The quotational theory of free indirect discourse postulates that pronouns and tenses are systematically unquoted. But where does this unquotation come from? Based on cases of apparent unquotation in direct discourse constructions (including data from Kwaza speakers, Catalan signers, and Dutch children), I suggest a general pragmatic answer: unquotation is essentially a way to resolve a conflict that arises between two opposing constraints. On the one hand, the reporter wants to use indexicals that refer directly to the most salient speech (...) act participants and their surroundings (Attraction). On the other hand, the semantics of direct discourse (formalized here in terms of event modification) entails the reproduction of referring expressions from the original utterance being reported (Verbatim). Unquotation (formalized here also in terms of event modification), allows the reporter to avoid potential conflicts between these constraints. Unquotation in free indirect discourse then comes out as a special case, where the salient source of attraction is the story protagonist and her actions, rather than the reporting narrator and his here and now. (shrink)

This introduction aims to familiarize readers with basic dimensions of variation among pictorial and diagrammatic representations, as we understand them, in order to serve as a backdrop to the articles in this volume. Instead of trying to canvas the vast range of representational kinds, we focus on a few important axes of difference, and a small handful of illustrative examples. We begin in Section 1 with background: the distinction between pictures and diagrams, the concept of systems of representation, and that (...) of the properties of usage associated with signs. In Section 2 we illustrate these ideas with a case study of diagrammatic representation: the evolution from Euler diagrams to Venn diagrams. Section 3 is correspondingly devoted to pictorial representation, illustrated by the comparison between parallel and linear perspective drawing. We conclude with open questions, and then briefly summarize the articles to follow. (shrink)

The issues addressed in philosophical papers on quotation generally concern only a particular type of quotation, which I call ‘closed quotation’. The other main type, ‘open quotation’, is ignored, and this neglect leads to bad theorizing. Not only is a general theory of quotation out of reach: the specific phenomenon of closed quotation itself cannot be properly understood if it is not appropriately situated within the kind to which it belongs. Once the distinction between open and closed quotation has been (...) drawn and properly appreciated, it is tempting to consider that only closed quotation is relevant to semantics. Open quotation is more a matter of pragmatics: it is a matter of what people do with words, rather than a matter of content and truth-conditions. In this way one can provide the beginning of a justification for the neglect of open quotation in current semantic theorizing. There is some truth in this view, yet the phenomenon of ‘mixed quotation’, investigated at length in this paper, is interesting precisely because it shows that things are not so simple. Important issues concerning the interface between semantics and pragmatics will thus be raised. (shrink)

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

Sometimes form-meaning mappings in language are not arbitrary, but iconic: they depict what they represent. Incorporating iconic elements of language into a compositional semantics faces a number of challenges in formal frameworks as evidenced by the lengthy literature in linguistics and philosophy on quotation/direct speech, which iconically portrays the words of another in the form that they were used. This paper compares the well-studied type of iconicity found with verbs of quotation with another form of iconicity common in sign languages: (...) classifier predicates. I argue that these two types of verbal iconicity can, and should, incorporate their iconic elements in the same way using event modification via the notion of a context dependent demonstration. This unified formal account of quotation and classifier predicates predicts that a language might use the same strategy for conveying both, and I argue that this is the case with role shift in American Sign Language. Role shift is used to report others’ language and thoughts as well as their actions, and recently has been argued to provide evidence in favor of Kaplanian “monstrous” indexical expressions. By reimagining role shift as involving either quotation for language demonstrations or “body classifier” predicates for action demonstrations, the proposed account eliminates one major argument for these monsters coming from sign languages. Throughout this paper, sign languages provide a fruitful perspective for studying quotation and other forms of iconicity in natural language due to their lack of a commonly used writing system which is otherwise often mistaken as primary data instead of speech, the rich existing literature on iconicity within sign language linguistics, and the ability of role shift to overtly mark the scope of a language report. In this view, written language is merely a special case of a more general phenomenon of sign and speech demonstration, which accounts more accurately for natural language data by permitting more strict or loose verbatim interpretations of demonstrations through the context dependent pragmatics. (shrink)

In this volume, Geurts takes discourse representation theory (DRT), and turns it into a unified account of anaphora and presupposition, which he applies not only to the standard problem cases but also to the interpretation of modal expressions, attitude reports, and proper names. The resulting theory, for all its simplicity, is without doubt the most comprehensive of its kind to date. The central idea underlying Geurts' 'binding theory' of presupposition is that anaphora is just a special case of presupposition projection. (...) But this is only one of the ways in which the concept of presupposition is taken beyond its traditional limits. Geurts shows, furthermore, that presupposition projection is crucially involved in several phenomena that are not usually viewed in presuppositional terms, such as modal subordination, de re readings of attitude reports, and rigid designation. While making his case for DRT and the binding theory, Geurts also presents an incisive analysis of what is probably still the most influential account of presupposition, viz. the satisfaction theory, demonstrating that there are fundamental problems not only with this theory but with the very framework in which it is couched. (shrink)