Abstract“Force dynamics” refers to a previously neglected semantic category—how entities interact with respect to force. This category includes such concepts as: the exertion of force, resistance to such exertion and the overcoming of such resistance, blockage of a force and the removal of such blockage, and so forth. Force dynamics is a generalization over the traditional linguistic notion of “causative”: it analyzes “causing” into finer primitives and sets it naturally within a framework that also includes “letting,”“hindering,”“helping,” and still further notions. (...) Force dynamics, moreover, appears to be the semantic category that uniquely characterizes the grammatical category of modals, in both their basic and epistemic usages. In addition, on the basis of force dynamic parameters, numerous lexical items fall into systematic semantic patterns, and there exhibit parallelisms between physical and psychosocial reference. Further, from research on the relation of semantic structure to general cognitive structure, it appears that the concepts of force interaction that are encoded within language closely parallel concepts that appear both in early science and in naive physics and psychology. Overall, force dynamics thus emerges as a fundamental notional system that structures conceptual material pertaining to force interaction in a common way across a linguistic range: the physical, psychological, social, inferential, discourse, and mental-model domains of reference and conception. (shrink)

It seems to me that the ingredients of most theories both in Artificial Intelligence and in Psychology have been on the whole too minute, local, and unstructured to account–either practically or phenomenologically–for the effectiveness of common-sense thought. The "chunks" of reasoning, language, memory, and "perception" ought to be larger and more structured; their factual and procedural contents must be more intimately connected in order to explain the apparent power and speed of mental activities.

Chomsky proposes a reformulation of the theory of transformational generative grammar that takes recent developments in the descriptive analysis of particular ...

Noam Chomsky's book on syntactic structures is a serious attempts on the part of a linguist to construct within the tradition of scientific theory-construction ...

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to (...) the work of Christian Metz. . . . The first book to be written in this field, [ Film Language ] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen. (shrink)

In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...

This article takes stock of the basic notions of Information Structure (IS). It first provides a general characterization of IS following Chafe (1976) within a communicative model of Common Ground (CG), which distinguishes between CG content and CG management. IS is concerned with those features of language that concern the local CG. It then defines and discusses the notions of Focus (as indicating alternatives) and its various uses, Givenness (as indicating that a denotation is already present in the CG), and (...) Topic (as specifying what an statement is about). It also proposes a new notion, Delimitation, which comprises contrastive topics and frame setters, and indicates that the current conversational move does not satisfy the local communicative needs totally. It also points out that the rhetorical structuring partly belongs to IS. (shrink)

This book emphasizes the role of semantics as a bridge between the theory of language and the theories of other cognitive capacities such as visual perception...

Semantic Structures is a large-scale study of conceptual structure and its lexical and syntactic expression in English that builds on the theory of Conceptual...

Herbert Clark argues that language use is more than the sum of a speaker speaking and a listener listening. It is the joint action that emerges when speakers and listeners, writers and readers perform their individual actions in coordination, as ensembles. In contrast to work within the cognitive sciences, which has seen language use as an individual process, and to work within the social sciences, which has seen it as a social process, the author argues strongly that language use embodies (...) both individual and social processes. (shrink)

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Presenting a landmark in linguistics and cognitive science, Ray Jackendoff proposes a new holistic theory of the relation between the sounds, structure, and meaning of language and their relation to mind and brain. Foundations of Language exhibits the most fundamental new thinking in linguistics since Noam Chomsky's Aspects of the Theory of Syntax in 1965—yet is readable, stylish, and accessible to a wide readership. Along the way it provides new insights on the evolution of language, thought, and communication.

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by a wide range of examples from various periods and countries, the authors strive to help students develop a core set of analytical skills that will deepen their understanding of any film, in any genre. Frame enlargements throughout the text (...) enable students to view images taken directly from completed films, while an optional, text-specific tutorial CD-ROM helps clarify and reinforce specific concepts addressed in the text with the use of film clips. Building on these strengths, the ninth edition adds coverage of new technologies, updated examples, and references to the authors' acclaimed weblog to provide unparalleled currency and connect students with the world of cinema today. (shrink)

“Force dynamics” refers to a previously neglected semantic category—how entities interact with respect to force. This category includes such concepts as: the exertion of force, resistance to such exertion and the overcoming of such resistance, blockage of a force and the removal of such blockage, and so forth. Force dynamics is a generalization over the traditional linguistic notion of “causative”: it analyzes “causing” into finer primitives and sets it naturally within a framework that also includes “letting,”“hindering,”“helping,” and still further notions. (...) Force dynamics, moreover, appears to be the semantic category that uniquely characterizes the grammatical category of modals, in both their basic and epistemic usages. In addition, on the basis of force dynamic parameters, numerous lexical items fall into systematic semantic patterns, and there exhibit parallelisms between physical and psychosocial reference. Further, from research on the relation of semantic structure to general cognitive structure, it appears that the concepts of force interaction that are encoded within language closely parallel concepts that appear both in early science and in naive physics and psychology. Overall, force dynamics thus emerges as a fundamental notional system that structures conceptual material pertaining to force interaction in a common way across a linguistic range: the physical, psychological, social, inferential, discourse, and mental‐model domains of reference and conception. (shrink)

Aspects of Schema Theory J. M. Mandler. obligatory. Other researchers have also found a good deal of overlap in the items generated by their subjects for common event sequences, including studies in which very young children are asked to ...

This groundbreaking book offers a new and compelling perspective on the structure of human language. The fundamental issue it addresses is the proper balance between syntax and semantics, between structure and derivation, and between rule systems and lexicon. It argues that the balance struck by mainstream generative grammar is wrong. It puts forward a new basis for syntactic theory, drawing on a wide range of frameworks, and charts new directions for research. In the past four decades, theories of syntactic structure (...) have become more abstract, and syntactic derivations have become ever more complex. Peter Culicover and Ray Jackendoff trace this development through the history of contemporary syntactic theory, showing how much it has been driven by theory-internal rather than empirical considerations. They develop an alternative that is responsive to linguistic, cognitive, computational, and biological concerns. At the core of this alternative is the Simpler Syntax Hypothesis: the most explanatory syntactic theory is one that imputes the minimum structure necessary to mediate between phonology and meaning. A consequence of this hypothesis is a far richer mapping between syntax and semantics than is generally assumed. Through concrete analyses of numerous grammatical phenomena, some well studied and some new, the authors demonstrate the empirical and conceptual superiority of the Simpler Syntax approach.Simpler Syntax is addressed to linguists of all persuasions. It will also be of central interest to those concerned with language in psychology, human biology, evolution, computational science, and artificial intellige. (shrink)

Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic resonance imaging (...) (MRI). We identified three degrees of continuity that can occur at editing locations: edits that are continuous in space, time, and action; edits that are discontinuous in space or time but continuous in action; and edits that are discontinuous in action as well as space or time. Discontinuities in action had the biggest impact on behavioral event segmentation, and discontinuities in space and time had minor effects. Edits were associated with large transient increases in early visual areas. Spatial-temporal changes and action changes produced strikingly different patterns of transient change, and they provided evidence that specialized mechanisms in higher order perceptual processing regions are engaged to maintain continuity of action in the face of spatiotemporal discontinuities. These results suggest that commercial film editing is shaped to support the comprehension of meaningful events that bridge breaks in low-level visual continuity, and even breaks in continuity of spatial and temporal location. (shrink)

We evaluate the “story grammar” approach to story understanding from three perspectives. We first examine the formal properties of the grammars and find only one to be formally adequate. We next evaluate the grammars empirically by asking whether they generate all simple stories and whether they generate only stories. We find many stories that they do not generate and one major class of nonstory that they do generate. We also evaluate the grammars' potential as comprehension models and find that they (...) would add nothing to semantic models that focus on the story content. Hence we advocate a story content oriented approach to studying story understanding instead of the structural story grammar approach. (shrink)

Three experimental tasks—spontaneous telling of a story, reading, and parsing the story—were used to determine whether empirical data reflect the narrative structure of stories and can be predicted by a plot unit analysis of the stories (Lehnert, 1981). It was found that spontaneous pause durations at sentence breaks were highly correlated with the importance of these breaks as predicted theoretically. Only low correlations were obtained, however, when reading pause durations were correlated with the model. As for parsing values, the value (...) of the correlation coefficients depended on whether stories had sufficient superficial linguistic cues to help the subjects in parsing. It was concluded that spontaneous pausing not only reflects the narrative structure of stories, but can be used as a guide to constructing theories of narrative structure as well as for deciding between competing theories. (shrink)