Negation is a universal syntactic phenomenon only employed in human languages. People use negative sentences in everyday conversations, and they display complex semantic and syntactic properties when doing so. Crucially, some languages employ negative sentences to assert affirmative and surprise propositions. A clear example of this is offered by Italian, as in: â ~E non (not) mi è scesa dal treno Maria?!â (TM) (â ~Maria got off the train!â (TM)). This special type of negation is called surprise negation, and it belongs to the class of expletive negation. This book sheds light on this puzzling phenomenon, by means of a theoretical analysis and an experimental study. It explores the contexts, mainly syntactic, in which negation receives its expletive interpretation, and considers whether expletive negation is grammatically distinct from standard negation.

The left periphery of clausal structures has been a prominent topic of research in generative linguistics during the last decades. Closer examination of its properties unfolds a rich array of perspectives like the status of barriers for extraction and government, the articulation of the topic focus structure, the fixation of wh-scope, the marking of clausal types, the interaction of syntactic structure with inflectional morphology as well as the determination of sentence mood and illocutionary force to mention just a few. The purpose of this book is to collect different and relevant studies in this field and to give a general overview of the various theoretical approaches concerned with morphological, syntactic and semantic properties together with the diachronic development of the left periphery.

Interjections in Ancient Greek have long lacked a comprehensive account, despite their frequent occurrence in major texts. The present study of their semantics and pragmatics, encompassing all items encountered in Greek drama from the 5th century BC, applies a moderate minimalism, theory-driven method. Readers are offered a thorough and detailed study of this elusive, and in several respects deviant, class of linguistic items.

Practices of Surprise in American Literature After Emerson locates a paradoxical question - how does one prepare to be surprised? - at the heart of several major modernist texts. Arguing that this paradox of perception gives rise to an American literary methodology, this book dramatically reframes how practices of reading and writing evolved among modernist authors after Emerson. Whereas Walter Benjamin defines modernity as a 'series of shocks' inflicted from without, Emerson offers a countervailing optic that regards life as a 'series of surprises' unfolding from within. While Benjaminian shock elicits intimidation and defensiveness, Emersonian surprise fosters states of responsiveness and spontaneity whereby unexpected encounters become generative rather than enervating. As a study of how such states of responsiveness were cultivated by a post-Emerson tradition of writers and thinkers, this project displaces longstanding models of modernist perception defined by shock's passive duress, and proposes alternate models of reception that proceed from the active practice of surprise.

Structure & Surprise: Engaging Poetic Turns offers a road map for analyzing poetry through examination of poems' structure, rather than their forms or genres. Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work.

No detailed description available for "Semantic Structures for the Syntax of Complements and Auxiliaries in English".

An authoritative, self-contained introduction to the subject for students who have had no prior coursework in syntactic theory. English Syntax is an authoritative, self-contained introduction to the subject for students who have had no prior coursework in syntactic theory. The detailed revisions throughout this new edition are aimed at increasing its clarity and usefulness. There are changes in almost every chapter, including a large number of new exercises and several new subsections. In addition there are two new appendixes, the first sketching the relation of English syntax to the wider field of generative syntactic theory, the second summarizing the basic syntactic structures discussed in the body of the text. Specific changes include a fuller discussion, at the beginning of chapter 3, of the difference between complements and modifiers; a more systematic introduction to tree diagrams and what they express, at the end of chapter 3; a new subsection in chapter 4 on how to analyze complex structures; a new discussion of the general nature of missing-phrase constructions in chapter 9; a significant revision of the discussion of comparative clauses in chapter 12; a new discussion of the scope of negation in chapter 15; and, in chapter 16, a new discussion of practical strategies for analyzing conjoined structures.

This volume is the first to explore the formal linguistic expressions of emotions at different levels of linguistic complexity. Research on the language-emotion interface has to date concentrated primarily on the conceptual dimension of emotions as expressed via language, with semantic and pragmatic studies dominating the field. The chapters in this book, in contrast, bring together work from different linguistic frameworks: generative syntax, functional and usage-based linguistics, formal semantics and pragmatics, and experimental phonology. The volume contributes to the growing field of research that explores the interaction between linguistic expressions and the 'expressive dimension' of language, and will be of interest to linguists from a range of theoretical backgrounds who are interested in the language-emotion interface.