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This book reconsiders the linguistic notion of emphasis. For many, the concept of emphasis is confined to information structure. However, our understanding of the grammatical reflexes of emphasis is only partial as long as the expressive side of utterances is not taken into account. The book explores similarities, differences, and interactions between information structure and the expressive dimension of language in the domain of natural language grammar. Specifically, this monograph demonstrates that specific word order options, sometimes in combination with discourse particles, yield meaning effects that are typical for the expressive side of utterances and endow them with an exclamative flavor. Approaching this issue from a syntactic point of view, the book shows that there are syntactic categories (e.g., a certain class of particle verbs) and word orders (e.g., certain fronting patterns involving discourse particles) that directly connect to expressive meaning components. The work presented in this monograph combines theoretical analysis with experimental evidence from both perception and production studies.
No detailed description available for "Syntactic Structures".
To understand the international legal order in the field of criminal law, we need to ask three elementary questions. What is international law? What is criminal law? And what happens to these two fields when they are joined together? Volume Two of The Grammar of Criminal Law sets out to answer these questions through a series of twelve dichotomies - such as law vs. justice, intention vs. negligence, and causation vs. background events - that invite the reader to better understand the jurisprudential foundations of international criminal law. The book will appeal to anyone interested in the future of international cooperation in a time of national retrenchment, and will be of interest to students, scholars, and policymakers around the world.
Analyzing Grammar is a clear introductory textbook on grammatical analysis, designed for students beginning to study the discipline. Covering both syntax (the structure of phrases and sentences) and morphology (the structure of words), it equips them with the tools and methods needed to analyze grammatical patterns in any language. Students are shown how to use standard notational devices such as phrase structure trees and word-formation rules, as well as prose descriptions. Emphasis is placed on comparing the different grammatical systems of the world's languages, and students are encouraged to practice the analyses through a diverse range of problem sets and exercises. Topics covered include word order, constituency, case, agreement, tense, gender, pronoun systems, inflection, derivation, argument structure and grammatical relations, and a useful glossary provides a clear explanation of each term. Accessibly written and comprehensive, Analyzing Grammar is set to become a key text for all courses in grammatical analysis.
Written by a life-long language practioner who has spoken isiXhosa since childhood, this grammar represents a significant advance in understanding the structure of isiXhosa, the language of more than 8 million South Africans. In this ground-breaking book isiXhosa is described in its own right, freeing it from preconceived grammatical ideas derived from European languages. All the features of the language are portrayed in this revisionist grammar that reinvents isiXhosa as a language with its own genius. All students of isiXhosa urgently need this book. Both mother-tongue speakers and those studying isiXhosa as a second or third language have to take cognisance of this new approach to escape the restrictions imposed by a Eurocentric bias. It is essential to authors of textbooks and those who prescribe syllabi. It is also of significance for those attempting to gain insight in the structure of related African languages.
A to is Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called "Vienna School," Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method with its emphasis on decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects or what would now be called visual or material culture, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). At last, his Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is available to an English-language audience, in a superlative translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical "surveys," Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives, from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions. Book jacket.