A psychologically plausible analysis of the way we assign illocutionary forces to utterances is formulated using a 'contextualist' analysis of what is said. The account offered makes use of J. L. Austin's distinction between phatic acts (sentence meaning), locutionary acts (contextually determined what is said), illocutionary acts, and perolocutionary acts. In order to avoid the conflation between illocutionary and perlocutionary levels, assertive, directive and commissive illocutionary forces are defined in terms of inferential potential with respect to the common ground. Illocutionary (...) forces are conceived as automatic but optional components of the process of interpretation. (shrink)

Digital systems are reshaping how we engage with music as a sounding dimension of cultural life that is capable of being transformed into a commodity. At the same time, as we increasingly engage through digital media with each other and with virtual others, attributes of music that underpin our capacity to interact communicatively are disregarded or overlooked within those media. Even before the advent of technologies of music reproduction, music was susceptible to assimilation into economic acts of exchange. What is (...) new in the digital world is the way in which modes of engagement with music are themselves being absorbed into an economy built on the datafication of virtual acts and the digital shadows of casual preferences. But music is more than just sounds that are culturally sanctioned as musical. Music is manifested as behaviours, and in interactive behaviour. Music is participatory as well as presentational, and in the participatory mode—involving collective, non-specialist, interactive real-time music-making—has significant individual and social consequences. Yet music as real-time participation is largely absent from the virtual world, with potential social costs that remain to be understood. Moreover, our everyday, face-to-face communicative—conversational—interactions are imbued with patterns between interlocutors that are musical, in that they share features with what we are happy to describe as “music”. These features are presently lacking in digital systems designed to subserve communicative functions, and this paper will consider the significant implications for our interactions with machines to which their successful incorporation into voice–user interfaces would give rise. (shrink)

We offer an analysis of future morphemes as epistemic operators. The main empirical motivation comes from the fact that future morphemes have systematic purely epistemic readings—not only in Greek and Italian, but also in Dutch, German, and English will. The existence of epistemic readings suggests that the future expressions quantify over epistemic, not metaphysical alternatives. We provide a unified analysis for epistemic and predictive readings as epistemic necessity, and the shift between the two is determined compositionally by the lower tense. (...) Our account thus acknowledges a systematic interaction between modality and tense—but the future itself is a pure modal, not a mixed temporal/modal operator. We show that the modal base of the future is nonveridical, i.e. it includes p and ¬p worlds, parallel to epistemic modals such as must, and present arguments that future morphemes are a category that stands in between epistemic modals and predicates of personal taste. We identify, finally, a subclass of epistemic futures which are ratificational, and argue that will is a member of this class. (shrink)

There is a widespread assumption in Construction Grammar (but also before and elsewhere) that the meanings of verbs correlate with or even determine their complementation forms and patterns. There is much less research on noun complementation, however, although this category is even more interesting for a number of reasons such as the potential for valency reduction, nominal topicalization constructions, and additional complementation options, e.g.of-PPs and existential constructions.In this paper we focus on the class of nouns reporting commissive illocutionary acts (promise, (...) offer, pledge, refusal, bet, threat, etc.), and address the question of whether there is a correlation (i) between the meaning of these nouns and their preferred complementation patterns, and (ii) between their semantic similarity and their similarity in the distribution of complementation patterns.We report the results of a study of a set of 17 commissive nouns chosen from a wider collection of illocutionary nouns. Two types of analysis were carried out in order to compare the semantic and grammatical characteristics of these nouns. The semantic analysis was based on insights from speech act theory and the philosophy of language. We developed a framework for a systematic comparative description of the nouns in our word field. The results were tallied with a corpus-based grammatical analysis. Two hundred tokens of each noun type were randomly sampled from the Corpus of Contemporary American English. Using these data, the 17 nouns were subjected to an analysis of the relative frequencies of their complementation patterns.Results indicate a general match between noun meanings and complementation patterns. More specifically, however, they indicate that the closeness of this match depends on the prototypicality of nouns as members of the class of commissives.The study, then, contributes to our understanding of the relation between lexis and syntax. At the same time, it confirms the need for a close semantic analysis to account for the great extent to which item-specific information, i.e. properties of individual nouns, have to be taken into consideration at the expense of large-scale generalizations. (shrink)