In the process of communication, different expressions in discourse often convey unequal amounts of information: some expressions have rich semantic content, expressing the specific message that the speaker wishes to convey; others seem to be nonsemantic and non-truth-conditional. The latter are not part of the propositional content the message conveys and do not contribute to the meaning of the proposition. These expressions mainly function as a relational operator to connect the propositions in the discourse.
In a sequence of discourse segments S1–S2, such expression usually occurs at the initial position of S2 followed by a phonological break (a comma in writing), i and it does not affect the propositional content of the messages conveyed in the segments of the discourse.
The discourse-functional expressions in language have long been the focus of attention on the part of scholars, and the term “discourse markers” (DMs) (huayu biaoji, in Chinese) has often been used in previous studies. The concept of DMs originated from “recurrent modifiers,” the common modifiers in spoken language proposed by the British linguist Randolph Quirk in the 1950s. He pointed out that “recurrent modifiers” have an important role in information transmission but have no grammatical effect. In the 1980s, DMs gradually became an independent linguistic topic among Western scholars. In the field of Chinese linguistics, from the 21st century onward, the concept of DMs has been examined in depth, and the application of the related theories to the research of Chinese DMs has been the topic of widespread discussion. However, most Chinese studies on DMs are case-based, and therefore systematic and theorized understandings of Chinese DMs have not yet been reached. This article reviews the research status of DMs in recent Western and Chinese linguistic communities, summarizes the studies on the synchronic semantics-pragmatics and diachronic development of Chinese DMs, and reveals issues worthy of further study in the future.
Article
Nicola Grandi
The vast majority of evaluative constructions are formed by means of morphological strategies. An evaluative construction must include at least the explicit expression of the standard (by means of a linguistic form that is lexically autonomous and is recognized by the speakers of the language as an actual word) and an evaluative mark. Therefore, in the Italian word gattino ‘kitten, dear little cat,’ the standard is expressed by the lexical morpheme gatt- (which occurs in masculine gatto and feminine gatta), while the evaluative mark is the suffix -ino.
A construction can be defined as evaluative if it satisfies two conditions, one relating to semantics and the other to the formal level. The first condition indicates that an evaluative construction indicates a deviation from a standard (or default) value without resorting to any parameter of reference external to the concept itself. The second condition indicates that an evaluative construction must include the explicit expression of this standard and an evaluative mark.
Among the world’s languages, evaluative morphology has a quite uneven diffusion: Eurasian languages, and Romance languages in particular, show the highest degree of evaluative morphology diffusion, considering the number of word formation processes involved, the word classes they apply to, and the semantic categories they express.
From a historical point of view, evaluative affixes reveal an unstable behavior: they are often subject to a renovation. As a matter of fact, present-day Romance evaluative affixes do not coincide with Latin evaluative affixes: they derive from affixes that in Latin had different functions from ‘evaluation’ or from non-Latin affixes.
From a synchronic point of view, Romance evaluative affixes prototypically exemplify all the cross-linguistically more frequent properties of evaluative morphology: categorial neutrality, insensitivity to the word class of the base, prefix-suffix neutrality, and so forth.
Article
Dorien Van De Mieroop
Rather than thinking of identity as something that defines a person in such a way that it makes them distinguishable from others, researchers using discourse analytical approaches within linguistics—especially in the fields of pragmatics and interactional sociolinguistics—tend to adopt a social constructionist perspective and thus view identity as a multimodally constituted activity or process. From this perspective, identity is not something one is or has, but something that one does or creates by means of various linguistic and paralinguistic resources as well as bodily movements. This performative view of identity has a number of implications. Rather than thinking of identity in the singular, a plural conceptualization of identities is capitalized on. Moreover, these identities should not be regarded as pertaining to only the ‘large’ macro-level sociodemographic categories individuals belong to, such as gender, race, and social class; identities are often described in much more nuanced terms. Such a fine-grained approach is needed to do justice to this performative perspective on identity, as it helps to capture the many dynamic and extremely fleeting ways in which people engage in identity work. Furthermore, all these identity constructions are not necessarily always consistent with one another, and they may sometimes even be contradictory, as people may not always be—or be able to be—equally prone to enacting a particular identity. This may depend on what they are doing and with whom, as identities are also related to the identities other people may construct around them. All these aspects make the analysis of identity quite a complex endeavor, as not only can their plural and fleeting nature make identities quite hard to capture, but it can also be quite a challenge to pin down precisely at which points in an interaction we can actually observe identity work in action.
Article
Valentin Werner
Pop cultural linguistics represents an emerging research subfield. It can be conceptualized as a specific type of media linguistics concerned with the study of performed language as represented in various pop culture manifestations, such as music, TV series, movies, comics, cartoons, and video games, among others. Pop culture is thus viewed as a broad category that includes artifacts with a commercial, entertainment-related purpose that are (mass-)mediated, fall within the mainstream, and represent largely fictional and scripted content. Linguists working in pop cultural linguistics explicitly take account of the current social and practical relevance of pop culture and the fact that it is largely a multimodal phenomenon with a strong linguistic component and the potential for affective engagement. Pop cultural linguistics possesses inherent relevance for the broader area of cultural studies, which may benefit from quantitative and qualitative approaches used in linguistics to increase the overall validity of findings and to develop a comprehensive picture of pop culture artifacts.
The main object of study in pop cultural linguistics is performed language. While performed language was traditionally sidelined in linguistics due to its alleged “inauthentic” nature, it has gradually been acknowledged as a regular part of everyday language use and thus has been normalized in linguistic study. The increasing availability of resources relevant for pop cultural linguistics, such as language corpora and thematic bibliographies, illustrates the vitality of the field, as does the growing body of research. Research in pop cultural linguistics is methodologically eclectic and commonly adapts approaches and frameworks used in established linguistic subfields, such as sociolinguistics, stylistics, or corpus linguistics. It serves to explore salient topics, such as the linguistic construction of authenticity and identity from a sociolinguistic angle or the representation of politeness from a pragma-stylistic point of view, occasionally also applying a contrastive perspective in terms of performed language vs. natural conversation. Pop cultural linguistics is further characterized by increasing methodological reflection and a growing recognition of the affordances of multimodal analysis, even though these aspects will have to be addressed more explicitly in the future.
Article
Xinren Chen
Pragmatics is a relatively new core branch of linguistics, alongside syntax, semantics, phonetics and phonology, and morphology. Committed to the study of meaning in dynamic contexts, it addresses language in use, thus complementing the other core branches on different borders. As at phonetic, morphological, and syntactic levels, universalities and variations exist across languages at the level of pragmatic research. While earlier pragmatic researchers tended to explore the more theoretical and thus universalist aspects of pragmatic issues such as speech acts, implicature, deixis, presupposition, face, (im)politeness, and metapragmatics, later researchers tend to examine more variational aspects across languages. In the latter case, compared to the English language, the Chinese language remains underexplored in terms of its pragmatic characteristics. Thus, the ‘Chinese’ aspects of pragmatic issues are less well studied. Topics of particular interest include the following: (a) Chinese speech acts (e.g., invitation, compliment and response, thanking), (b) Chinese deixis, (c) Chinese address forms, (e) Chinese presupposition triggers, (f) Chinese face, (g) maxims of Chinese politeness, (h) Chinese mitigators, (i) Chinese boosters, (j) Chinese particles, and (k) Chinese discourse markers. It is hoped that a survey could better facilitate the understanding of Chinese communication and enable contrastive pragmatic studies involving the Chinese language.
Article
Hanging topics and frames are optional, adjunct-like utterance-initial elements without any syntactic function inside the clause they precede. Both terms are frequently used in an ambiguous way in the specialized literature, in a way that often confounds syntactic and functional properties. However, hanging topics and frames can be kept apart. Hanging topics, on the one hand, are defined as utterance-initial syntactically and often prosodically independent constituents that denote the topic referent, that is, a discourse referent, an information element comparable to a file card under which the comment, that is, the related information provided in the following sentence, has to be stored (“aboutness”). Hanging topics are thus one type of topic-marking construction, alongside dislocations, which are, however, syntactically more dependent on the clause they precede or follow. Frames, on the other hand, are syntactically even more independent than hanging topics: they are not coreferential to any element of the accompanying sentence, and they cannot be integrated in the following sentence without changing their scope behavior. Additionally, their function is different: Rather than denoting the topic of the following utterance (there is, however, a subtype that does so and is thus to be classified between hanging topics and frames), they denote or delimitate the interpretational frame (‘domain indication’) for the following utterance. Both constructions show a rather neat correlation between the discourse-pragmatic status of their referents as given or new and the prosodic and categorial marking: The newer the discourse referent, the more prominent its intonational profile and the more likely the presence of thematic markers (like Fr. quant à, ‘as for’). In a diachronic perspective, hanging topics and frames, constituting universally available initial elements of utterances, whose use is mainly coherence driven, do not show considerable changes from Latin to the Romance languages in terms of their syntax or morphophonology. What has basically changed, to a different extent in different Romance languages, is their variationist markedness (from colloquial to standard registers in some cases). In fact, hanging topics and frames have always been available in Romance as well as in Latin, where they are known as instances of nominativus and less frequently also as (adverbial) accusativus pendens.
Article
Silvio Cruschina
Focus is key to understanding processes of syntactic and prosodic readjustments in the Romance languages. Since, prosodically, it must be the most prominent constituent in the sentence, focus associates with the nuclear pitch accent, which may be shifted from its default rightmost position when the syntactic position of the focus also changes. The application of specific syntactic operations depends both on the size and on the subtype of focus, although not always unambiguously. Subject inversion characterizes focus structures where the domain of focus covers either the whole sentence (broad-focus) or a single constituent (narrow-focus). Presentational constructions distinctively mark broad focus, avoiding potential ambiguity with an SVO structure where the predicate is the focus and the subject is interpreted as topic. In narrow-focus structures, the focus constituent typically occurs sentence-final (postverbal focalization), but it may also be fronted (focus fronting), depending on the specific interpretation associated with the focus.
Semantically, focus indicates the presence of alternatives, and the different interpretations arise from the way the set of alternatives is pragmatically exploited, giving rise to a contextually open set (information focus), to contrast or correction (contrastive or corrective focus), or to surprise or unexpectedness (mirative focus). Whether a subtype of focus may undergo fronting in a Romance language is subject to variation. In most varieties it is indeed possible with contrastive or corrective focus, but it has been shown that focus fronting is also acceptable with noncontrastive focus in several languages, especially with mirative focus.
Finally, certain focus-sensitive operators or particles directly interact with the narrow-focus constituent of the sentence and their association with focus has semantic effects on the interpretation of the sentence.
Article
Saina Wuyun
Discourse coherence is motivated by the need of the speaker to be understood, which is a psychological phenomenon reflected in the organization of natural discourse. It can be realized via the continuity or recurrence of some element(s) across a span (or spans) of text; alternatively, it can be defined in terms of cohesion, where the interpretation of some element in the discourse is dependent on that of another.
The study of Chinese discourse can be traced back to the Han Dynasty, when the area of endeavor known as classical article-logy (Wénzhāngxué: 文章学) was affiliated to literature. The study of discourse coherence of modern linguistic sense starts from the late 1980s, when counterparts of ‘discourse analysis’, ‘discourse coherence’, and ‘cohesion’ in Chinese linguistic study were assigned a roughly equivalent connotation to those in the West. Two different approaches are differentiated based on the different foci of attention on this issue, namely the entity-oriented and the relation-oriented approach. The former focuses on the continuity of a particular element called “topic” in discourse and the topic chain thus formed, while the latter concerns itself with the connective relations within a discourse and the devices being adopted to realize these relations. Existing analyses toward discourse coherence in Chinese provide different classifications of coherence realization, most of which can be grouped into either of these two orientations.
Topic continuity is one way of realizing discourse coherence in Chinese. The topic of a discourse is what the discourse is about, and always refers to something about which the speaker/writer assumes the receiver has some knowledge. Headed by the topic, a topic chain is a stretch of discourse composed of more than one clause that functions as a discourse unit in Chinese. A topic can play a continuing or (re)introductory role with regard to the previous discourse and a chaining or contrastive role with regard to the subsequent discourse within a topic chain. It is via these specific functions that the coherence of a discourse is maintained.
Traditional approaches to composite sentences and clause clusters in Chinese provide careful description of the realization of both coordination and elaboration relations, which to a large extent are consistent with the systemic functional approach toward the cohesive devices and the Rhetorical Structure Theory framework. These traditional classifications of cohesive relations are still referred to by current studies. Via the connective devices (implicit ones such as the underlying logical relation, or explicit ones such as connective adverbs and conjunctions), the logical relation between adjacent clauses are specified, and in turn a global coherent discourse is constructed.
A coherent discourse is a cluster of clauses bearing all kinds of semantic relations realized via explicit or implicit connective devices. The coherence of discourse relies on the internal cohesive relations within a topic chain as well as the connection among all topic chains of the discourse in question. The study of inner-sentential composition as well as the inter-sentential discourse connectiveness are both investigations on the cohesion of a discourse in Chinese.
Article
Ariel Cohen
Generics are sentences such as Birds fly, which express generalizations. They are prevalent in speech, and as far as is known, no human language lacks generics. Yet, it is very far from clear what they mean. After all, not all birds fly—penguins don’t!
There are two general views about the meaning of generics in the literature, and each view encompasses many specific theories. According to the inductivist view, a generic states that a sufficient number of individuals satisfy a certain property—in the example above, it says that sufficiently many birds fly. This view faces the complicated problem of spelling out exactly how many is “sufficiently many” in a way that correctly captures the intuitive truth conditions of generics.
An alternative, the rules and regulations view, despairs from this project and proposes instead that generics directly express rules in the world. Rules are taken to be abstract objects, which are not related to the properties of specific individuals. This view faces the difficult problem of explaining how people come to know of such rules when judging the truth of falsity of generics, and accounting for the strong intuition that a sentence such as Birds fly talks about birds, not abstract objects.
What seems to be beyond dispute is that generics, even if they do not express rules, are lawlike: they state non-accidental generalizations. Many scholars have taken this fact to indicate that generics are parametric on possible worlds: they refer to worlds other than the actual world. This, again, raises the problem of how people come to know about what happens in these other worlds. However, a rigorous application of standard tests for intensionality shows that generics are not, in fact, parametric on possible worlds, but only on time. This unusual property may explain much of the mystery surrounding generics.
Another mysterious property of generics is that although there is no language without them, there is no linguistic construction that is devoted to the expression of genericity. Rather, generics can be expressed in a variety of ways, each of which can also express nongenerics. Yet, each manifestation of generics differs subtly (or sometimes not so subtly) in its meaning from the others.
Even when these and other puzzles of genericity are solved, one mystery would remain: Why are generics, which are so easy to produce and understand in conversation, so difficult to analyze?
Article
Gerhard Schaden
This article is devoted to the description of perfect tenses in Romance. Perfects can be described as verbal forms which place events in the past with respect to some point of reference, and indicate that the event has some special relevance at the point of reference ; in that, they are opposed to past tenses, which localize an event in the past with respect to the moment of utterance. Romance is an interesting language family with respect to perfect tenses, because it features a set of closely related constructions, descending almost all from the same diachronic source yet differing in interesting ways among each other. Romance also provides us with a lesson in the difficulty of clearly pinning down and stating a single, obvious and generally agreed upon criterion of defining a perfect.
