This paper develops an account of accuracy and truth in pictorial assertion. It argues that there are two ways in which pictorial assertions can be indirect: with respect to their content and with respect to their target. This twofold indirectness explains how accurate, unedited pictures can be used to make false pictorial assertions. It captures the fishiness of true pictorial assertions involving target-indirectness, such as true pictorial assertions involving outdated pictures. And it raises the question whether target-indirectness may also arise (...) in linguistic assertion. (shrink)

As formal theoretical linguistic methodology has matured, recent years have seen the advent of applying it to objects of study that transcend language, e.g., to the syntax and semantics of music (Lerdahl & Jackendoff 1983, Schlenker 2017a; see also Rebuschat et al. 2011). One of the aims of such extensions is to shed new light on how meaning is construed in a range of communicative systems. In this paper, we approach this goal by looking at narrative dance in the form (...) of Bharatanatyam. We argue that a semantic approach to dance can be modeled closely after the formal semantics of visual narrative proposed by Abusch (2013, 2014, 2021). A central conclusion is that dance not only shares properties of other fundamentally human means of expression, such as visual narrative and music, but that it also exhibits similarities to sign languages and the gestures of non-signers (see, e.g., Schlenker 2020) in that it uses space to track individuals in a narrative and performatively portray the actions of those individuals. From the perspective of general human cognition, these conclusions corroborate the idea that linguistic investigations beyond language (see Patel-Grosz et al. forthcoming) can yield insights into the very nature of the human mind and of the communicative devices that it avails. (shrink)

This paper pursues the idea that human and non-human great apes share a common set of directive (imperative) gestures and their meanings. We investigate gestures that are multifunctional, in that they have different effects in different contexts, focusing on non-human ape gestures that communicate “Stop that” in some contexts, and “Move away” in others. What may superficially appear to be lexical ambiguity can be derived from a single abstract lexical entry, “Not X!”, concluded to be a candidate for a universal (...) building block of meaning, shared by human and non-human great apes, reflections of which may also be found in the pragmatic gestures in humans. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of logical (...) variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

In several sign languages, plurals can be realized with unpunctuated or punctuated repetitions of a noun, with different semantic implications; similar repetition-based plurals have been described in some homesigns and silent gestures. Unpunctuated repetitions often get approximate ‘at least’ readings while punctuated repetitions typically correspond to ‘exactly’ readings. The prevalence of these mechanisms could be thought to be a case in which Universal Grammar does not just specify the abstract properties of grammatical elements, but also their phonological realization, at least (...) in the visual modality. We explore an alternative in which punctuated and unpunctuated repetitions arise from general properties of iconic representations. On an empirical level, we argue that in ASL, punctuated and unpunctuated repetitions are unlikely to be an exclusively grammatical mechanism, as they can be found with purely iconic representations. On a theoretical level, we argue for a modular account with three components. First, repetition-based plurals can create a simplified pictorial representation. Second, unpunctuated repetitions give rise to pictorial vagueness, resolved by way of quantification over precisifications. Third, a pragmatic process involving strategic reasoning maps these vague representations onto a set of candidate linguistic meanings, including some ‘at least’ plural readings that are best expressed by unpunctuated repetitions. (shrink)

This dissertation may be divided into two parts. The first is about the Extended Gricean Model of information transmission. This model, introduced here, is meant to better explain how humans communicate and understand each other. It has been developed to apply to cases that were left unexplained by the two main models of communication found in contemporary philosophy and linguistics, i.e. the Gricean (pragmatic) model and the code (semantic) model. I discuss cases involving emotional reactions, ways of clothing, speaking, or (...) behaving that are not intended for communication but whose effects on the audience are controllable to some extent. I show why prevailing code and Gricean models cannot explain them and how my Extended Gricean Model does. The second part of the dissertation is about what emotional signs mean, in various senses of the term ‘mean'. I review existing theories of meaning and see how they apply to emotional signs, i.e. signs which give us information about the affective state of the sign producer. (shrink)

An ideography is a general-purpose code made of pictures that do not encode language, which can be used autonomously – not just as a mnemonic prop – to encode information on a broad range of topics. Why are viable ideographies so hard to find? I contend that self-sufficient graphic codes need to be narrowly specialized. Writing systems are only an apparent exception: At their core, they are notations of a spoken language. Even if they also encode nonlinguistic information, they are (...) useless to someone who lacks linguistic competence in the encoded language or a related one. The versatility of writing is thus vicarious: Writing borrows it from spoken language. Why is it so difficult to build a fully generalist graphic code? The most widespread answer points to a learnability problem. We possess specialized cognitive resources for learning spoken language, but lack them for graphic codes. I argue in favor of a different account: What is difficult about graphic codes is not so much learning or teaching them as getting every user to learn and teach the same code. This standardization problem does not affect spoken or signed languages as much. Those are based on cheap and transient signals, allowing for easy online repairing of miscommunication, and require face-to-face interactions where the advantages of common ground are maximized. Graphic codes lack these advantages, which makes them smaller in size and more specialized. (shrink)

We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of logical (...) variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.). (shrink)

As part of a recent attempt to extend the methods of formal semantics beyond language, it has been claimed that music has an abstract truth-conditional semantics, albeit one that has more in common with iconic semantics than with standard compositional semantics. After summarizing this approach and addressing a common objection, we argue that music semantics should be enriched in three directions by incorporating insights of other areas of Super Semantics. First, it has been claimed by Abusch 2013 that visual narratives (...) make use of discourse referents akin to those we find in language. We argue that a similar conclusion extends to music, and we highlight it by investigating ways in which orchestration and dance may make cross-referential dependencies more explicit. Second, we show that by bringing music semantics closer to the semantics of visual narratives, we can give an account of the semantics of mixed visual and musical sequences. Third, it has been claimed that co-speech gestures trigger characteristic conditionalized presuppositions, called ‘cosuppositions’, and that their semantic status derives from their parasitic character relative to words. We argue that the same conclusion extends to some instances of film and cartoon music: it may trigger cosuppositions that can be revealed by embedding film excerpts or gifs in sentences so as to test presupposition projection. We further argue that under special discourse conditions, pro-speech gestures and pro-speech music alike can trigger cosuppositions as well. These results suggest that new insights can be gained not just by extending the methods of semantics to new objects, but also by drawing new connections among them. (shrink)