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It could be alleged that present-day French linguistics is characterized by a specific connection between the epistemology of text and that of discourse. The contributions gathered in this volume aim to reconsider this link – or dichotomy? – in light of the latest research developments. They are organized in three parts: the first explores the text-discourse connection, while the second and third tackle the epistemologies of text and discourse.
Sensory Experiences: Exploring meaning and the senses describes the collective elaboration of a situated cognitive approach with an emphasis on the relations between language and cognition within and across different sensory modalities and practices. This approach, grounded in 40 years of empirical research, is a departure from the analytic, reductive view of human experiences as information processing. The book is structured into two parts. Each author first introduces the situated cognitive approach from their respective sensory domains (vision, audition, olfaction, gustation). The second part is the collective effort to derive methodological guidelines respecting the ecological validity of experimental investigations while formulating operational answers to applied questions (such as the sensory quality of environments and product design). This book will be of interest to students, researchers and practitioners dealing with sensory experiences and anyone who wants to understand and celebrate the cultural diversity of human productions that make life enjoyable!
French Prepositions is an in-depth study of the forms of both simple and compound prepositions and their use in modern French. It is designed for use by teachers and students who wish to express themselves correctly in French and are looking for a complete and reliable reference book.
While the human sense of smell has long been considered underdeveloped, there is, nonetheless, a growing body of literature to attest to its remarkable importance in human behaviour. However, there has been very little work conducted in linguistics, which is all the more regrettable as economic globalization has made it increasingly useful to communicate on odours in a variety of domains such as the wine and perfume industries. This volume brings together a number of studies on how olfactory experiences are verbalized, applying both pragmatic and theoretical approaches to better understanding the different strategies speakers use to talk of odours. Four major themes are investigated here. Part I (From Olfactory Perception to Verbalisation) examines the various, complex cognitive operations implemented in the process of olfactory perception. Explorations of recollection processes, also crucial for odour verbalization, provide important insights into how cultural conditions contribute to shaping olfactory memories. Part II (Categories and Hedonic Valence) focuses on how speakers circumvent paucity in vocabulary to describe odours in a variety of ways. Sorting operations make it possible to either select an appropriate linguistic label for a given odour or to compensate for the lack thereof by using consistent descriptions. Indeed, although such cognitive operations are influenced by a subject’s environment, cultural representations and goals, the contributions to this section show that hedonic value is crucial for categorizing odours. Part III (Lexical and Cultural Variation) illustrates that some languages spoken on the African continent (such as the Arabic and Bantu languages) are relatively rich in their olfactory lexicon, thereby revealing the greater attention paid to odours in these societies. That being said, such relative richness or paucity can be modulated through a variety of mechanisms which shape the linguistic output, as exemplified in Part IV (Putting Odours into Words), where the olfactory lexicons of two Indo-European languages (French and Greek) are analysed from a comparative perspective.
By exploring the many different types and forms of contemporary musical instruments, this book contributes to a better understanding of the conditions of instrumentality in the 21st century. Providing insights from science, humanities and the arts, authors from a wide range of disciplines discuss the following questions: · What are the conditions under which an object is recognized as a musical instrument? · What are the actions and procedures typically associated with musical instruments? · What kind of (mental and physical) knowledge do we access in order to recognize or use something as a musical instrument? · How is this knowledge being shaped by cultural conventions and temporal conditions? · How do algorithmic processes 'change the game' of musical performance, and as a result, how do they affect notions of instrumentality? · How do we address the question of instrumental identity within an instrument's design process? · What properties can be used to differentiate successful and unsuccessful instruments? Do these properties also contribute to the instrumentality of an object in general? What does success mean within an artistic, commercial, technological, or scientific context?
This book is a compilation of poems, prose, and lyrics drawn from the author's life experiences. Follow her through the highs and the lows of a lifetime of passions and loves, hopes and joys, sorrows and devastations, deaths and rebirths. Lose yourself in the rhythm and the colorful sound of the words. The author draws you into her world, offering a glimpse of the texture of her life, which you may find as interesting and resounding to part of your own. So Mote It Be!
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