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2017 collection (152 titles)
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2017 collection (152 titles)
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Collection Contents
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The Story of Zero
show More to view fulltext, buy and share links for: show Less to hide fulltext, buy and share links for:Author(s): T. GivónThe zero coding of referents or other clausal constituents is one of the most natural, communicatively and cognitively-transparent grammatical devices in human language. Together with its functional equivalent, obligatory pronominal agreement, zero is both extremely widespread cross-linguistically and highly frequent in natural text. In the domain of reference, zero represents, somewhat paradoxically, either anaphorically-governed high continuity or cataphorically-governed low topicality. And whether in conjoined/chained or syntactically-subordinate clauses, zero is extremely well-governed, at a level approaching 100% in natural text. The naturalness, cross-language ubiquity and well-governedness of zero have been largely obscured by an approach that, for 30-odd years, has considered it a typological exotica, the so-called "pro-drop" associated with a dubious "non-configurational" language type. The main aim of this book is to reaffirm the naturalness, universality and well-governedness of zero by studying it from four closely related perspectives: (i) cognitive and communicative function; (ii) natural-text distribution; (iii) cross-language typological distribution; and (iv) the diachronic rise of referent coding devices. The latter is particularly central to our understanding the functional interplay between zero anaphora, pronominal agreement and related referent-coding devices.
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Worldmaking
Editor(s): Tom Clark, Emily Finlay and Philippa Kellyshow More to view fulltext, buy and share links for: show Less to hide fulltext, buy and share links for:In 1978, Nelson Goodman explored the relation of “worlds” to language and literature, formulating the term, “worldmaking” to suggest that many other worlds can as plausibly exist as the “world” we know right now. We cannot catch or know “the world” as such: all we can catch are the world versions - descriptions, views or workings of the world – that are expressed in symbolic systems (words, music, dancing, visual representations). Over the twenty-five years since then, creative works have played a crucial role in realigning, reshaping and renegotiating our understandings of how worlds can be made and preserved in the face of globalizing trends.
The volume is divided into three sections, each engaging with worlds as malleable constructs. Central to all of the contributions is the question: how can we understand the relationships between natural, political, cultural, fictional, literary, linguistic and virtual worlds, and why does this matter?
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