatachi, antatachi, antara, omaetachi, and omaera, and third personal deixis e.g. kare, koitsu, soitsu, aitsu, koitsura and aitsura. Deixis reference that found are exophora reference and endophora reference with anaphora category. And deictic shift that found are personal deictic shifting first personal form for second personal by using watashi, personal deictic shifting second personal form for first personal by using omae and omaera, and personal deictic shifting second personal form for third personal by using anata and omae.

The paper provides a structured account of the evolution of the Romance pronominal/adnominal demonstrative systems, using both the analysis of medieval corpora and recent fieldwork. It identifies the mechanisms involved, building on a detailed analysis of the textual and extra-textual usage of demonstratives, which gives new insight into the nature of deixis and anaphora. The evidence shows that the genetic relation between deictics and anaphorics is not unidirectional: not only can anaphors originate from deictics, the reverse can also be shown to hold true, with pure anaphorics appearing to be a viable source for second-person deictics. The main driving force in the process is subjectification, which conditions the development at every stage. The evolution follows predictable pathways and turns out to be cyclic: three main recurrent patterns are clearly identifiable for all the varieties investigated.

AbstractThis paper presents the second release of arrau, a multigenre corpus of anaphoric information created over 10 years to provide data for the next generation of coreference/anaphora resolution systems combining different types of linguistic and world knowledge with advanced discourse modeling supporting rich linguistic annotations. The distinguishing features of arrau include the following: treating all NPs as markables, including non-referring NPs, and annotating their (non-) referentiality status; distinguishing between several categories of non-referentiality and annotating non-anaphoric mentions; thorough annotation of markable boundaries (minimal/maximal spans, discontinuous markables); annotating a variety of mention attributes, ranging from morphosyntactic parameters to semantic category; annotating the genericity status of mentions; annotating a wide range of anaphoric relations, including bridging relations and discourse deixis; and, finally, annotating anaphoric ambiguity. The current version of the dataset contains 350K tokens and is publicly available from LDC. In this paper, we discuss in detail all the distinguishing features of the corpus, so far only partially presented in a number of conference and workshop papers, and we also discuss the development between the first release of arrau in 2008 and this second one.

An important aspect of the interpretation of multimodal messages is the ability to identify when the same object in the world is the referent of symbols in different modalities. To understand the caption of a picture, for instance, one needs to identify the graphical symbols that are referred to by names and pronouns in the natural language text. One way to think of this problem is in terms of the notion of anaphora; however, unlike linguistic anaphoric inference, in which antecedents for pronouns are selected from a linguistic context, in the interpretation of the textual part of multimodal messages the antecedents are selected from a graphical context. Under this view, resolving multimodal references is like resolving anaphora across modalities. Another way to see the same problem is to look at pronouns in texts about drawings as deictic. In this second view, the context of interpretation of a natural language term is defined as a set of expressions of a graphical language with well-defined syntax and semantics. Natural language and graphical terms are thought of as standing in a relation of translation similar to the translation relation that holds between natural languages. In this paper a theory based on this second view is presented. In this theory, the relations between multimodal representation and spatial deixis, on the one hand, and multimodal reasoning and deictic inference, on the other, are discussed. An integrated model of anaphoric and deictic resolution in the context of the interpretation of multimodal discourse is also advanced.

Adopting Berrendonner’s (1990, 2002) and Berrendonner et al.’s (forthcoming) distinction between “micro-syntax” and “macro-syntax”, as well as the orthogonal dichotomy between foregrounded and backgrounded discourse segments (cf. Khalil 2005), this paper aims to examine certain “non-canonical” interactions amongst these domains. In particular, it analyses instances where a potential referent is evoked within a highly presupposed, discursively backgrounded text segment, but where that referent is targeted via an “anadeictic” indexical expression and may be made into a discourse entity in its own right. This last-mentioned use is characteristic of discourse deixis, but not of anaphora as such. The paper also examines larger stretches of text, which relate to each other discursively in terms of “macro-syntax”. The overall aim is to characterise the limits of discourse-anaphoric reference as a function of the degree of backgrounding or foregrounding of the discourse units in terms of which the referent is determined and targeted.

The research presented in the article focuses on the factors, which determine deictic and anaphoric shifts in Russian translated narratives. The phenomenon of systematic change of proximals (here, now, this house) to distals (there, then, that house) or vice versa, as well as omitting or adding these elements, has been explored in contemporary researches using translated texts corpora. Approximating or distancing trends have been revealed within a corpus of translations or individual translated versions. The article aims to determine the factors influencing deictic and anaphoric shifts in Russian translations of "The Adventures of Tom Sawyer" by Mark Twain. The analysis undertaken helped to reveal the following factors: the language factor (translators may use the deictic or anaphoric shifts to avoid incorrect constructions), the stylistic factor (translators prefer the elements that are widespread within a literary tradition), the strategic factor (a translator may apply an individual strategy to highlight the author's authentic style). In Russian translations of the novel about Tom Sawyer the approximating trend is dominating: the deictic centre of the narrative gets closer to the reader. This effect is achieved by condensing the deictic proximals, substituting past verb forms by historic present and adding anaphoric proximals in the focalized fragments. These changes intensify the author's original approximating strategy of the focalized narrative.

The distribution of the Greek demonstratives, i.e. the available word order options, has remained constant throughout the history of the language, from Ancient to Modern Greek (henceforth AG and MG); however, the lexical items participating in it have not. Greek passes from a tripartite to a bipartite system, a cross-linguistically common development (Frei 1944: 119, Lyons 1999: 110). The facts and chronology of the evolution are known, but the causes behind it remain obscure. This paper attempts to explain them. The pivot of this account is the re-interpretation of the AG demonstrative system as relying mainly not on person distinctions but on distinctions of distance and deixis vs. anaphora. By comparing synchronic systems of the language, facts acquire a new significance and a unified picture emerges. It is also demonstrated that Greek constitutes a clear counter-example to cross-linguistically well attested grammaticalisation patterns concerning the evolution of demonstrative pronouns, which thus cannot be argued to have universal value. First, a short history of the process of lexical replacement is given, then an analysis of the AG demonstrative system is developed, and finally the new suggestions concerning the causality of the developments is elaborated. The distribution of the Greek demonstratives, i.e. the available word order options, has remained constant throughout the history of the language, from Ancient to Modern Greek (henceforth AG and MG);1 however, the lexical items participating in it have not. Greek passes from a tripartite to a bipartite system, a cross-linguistically common development (Frei 1944: 119, Lyons 1999: 110).2 The facts and chronology of the evolution are known, but the causes behind it remain obscure. This paper attempts to explain them. <br /> The pivot of this account is the re-interpretation of the AG demonstrative system as relying mainly not on person distinctions but on distinctions of distance and deixis vs. anaphora.3 By comparing synchronic systems of the language, facts acquire a new significance and a unified picture emerges. It is also demonstrated that Greek constitutes a clear counter-example to cross-linguistically well attested grammaticalisation patterns concerning the evolution of demonstrative pronouns, which thus cannot be argued to have universal value. <br /> First, a short history of the process of lexical replacement is given, then an analysis of the AG demonstrative system is developed, and finally the new suggestions concerning the causality of the developments is elaborated.

The article deals with one case of the usage of the adverbs of place čia and ten in East Aukštaitian Utena dialect (to be more precise, the dialect used at the boundary of North East Aukštaitian Vilnius and Utena). The aim of the article is to analyse the meanings of the adverbs of place čia and ten used in deictic situations on the basis of Karl Bühler's theory of deixis. The analysis of dialectal texts has revealed that: 1. Apart from the main meanings of ‘in this place' and ‘in a further place', in this sub-dialect the adverbs of place čia and ten, when accompanied by gestures, acquire other meanings: depending on which side the speaker is pointing to, they may refer to the right and the left side. This conclusion is based on the following reasons: a) in direct deixis, adverbs of place referring to the right and the left side are not necessary since the speaker may show to the objects seen by the interlocutor using his/her hand; b) in the case of imaginary deixis the addresser projects the reality from his own perspective, therefore in this situation čia and ten, when accompanied by gestures, may also mean both the right and the left side; c) in the case of anaphora adverbs čia and ten function as substitutes and may also refer to a place in either the left or the right side. 2. When adverbs čia and ten acquire the meanings of ‘right' and ‘left', the correlation of distance between them disappears: from the perspective of origo, they both refer to a place further, to the right or to the left. 3. Adverbs of place meaning left or right (dešinėj, dešinėjè, dešinėn, iš dešinės, po dešine, po dešinei, kairėj, kairėjè, kairėn, iš kairės, po kaire, po kairei) should be treated as deictic, because: a) they are used synonymously together with adverbs of place čia and ten accompanied by a gesture; b) they are directly related to origo, i.e. refer to a place in either one or the other side. 4. The studies carried out lead to a conclusion that the adverbs of place under investigation are used under the same linguistic circumstances in the Lithuanian language in general.

Referential cohesion integrates a series of phoric-type lexical grammatical mechanisms that exhibit syntactic and semantic links between discursive entities. By means of referential devices, textual meanings interweave so that a series of coreferential and meaning networks are created through which nouns are linked in order to contribute to textual cohesion. As a phenomenon that includes pronominalisation, ellipsis or zero anaphora, textual deixis (which essentially materialises in a non-exophoric use of demonstratives) and a variety of lexical cohesion devices (relationships of repetition, reiteration and association), referential cohesion is located at the interface between grammatical and pragmatic-discursive levels. On the one hand, it establishes structural and hierarchical syntactic-semantic relations between sentence constituents; on the other hand, it reveals the degree of activation of discursive entities in the memory of interlocutors and therefore shows evidence of discursive organisation, which licences an interpretation of thematic progression and coherence. Thus, the variety of referential mechanisms is linked to textual cohesion in the microstructural level. It stands as an obvious and tangible trace of coherence relations at the level of macrostructure and allows to track the cognitive processes by which interlocutors interact in order to communicate - the main aim of discourse - at the contextual and pragmatic levels.

<p>As an independent discipline, pragmatics was through out thirty years’ development. It is also a young discipline. As a medium emerging commonly in advertising language art, humor has attracted wide attention of many producers. Previous scholars analyzed more from the perspective of grammar, vocabulary, rhetoric, etc. But the research of advertising language humor is lacking from the aspects of pragmatic rules. Our collection of data is quite open. Any advertisement that can be transcribed in to written form is our interest. They are excerpted from magazines, advertisement, collecting books, newspapers, TV and radio commercials. As we only focus on language humor, situational humor produced by visual performance is not involved this thesis. The advertising language art of humor has been widely paid attention. Based on the existing theories of humor research, author of this paper used many kinds of pragmatic theories to analyze English advertising humor language, and including reference, deixis, anaphora, presupposition, speech act theory, the cooperative principle, conversational implicatures, and the politeness principle. It can not only provide reference for the research of this field for later scholars, but also provide theoretical guidance for the AD makers of using humor language to produce a good advertising effect.</p>

The article deals with the problem of relation of two linguistic categories – interrogativity and text cohesion – in a literary text. The aim of the research is to study the role of ‘why’ questions in text cohesion in Waterland by G. Swift. As part of the study, a database of interrogative contexts was formed, which includes general questions, special questions and disjunctive questions. Methods of semantic analysis, stylistic analysis, contextual analysis, syntactical analysis were used in the research process. The paper provides the results of analysis conducted to reveal the functions of ‘why’ questions in text cohesion on the micro-level (lexical and semantical cohesion, syntactical cohesion) and macro-level (plot and composition, imagery, themes and idea) of the literary text. There were found means of text cohesion such as lexical and syntactical repetitions. On the level of lexis, such various types of repetition were discovered as complete lexical repetition, partial repetition, synonymic and antonymic repetition, deixis, repetition of the interrogative adverb ‘why’. On the level of syntax, the analysis demonstrates a tendency to formal incompleteness of interrogative structures, on the one hand, which allows us to assume an implicit type of text cohesion, and, on the other hand, a tendency to formal complexity of interrogative structures, with parenthetic clauses, adverbial participial phrases and homogeneous parts of the sentence being frequently used. Stylistic analysis of ‘why’ questions shows that anaphora, antithesis, syntactical parallelism, parenthesis, ellipsis and aposiopesis are among the means of text cohesion in the text under consideration. The analysis of the novel on the macro-level demonstrates that ‘why’ questions function in the plot development, facilitate semantical cohesion between chapters, form thematical and conceptual unity of the literary text, and serve to promote the unity of imagery. The author concludes that ‘why’ questions facilitate the processes of semantical and syntactical compression, which are considered the main mechanisms of text production.

The research discusses deictic expressions or deixis in Nasreddin’s selected stories. The research method applied in the research is qualitative research while the theory that is used in the research is the theory of deixis by Yule that is used to analyze the deictic expressions in the story book. The researcher uses qualitative research because the data of this research are limited to the words or phrases having deictic expressions in the book of Nasreddin, A Man with Thousands Ideas. The aims of this research are to identify the type of deixis and explain the references that appear in the book. The result shows that there are three types of deixis that appear in the book. The analysis also shows that anaphoric and cataphoric references are found in the story book.

This study attempts to describe deiksis, persona deiksis, place deiksis, time deiksis discourse and deiksis socially on a novel Sang Pemimpi created by Andrea Hirata. The research is qualitative study. Data collection method used is a technique read and write down. Data in this study of novel titled Sang Pemimpi created by Andrea Hirata. Analysis technique is using a technique deskriptf analysis. From the data analysis, deiksis in a novel Sang Pemimpi. Persona deiksis having six part including; the first single pronouns (i), the second person single pronouns (you), demonstrative the third person singular (he), pronouns (we first plural, we), second plural pronouns (you), third plural pronouns (they). Deiksis place found in this experiment in which; here, there, in the market. Deiksis time found in the study of them now, now, last, first. Deiksis discourse found of them anaphora and katafora. While social deiksis found in the study is among them mrs, and b.a.

The article has been written on the basis of synchronic descriptive method in the study of the English language. It explores some ways of expressing the temporal deixis by means of demonstrative pronouns in the English language. It is noted in the article that demonstrative pronouns in the English language do not have any temporal meaning. The temporal meaning appears in the English language only in combination with nouns which denote time. In the English language temporal deixis is realized in the system of demonstration with the help of word combinations: this + noun, that + noun. The above mentioned word combinations fulfil anaphoric and cataphoric functions and can take different positions in the sentence. The article also covers discussion of linguistic views of scientists in this field. We think that urgency of the work just lies in the theoretical problems discussed in the article. The article is also of both theoretical and practical importance in the view of learning English and developing the science of linguistics as a whole.

This study advocates the investigation of soliloquy as a new approach in pragmatics research. The primary function of language is arguably to communicate with others, but language is also used to think. Thoughts constantly emerge in confluent streams of images, concepts, and ideas within the mind; to grasp and manage them, we need language. An analysis of soliloquy can open a window to a better understanding of our mental activities. Based on experimentally obtained soliloquy data in Japanese, three issues are considered: gendered language, the sentence-final particles ne and yo, and the ko-so-a demonstratives. It is demonstrated that soliloquy can shed new light on these widely studied topics. The conclusions reached include that (a) Japanese gendered language is more gendered than recent studies in the field claim, (b) ne and yo are used to monitor and control the speaker’s internal information processing, and (c) the deixis-anaphra distinction is not clear-cut.

The review accumulates the information on the Theory of Grounding and Saliency Hierarchy (based on publications that have not been translated into Russian) and describes the main modern trends in the study of grounding. The Theory of Grounding, designed in the last quarter of the 20th century, has since then been developing within linguistic, narratological, cognitive and translation studies, being applied to texts of various genres in many languages. Early works in this sphere elaborated the criteria characterizing the relative grounding of the clauses in the narrative (based on temporal sequentiality and transitivity), while later research, focusing on the wider range of texts including free indirect discourse and non-sequential prose, highlighted the subjectivity of grounding, including criteria of human importance and unpredictability into the analysis of the salient clauses. As a result the Theory of Grounding has contributed to various coexisting trends in the scientific research concerning subordination of clauses and anaphoric relations in texts on the one hand, and deixis, evaluation and perspective on the other. Touching upon these trends in the review, we pay special attention to the analysis of grounding within translation studies: the researchers focus on transitivity in translation, revealing and explaining the cases of non-intentional and purposeful changes in transitivity made by translators. The analysis of the deictic center shifts in original texts and their translations also contributes to our knowledge of grounding devices. Out of all publications, our special attention is drawn to the studies of grounding that employ Russian-language narrative materials.

This paper seeks to investigate the discourse roles of particles in Chiyao along with their environment of occurrence and scope of interpretation. The analysis is based on the data collected through audio-recording of traditional narratives which were later transcribed to identify utterances with particles. The findings establish that particles in Chiyao can occur in three major types of environment, namely within the NP as is the case with question particles, demonstrativeparticles, and exclusive particles; within the VP as is the case with question particles, exclusive particles, and negative particles; and in pre-sentential position (e.g. emotional particles, additive particles, and contrast particles). Concerning the scope of interpretation, the analysis indicates that particles that occur within the NP have their scope of interpretation limited to the NP, while the meaning of those that occur as part of the VP or in pre-sentential position applies to the entire sentence. As for the discourse roles, it is shown that the Chiyao particle performs different significant roles, including emphatic roles, such as emphasising negation; and exclusive roles, that is, to single out some elements within a clause from the rest of a clause in order to show focus. It is further shown that particles are used to signal interrogation, and for anaphoric purposes. Moreover, particles in Chiyao indicate deixis as well as emotions such as surprise,anger, disapproval and shock. Finally, particles indicate contrast and addition. These findings lead to a conclusion that the use of particles represents an important communicative strategy in Chiyao.

The article deals with the investigation of fundamentals and present state of multyparadigmal analyses of language units representing the system of coordinates of communication in the Ukrainian, Russian and English languagess. Coordinates of communication are presented in the work as a deictic start-point of communication “I – here – now”, defined by K. Buhler in his “Language Theory” as well as the related language units of the same semantics and functions in the languages. The specifics of these words and word combinations is in their possibility to express different types of reference changing them in frames of a certain context of communication act. Multy-paradigmality is described in the present article as a basis of complex methodology of modern researches on linguistics, in particular, contrastive linguistics and linguistics of translation. Many works of modern linguists have been done based on semantic or / and structural aspects of linguistic and pragmatic analyses of the system of communication coordinates at all or its particular representations (see works by Yu. Apresyan, N. Arytyunova, K. Buhler, K. Brugman, J. Lions, N. Kirvalidze, Ch. Fillmore, etc.). But there has not been done any complex multy-paradigmal researches of communication coordinate system before. Works of such a kind (see the ones by M. Avdonina, N. Zhabo, S. Terekhova, etc.) mainly characterize allomorphic and isomorphic features of the analyzed language units in Russian, English, French, and Ukrainian. This article represents roots, origin and patterns of multy-paradigmality of the characterized language units which are important for the future development of both contrastive linguistics and translation theory. It describes the procedure of multyparadigmal analyses of language units that is appropriate for the above mentioned fields of science. Lexical centric approach and textual centric one, being involved in the investigation, contain complex methodology of functional and semantic categories study that is appropriate for such language categories as deixis, reference, anaphor, etc. It contains complex, multy-paradigmal analyses of units of different language levels denoting “place or direction in space”, “time” and “person” indication. Multy-paradigmal approach provided in the research includes the following stages: 1) conceptual / logical and semantic analyses; 2) language units analyses (including structural, lexical and grammatical, functional and semantic ways of analyses); 3) psycholinguistic analyses (in particular, free associative experiment and its verifying). The results of the above mentioned procedure are supplied additionally with some extra-lingual facts complementing it. They essentially help to simplify the correct comprehension, understanding and learning of communication coordinates representations in speech for foreigners. The tendency to complex analyses of language units of different types has become regular for modern researches on contrastive linguistics as well as linguistics of translation for the last decades, although multyparadigmal investigations are yet less regular than other ones nowadays. The methodology and procedure of multy-paradigmal analyses can be varied partially in accordance with the material and purpose of the research however the principles of multy-paradigmality of both the above mentioned fields of science are out of changes, they are universal for Indo-European languages. The further investigations of multy-paradigmality in languages and translation appear in functional semantics, cognitive linguistics, language and culture studies, sociolinguistics, psycholinguistics, especially if they are developed based on the contrastive analyses.

This study discusses the analysis of deixis eksofora and endofora in the Jawa Pos Opinion column, March 29, 2017 edition. Researcher used qualitative methods with the object of research entitled Surrender or Cheating Type by Azrul Ananda. This study uses data documentation collection techniques in the network accessed on April 19, 2017 through Jawa Pos Online page. Data analysis technique used consists of four stages, including data collection phase, data reduction phase, data presentation phase, and conclusion withdrawal phase. The results show that Azrul Ananda in March 29, 2017 edition Opini column exploits the ecotoxid deixis persona, time, and space. The author Azrul Ananda also used the deoption of anaphoric endofora persona or not persona, but did not use the deoption endofora katafora persona or not persona. Keywords: Deixis, Opini column, Jawa Pos

AbstractThis paper analyzes the ko-so-a demonstratives in Japanese as they occur in experimentally-obtained soliloquy data. In soliloquy, the Japanese deixis system consists of a two-way opposition, viz. ko- vs. a-. So- appears only as an anaphor; its antecedent can be either familiar or unfamiliar to the speaker, contrary to Kuno’s (1973) analysis. It is also argued that ko- and a- are always deictic in soliloquy. Adopting Chafe’s (1994) theory of consciousness, it is hypothesized that (i) a- is used when the referent is in the speaker’s peripheral consciousness, and (ii) ko- is used to refer to an entity if it is already focused at the moment of speech. Finally, it is demonstrated that so- and a- exhibit the attributive-referential distinction, which is proposed by Donnellan (1966).

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.