In Other Words Schiffrin, Deborah
02/2006, Volume:
v.Series Number 21
eBook
What we say always consists of prior words, structures and meanings that are combined in new ways and re-used in new contexts for new listeners. In this book, Deborah Schiffrin looks at two important ...tasks of language - presenting 'who' we are talking about (the referent) and 'what happened' to them (their actions and attributes) in a narrative - and explores how this presentation alters in relation to emergent forms and meanings. Drawing on examples from both face-to-face talk and public discourse, she analyses a variety of repairs, reformulations of referents, and retellings of narratives, ranging from word-level repairs within a single turn-at-talk, to life story narratives told years apart. Bringing together work from conversation analysis, interactional sociolinguistics, cognitive semantics, pragmatics, and variation analysis, In Other Words will be invaluable for scholars wishing to understand the many different factors that underlie the shaping and re-shaping of discourse over time, place and person.
The article presents the linguistic criteria that allow loanwords to be grouped into two sub-groups, i.e., into foreignisms & borrowings. The exact distinction is necessary particularly for practical ...reasons, as only an accurate comprehension of the terms foreignism & borrowing can pave the way for the compilation of a good dictionary of foreignisms. References. Adapted from the source document
Using the approaches of semiotics and text linguistics, Žerjal-Pavlin’s monograph deals with Slovenian lyrical cycles from romanticism to postmodernism. They are understood as secondary texts ...composed of primary texts with the intention of expanding the horizons of the textual world and, within them, further intertextually supplementing the meanings of individual texts, thereby generating a new semantic potential of the cyclic whole. Due to the intersubjectivity of textual criteria and dynamic conventions of the literary system, the lyrical cycle cannot be defined with precision. Several variables are in play: intra- and intertextual coherence, the title and the outer form, and literary conventions (such as poetry collections). Two types of the cyclic composition are distinguished: the syntagmatic and paradigmatic, the former tending towards the epical. In the first variety, the elements are arranged either in a narrative manner or they treat the theme thorugh causal relationships between the poems. The cycles of the paradigmatic type use variation to express the same theme or motive in different perspectives or contexts. The monograph also addresses problems in distinguishing the lyric cycle from the lyric poem, the sonnet wreath, and similar supra-textual compositions.
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