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Books on the topic 'Two-word utterances three-word utterances'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Siemon, James R. Word against word: Shakespearean utterance. University of Massachusetts Press, 2002.

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2

Word against word: Shakespearean utterance. University of Massachusetts Press, 2002.

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3

The last word: A sparkling collection of put-downs, epitaphs, final utterances, touching tributes and damining dismissals. Warner, 1995.

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4

Sinden, Donald. The last word: A sparkling collection of put-downs, epitaphs, final utterances, touching tributes and damning dismissals. Robson Books, 1993.

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5

The last word: A sparkling collection of put-downs, epitaphs, final utterances, touching tributes and damning dismissals. Robson Books, 1994.

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6

Goyet, Louise, Séverine Millotte, Anne Christophe, and Thierry Nazzi. Processing Continuous Speech in Infancy. Edited by Jeffrey L. Lidz, William Snyder, and Joe Pater. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199601264.013.8.

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The present chapter focuses on fluent speech segmentation abilities in early language development. We first review studies exploring the early use of major prosodic boundary cues which allow infants to cut full utterances into smaller-sized sequences like clauses or phrases. We then summarize studies showing that word segmentation abilities emerge around 8 months, and rely on infants’ processing of various bottom-up word boundary cues and top-down known word recognition cues. Given that most of these cues are specific to the language infants are acquiring, we emphasize how the development of these abilities varies cross-linguistically, and explore their developmental origin. In particular, we focus on two cues that might allow bootstrapping of these abilities: transitional probabilities and rhythmic units.

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7

Wagner, Michael. Information Structure and Production Planning. Edited by Caroline Féry and Shinichiro Ishihara. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199642670.013.39.

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Utterances are planned and realized incrementally. Which information is salient or attended to prior to initiating an utterance has influences on choices in argument structure and word order, and affects the prosodic prominence of the constituents involved. Many phenomena that the linguistic literature usually treats as reflexes of the grammatical encoding of information structure, such as the early ordering of topics, or the prosodic reduction of old information, are treated in the production literature as a consequence of how contextual salience interacts with production planning. This article reviews information structural effects that arise as a consequence of how syntactic and phonological information is incrementally encoded in the production process, and how we can tell these effects apart from grammatically encoded aspects of information structure that form part of the message.

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8

Cobbing, Bob, Lawrence Upton, and Ro Sheppard. Word Score Utterance Choreography: In Verbal and Visual Poetry. Writers' Forum, 1999.

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9

Ridouane, Rachid, and Pierre A. Hallé. Word-initial geminates. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754930.003.0004.

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This study investigates the relationship between the production and perception of word-initial gemination in stops and fricatives in Tashlhiyt Berber. Gemination in this language is primarily implemented through longer duration, even for utterance-initial voiceless stops. This timing information is sufficient for native listeners to identify geminate fricatives and voiced stops and distinguish them from their singleton counterparts. For voiceless stops, however, native listeners’ discrimination performance is only slightly above chance level. Native speakers can thus encode a phonemic contrast at the articulatory level and yet be unable to fully decode it at the perceptual level. Implications of these results for the general issue of phonological representation of gemination are briefly discussed.

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10

Sinden, Donald. The Last Word: A Sparkling Collection of Put-Downs, Epitphs, Final Utterances, Touching Tributes and Damning Dismissals. Robson Books, 2002.

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11

Sinden, Donald. The Last Word: A Sparkling Collection of Put-downs, Epitaphs, Final Utterances, Touching Tributes and Damning Dismissals. Robson Books Ltd, 1998.

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12

Baz, Avner. Contemporary “Contextualism” and the Twilight of Representationalism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198801887.003.0005.

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The chapter considers the bearing of contemporary semantic “contextualism”—as championed by philosophers such as David Lewis and Charles Travis—on the philosophical method of cases. In maintaining that the contribution a word makes to the overall sense of an utterance depends in part on the context of the utterance, contemporary contextualism already challenges the philosophical method of cases as commonly practiced. The chapter argues, however, that in holding on to the representationalist conception of language, contemporary contextualism does not go far enough in revealing the misguidedness of the philosophical method of cases. The chapter also argues that, though J. L. Austin has commonly been identified as a forefather of contextualism, his work actually points away from the representationalist conception of language to which contemporary contextualists are still committed.

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13

Valentini, Valentina. The Dramaturgy of Sound and Vocality in the Theatre of Socìetas Raffaello Sanzio. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.29.

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This chapter examines the vocal and sonorous dramaturgy of a series of performances by the Italian experimental theatre company Socìetas Raffaello Sanzio, fromSanta Sofia(1986) to the cycleTragedia Endogonidia(2002–2004). The company aimed to create a new language calledGeneralissima, to satisfy the need for a re-foundation of theanti-logosof the word. Thus it experimented with the conflict that exists between voice and body and between the spoken word and action. The voice constitutes a terrain for experimentation, an adequate domain for the theatre to be regenerated, using the body to the side of technological manipulation of the voice. The aim is to allow the story to be told by sound, by the materiality of the voice, of the text and of the senseless utterances, together with the tactile sensations created by the physical characteristics of the environment.

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14

Bever, Thomas G. The Unity of Consciousness and the Consciousness of Unity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190464783.003.0005.

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Every language-learning child eventually automatically segments the organization of word sequences into natural units. Within the natural units, processing of normal conversation reveals a disconnect between listener’s representation of the sound and meaning of utterances. A compressed or absent word at a point early in a sequence is unintelligible until later acoustic information, yet listeners think they perceived the earlier sounds and their interpretation as they were heard. This discovery has several implications: Our conscious unified experience of language as we hear and simultaneously interpret it is partly reconstructed in time-suspended “psychological moments”; the “poverty of the stimulus language learning problem” is far graver than usually supposed; the serial domain where such integration occurs may be the “phase,” which unifies the serial percept with structural assignment and meanings; every level of language processing overlaps with others in a “computational fractal”; each level analysis-by-synthesis interaction of associative-serial and structure dependent processes.

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15

Hydén, Lars-Christer. Embodied Memories. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199391578.003.0006.

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For persons with dementia, engaging in joint activities like storytelling is fraught with challenges related to the fact that fewer linguistic and cognitive resources are available, compared with before the disease. Of particular importance are challenges concerning finding words and names, constructing utterances and stories, as well as remembering events and stories—and the combined effect of these. Having fewer resources available makes it difficult to tell stories in conversations, to listen to others’ storytelling, or to identify and grab a turn in a conversation to put in a word. One alternative is for the person with dementia to use embodied resources. The person with dementia can use other resources in combination with abilities that are still fully functional. Instead of gestures accompanying words in a story, gestures can take the lead role, with words only stressing or supporting bodily gestures, or gestures may even replace words entirely.

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16

Pearce, Kenneth L. Berkeley’s Theory of Language in Alciphron 7. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198790334.003.0004.

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Berkeley’s most detailed discussion of the philosophy of language appears in Alciphron. Although Berkeley’s discussion is motivated by problems about religious language raised by John Toland, his response is not to develop a theory of religious language as a special case but rather to defend a general theory of language and show that the meaningfulness of these religious utterances is a consequence of that theory. The theory Berkeley adopts holds that words get to be meaningful when they are used according to conventional rules as part of a public social practice aiming at practical ends. Berkeley does not endorse a sharp distinction between emotive and cognitive language, but rather holds that one and the same word is typically associated with a wide variety of rules, which may instruct users not only to have ideas but also to feel emotions or perform a variety of linguistic or non-linguistic actions.

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17

Ward, Gregory, Betty J. Birner, and Elsi Kaiser. Pragmatics and Information Structure. Edited by Yan Huang. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199697960.013.10.

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Information structure deals with the question of how—and specifically, in what order—we choose to present the informational content of a proposition. In English and many other languages, this content is structured in such a way that given, or familiar, information precedes new, or unfamiliar, information. Because givenness and newness are largely matters of what has come previously in the discourse, information structuring is inextricably tied to matters of context—in particular, the prior linguistic context—and this is what makes information structure quintessentially pragmatic in nature. While it has long been recognized that various non-canonical word orders function to preserve a given-before-new ordering in an utterance, a great deal of research has focused on how to determine the specific categories of givenness and newness that matter for information structuring. A growing body of psycholinguistic work explores the role that these categories play in language comprehension.

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18

Wilberg, Henrik. Friedrich Hölderlin. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0015.

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In the preface to Stanzas, Agamben unambiguously provides the setting for his engagement with Friedrich Hölderlin: The name of Hölderlin – of a poet, that is, for whom poetry was above all problematic and who often hoped that it would be raised to the level of mechane (mechanical instrument) of the ancients so that its procedures could be calculated and taught – and the dialogue that with its utterance engages a thinker who no longer designates his own meditation with the name of ‘philosophy’ are invoked here to witness the urgency, for our culture, of rediscovering the unity of our fragmented word. (S xvii) Hölderlin is invoked as a poet who occupies a singular position among poets, one for whom poetry was ‘above all problematic’ – problematic in the sense that it persists as a discourse of recovery with regard to something that is not itself exclusively ‘poetic’. In this capacity, the peculiar fracture of poetic discourse in Hölderlin is a ‘witness to the urgency’ of what is singled out as the main theme of Stanzas: the scission, in ‘our culture’, between poetry and philosophy with regard to objects of experience. Complementing this problematisation of poetry in Hölderlin, however, is the equally problematic discourse of ‘a thinker who no longer designates his own meditations with the name of “philosophy”’.

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