In the first part of this article, we show that, contrary to the Gricean tradition, inter-clausal and is not semantically equivalent to logical conjunction and, contrary to temporal approaches such as Bar-Levand Palacas 1980, it is not temporallyloaded. We then explore a commonsenseidea – namely that while sentence juxtaposition might be interpreted either as discourse coordination or subordination, and indicates coordination. SDRT already includes notions of coordinating and subordinating discourse relations (cf. Lascarides and Asher 1993, Asher 1993), and the meaning (...) of and is related to this distinction. Similar distinctions that play a crucial role in anaphora resolution have also appeared in AI – cf. Scha and Polanyi 1988, or Webber 1991. However, this discourse-structure-based distinction has not been well defined yet, and our approach provides independent motivation for it. This paper argues that the semantics of and includes a notion of coordination expressed as the requirement of a Coordinated Discourse Topic (CDT).CDT characterizes aclass of discourse relations, among which are Narration and Result.Once the basic semanticcontribution of and is isolated, effects related to its presence such as changes in temporal structure, blocking of a Discourse Relation, or conditional meanings are shown to follow from the defeasiblearchitecture set up by SDRT. (shrink)

In this paper, we offer a novel analysis of presuppositions, paying particular attention to the interaction between the knowledge resources that are required to The analysis has two main features. First, we capture an analogy between presuppositions, anaphora and scope ambiguity (cf. van der Sandt 1992), by utilizing semantic under-specification (c£ Reyle 1993). Second, resolving this underspecification requires reasoning about how the presupposition is rhetorically connected to the discourse context. This has several consequences. First, since pragmatic information plays a role (...) in computing the rhetorical relation, it also constrains the interpretation of presuppositions. Our account therefore provides a formal framework for analysing problematic data, which require pragmatic reasoning. Second, binding presuppositions to the context via rhetorical links replaces accommodating them, in the sense of adding them to the context (cf. Lewis 1979). The treatment of presupposition is thus generalized and integrated into the discourse update procedure. We formalize this approach in SDRT (Asher 1993; Lascarides & Asher 1993), and demonstrate that it provides a rich framework for interpreting presuppositions, where semantic and pragmatic constraints are integrated. (shrink)

This paper presents a formal account of how to determine the discourse relations between propositions introduced in a text, and the relations between the events they describe. The distinct natural interpretations of texts with similar syntax are explained in terms of defeasible rules. These characterise the effects of causal knowledge and knowledge of language use on interpretation. Patterns of defeasible entailment that are supported by the logic in which the theory is expressed are shown to underly temporal interpretation.

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)

This paper presents a novel account of focal stress and pitch contour in English dialogue. We argue that one should analyse and treat focus and pitch contour jointly, since (i) some pragmatic interpretations vary with contour (e.g., whether an utterance accepts or rejects; or whether it implicates a positive or negative answer); and (ii) there are utterances with identical prosodic focus that in the same context are infelicitous with one contour, but felicitous with another. We offer an account of two (...) distinct pitch contours that predicts the correct felicity judgements and implicatures, outclassing other models in empirical coverage or formality. Prosodic focus triggers a presupposition, where what is presupposed and how the presupposition is resolved depends on prosodic contour. If resolving the presupposition entails the proffered content, then the proffered content is uninteresting and hence the utterance is in-felicitous. Otherwise, resolving the presupposition may lead to an implicature. We regiment this account in SDRT. (shrink)

This paper examines the interplay of semantics and pragmatics within the domain of film. Films are made up of individual shots strung together in sequences over time. Though each shot is disconnected from the next, combinations of shots still convey coherent stories that take place in continuous space and time. How is this possible? The semantic view of film holds that film coherence is achieved in part through a kind of film language, a set of conventions which govern the relationships (...) between shots. In this paper, we develop and defend a new version of the semantic view. We articulate it for a pair of conventions that govern spatial relations between viewpoints. One such rule is already well-known; sometimes called the "180° Rule," we term it the X-Constraint; to this we add a previously unrecorded rule, the T-Constraint. As we show, both have the effect, in different ways, of limiting the way that viewpoint can shift through space from shot to shot over the course of a film sequence. Such constraints, we contend, are analogous to relations of discourse coherence that are widely recognized in the linguistic domain. If film is to have a language, it is a language made up of rules like these. (shrink)