In American Sign Language (ASL) narratives, signers map conceptualized spaces onto actual spaces around them that can reflect physical, conceptual, and metaphorical relations among entities. Because verb tenses are not attested in ASL, a question arises: How does a signer distinguish utterances about past events from utterances within a present conversational context? In narratives, the story-teller’s past-event utterances move the story along; accompanying these will often be subjective comments on the story, evaluative statements, and the like, that are geared, in (...) the present, to the conversational partner. This usage-based study looks at how the ASL signer integrates past and present spaces in a narrative and specifically, integrates the viewpoints associated with each. Blending past and present spaces, while a conceptual notion, is in ASL played out in utterance structure and also in the fact that signed language articulation takes place in a three-dimensional space upon which both the signer and addressee have embodied, perspectivized views. Past and present conceptual spaces both occupy the physical space of articulation, and so the blends are at once conceptual and perceivable. (shrink)

This article discusses the use of proximal deictic expressions to designate distal entities, focusing on the use of the present tense to designate past events. Cognitive approaches to this issue assume that such usages presuppose a special conceptual construal, in which the spatio-temporal distance between the ground and the designated event space is bridged in some way. In this paper, I argue that there are two distinct ways in which this may be accomplished. One is through mentally displacing the ground (...) to the distal space, so that the designated events become proximal in relation to this alternative ground. The other involves bringing the distal space into the ground in the form of a representation. I describe the distinctive characteristics of the two scenarios, showing both where they converge and at what point the difference becomes relevant for linguistic analysis. (shrink)

This paper proposes a cognitive linguistic explanation of the unusual narrative construal of time as moving backwards. It shows that backwards time in narrative involves setting up an alternative space in which a second narrative is constructed simultaneously, resulting in a viewpoint hierarchy which postulates four viewpoints on each discourse statement. The paper draws together research on conceptual metaphor, mental spaces theory and viewpoint multiplicity, bringing it to bear on discourse fragments. The majority of these are taken from Martin Amis’s (...) Time’s Arrow (Amis, Martin. 2003 [1991]. Time’s Arrow. London: Vintage.) (a logically consistent and linguistically revealing text), but the discussion is contextualised with further examples. It is argued that the causal construal implied by narrative is not limited by our phenomenological experience, as other studies (e.g., Evans, Vyvyan. 2013. Language and time: A cognitive linguistics approach. Cambridge: Cambridge University Press.) might suggest, but is instead prompted by conceptual re-interpretation of deictic markers in the discourse. The analysis focuses on causal construal, negation (especially causal catachresis), and alternativity. It shows how linguistic features at the sentential level generate top-down reorganization of both episodic structure and discourse meaning, and how this relies on multiplicity of viewpoint and a conceptual “zooming out” prompting the perception of irony. (shrink)

This paper proposes an approach to narrative deixis which offers a coherent analysis of the respective roles of proximal and distal deictic expressions. The paper starts by arguing that fictional narratives require an approach to deixis which modifies a number of broadly held assumptions, especially as regards the interaction between tense and other deictic forms. It then considers the widely discussed instance of the temporal adverb now in the context of Past Tense. The second part of the paper gives special (...) focus to demonstratives in narrative fiction, showing their role in temporal construals. It argues that both temporal and demonstrative expressions are primarily used to serve narrative viewpoint construction. Examples from several novels are then used to show how the proximal and distal choices of demonstratives, temporal adverbs and locative adverbs structure narrative viewpoint, including narrative representation of character experience. The paper concludes by proposing that in the context of fictional narratives the proximal/distal contrast is more relevant to meaning emergence than individual aspects of deixis, and that the construal of time can be achieved through the whole spectrum of deictic forms, not just tense and temporal adverbs such as now and then. (shrink)

This paper first develops a theoretically motivated view of narrative as a special form of inferential, cooperative human communication, of the role that the past tense plays in the intersubjective coordination of narrators and readers, viz. that of ‘curtailing’ the immediate argumentative applicability of the represented situation, and of its relation to viewpoint management. In three case studies, it is subsequently shown how this helps to elucidate certain effects of present and past tense alternations in stories. While these effects are (...) multi-faceted and highly text-specific, there is a common denominator of the use of the past tense in the dimension of narrator-reader communication in the narratives. The analysis supports an independently motivated conception of intersubjectivity that assigns a special status to ‘coordination with other minds’, apart from senders and addressees. (shrink)

Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective (...) perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)