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Jóhanna Barðdal and Thomas Smitherman

conjunction with a noun, often itself deverbal and indicating a state or experience, or a verbal infinitive of the same semantics. The motivation for non-canonical case marking with a motion verb is either the inception into a state, emotion or experience, or the indication of an immediate happening

Momentum in Language Change

A Model of Self-Actuating S-shaped Curves

Kevin Stadler, Richard A. Blythe, Kenny Smith and Simon Kirby

, Justine Coupland, and Nikolas Coupland (eds.). 1991. Contexts of Accommodation: Studies in Emotion & Social Interaction . Cambridge: Cambridge University Press. Greenberg, Joseph H. 1959. Language and evolution. In Betty J. Meggers (ed.), Evolution and Anthropology: A Centennial Appraisal , 61

Martijn Wieling, Jack Grieve, Gosse Bouma, Josef Fruehwald, John Coleman and Mark Liberman

. Um … Slips, Stumbles, and Verbal Blunders, and What They Mean . New York: Pantheon Books. Fellows, Michelle D. 2009. An Exploration of Emotion Language Use by Preschool-aged Children and Their Parents: Naturalistic and Lab Settings . PhD dissertation, University of Texas at Austin. Finlayson, Ian

Bivalent Verb Classes in the Languages of Europe

A Quantitative Typological Study

Sergey Say

predefined A and P arguments are syntactically realized as clause-level dependents of this expression. According to this restriction, if one of the predefined arguments couldn’t be specified in the translation (a situation that sometimes arose with, e.g., P arguments of verbs of emotion) the monovalent


Verónica Orqueda

the individual divided into both Subject and Self . The former represents the depository of subjective experience and conscience, including emotion, judgement, volition and the ability to feel, while the second basically represents physical characteristics, social roles, etc. This explains the


Verónica Orqueda

defend this position. Unfortunately, the absence of any kind of possible reflexive situations makes it difficult to use this stem as an argument in favor of any reflexive strategy. 4.2.12 Verbs of Emotion The verbs in this class, referred to as “psych verbs” by Levin (1993), express the experience of an


Verónica Orqueda

co-referent intensification → reflexive. Differently to bridging contexts, where the idea of the body may be present, in these cases it is rather the notion of the whole person that allows the change towards the intensifier and the reflexive uses. 6.4.9 Verbs of Emotion The verb juṣ - ‘please’, ‘be


Michaël Peyrot

. samakkorrenaṃ . The distribution of the tune names over the texts is not random, and it is very likely that some of these were specific for certain genres, or for particular emotions in a story. Examples are the Tocharian A tune maitraṃ , which is especially frequent in the Maitreyasamiti-Nāṭaka, doubtless


Joshua T. Katz

: ##Μούσας ἀείδω καὶ Ἀπόλλωνα κλυτότοξον Of the Muses I sing, and Apollo of the famed bow. Making much of the Muses and, especially, the early mention of Apollo, as well as emphasizing that μῆνιϛ is properly a divine rather than human emotion, Faraone delivers a splendid assault against the common

Gabriella Safran

Jewish variant of a non-Jewish language. Deborah Tannen shows that New York je involves fast pacing, interruption, emphasis on the speaker’s emotions, expressive paralinguistics, and what is perceived as high volume (Tannen 1981, 1984). Deborah Schiffrin finds something similar: she demonstrates that