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  1. Pretence and Echo: Towards an Integrated Account of Verbal Irony.Mihaela Popa-Wyatt - 2014 - International Review of Pragmatics 6 (1):127–168.
    Two rival accounts of irony claim, respectively, that pretence and echo are independently sufficient to explain central cases. After highlighting the strengths and weaknesses of these accounts, I argue that an account in which both pretence and echo play an essential role better explains these cases and serves to explain peripheral cases as well. I distinguish between “weak” and “strong” hybrid theories, and advocate an “integrated strong hybrid” account in which elements of both pretence and echo are seen as complementary (...)
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  • Sarcasm, Pretense, and The Semantics/Pragmatics Distinction.Elisabeth Camp - 2011 - Noûs 46 (4):587 - 634.
    Traditional theories of sarcasm treat it as a case of a speaker's meaning the opposite of what she says. Recently, 'expressivists' have argued that sarcasm is not a type of speaker meaning at all, but merely the expression of a dissociative attitude toward an evoked thought or perspective. I argue that we should analyze sarcasm in terms of meaning inversion, as the traditional theory does; but that we need to construe 'meaning' more broadly, to include illocutionary force and evaluative attitudes (...)
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  • Sarcastic ‘Like’: A Case Study in the Interface of Syntax and Semantics.Elisabeth Camp & John Hawthorne - 2008 - Philosophical Perspectives 22 (1):1-21.
    The expression ‘Like’ has a wide variety of uses among English and American speakers. It may describe preference, as in (1) She likes mint chip ice cream. It may be used as a vehicle of comparison, as in (2) Trieste is like Minsk on steroids.
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  • Prosody of humor in Sex and the City.Eduardo Urios-Aparisi & Manuela Maria Wagner - 2011 - Pragmatics and Cognition 19 (3):507-529.
    This article investigates the role of prosody in conversational humor in the HBO series Sex and the City in an exploratory study. Specifically, we examine how pitch and pauses are part of the prosodic bundle that can be used to mark an utterance as humoristic. We find that the use of prosodic resources participates not only in the marking but also the creation of humor. In this regard, we view pitch variation and pauses as having communicative strategies and cognitive benefits. (...)
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  • The clause as a locus of grammar and interaction.Elizabeth Couper-Kuhlen & Sandra A. Thompson - 2005 - Discourse Studies 7 (4-5):481-505.
    This article draws on work at the interface of grammar and interaction to argue that the clause is a locus of interaction, in the sense that it is one of the most frequent grammatical formats which speakers orient to in projecting what actions are being done by others' utterances and in acting on these projections. Yet the way in which the clause affords grammatical projectability varies significantly from language to language. In fact, it depends on the nature of the clausal (...)
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