Publications

Abstract

The Romance languages have a rich numeral system that includes cardinals—providing the bases on which the other types of numeral series are built—ordinals, fractions, collectives, approximatives, distributives, and multiplicatives. Latin plays a decisive and continued role in their formation, both as the language to which many numerals go back directly and as an ongoing source for lexemes and formatives. While the Latin numeral system was synthetic, with a distinct ending for each type of numeral, the Romance numerals often feature more than one (unevenly distributed) marker or structure per series, which feature varying degrees of inherited, borrowed, or innovative elements. Formal consistency is strongest in cardinals, followed by ordinals and then the other types of numeral, which also tend to be more analytic or periphrastic. From a morphological perspective, Romance numerals overall have moved away from the inherited syntheticity, but several series continue to be synthetic formations—at least in part—with morphological markers drawn from Latin that may have undergone functional change (e.g. distributive > ordinal > collective). The underlying syntax of Romance numerals is in line with the overall grammatical patterns of Romance languages, as reflected in the prevalence of word order (with arithmetical correlates), connectors, (partial) loss of agreement, and analyticity. Innovation is prominent in the formation of higher numerals with bases beyond ‘thousand’, of teens and decads in Romanian, and of vigesimals in numerous Romance varieties.

Abstract

How do languages express ideas of movement, and how do they package different components of moving, such as manner and path? This task supports detailed investigation of motion descriptions. The specific study goals are: (a) the coding of “via” grounds (i.e., ground objects which the figure moves along, over, around, through, past, etc.); (b) the coding of direction changes; (c) the spontaneous segmentation of complex motion scenarios; and (d) the gestural representation of motion paths. The stimulus set is 5 simple 3D animations (7-17 seconds long) that show a ball rolling through a landscape. The task is a director-matcher task for two participants. The director describes the path of the ball in each clip to the matcher, who is asked to trace the path with a pen in a 2D picture.

Abstract

Judgments we make about how similar or different events are to each other can reveal the features we find useful in classifying the world. This task is designed to investigate how speakers of different languages classify events, and to examine how linguistic and gestural encoding relates to non-linguistic classification. Specifically, the task investigates whether speakers judge two events to be similar on the basis of (a) the path versus manner of motion, (b) sub-events versus larger complex events, (c) participant identity versus event identity, and (d) different participant roles. In the task, participants are asked to make similarity judgments concerning sets of 2D animation clips.

Abstract

How do different languages treat a particular semantic domain? It has already been established that languages have widely varied words for talking about “cutting” and “breaking” things: for example, English has a very general verb break, but K’iche’ Maya has many different ‘break’ verbs that are used for different kinds of objects (e.g., brittle, flexible, long). The aim of this task is to map out cross-linguistic lexicalisation patterns in the cutting/breaking domain. The stimuli comprise 61 short video clips that show one or two actors breaking various objects (sticks, carrots, pieces of cloth or string, etc.) using various instruments (a knife, a hammer, an axe, their hands, etc.), or situations in which various kinds of objects break spontaneously. The clips are used to elicit descriptions of actors’ actions and the state changes that the objects undergo.

Abstract

Fictive Motion is the metaphoric use of path relators in the expression of spatial relations or configurations that are static, or at any rate do not in any obvious way involve physical entities moving in real space. The goal is to study the expression of such relations or configurations in the target language, with an eye particularly on whether these expressions exclusively/preferably/possibly involve motion verbs and/or path relators, i.e., Fictive Motion. Section 2 gives Talmy’s (2000: ch. 2) phenomenology of Fictive Motion construals. The researcher’s task is to “distill” the intended spatial relations/configurations from Talmy’s description of the particular Fictive Motion metaphors and elicit as many different examples of the relations/configurations as (s)he deems necessary to obtain a basic sense of whether and how much Fictive Motion the target language offers or prescribes for the encoding of the particular type of relation/configuration. As a first stab, the researcher may try to elicit natural translations of culturally appropriate adaptations of the examples Talmy provides with each type of Fictive Motion metaphor.

Abstract

Landscape terms reflect the relationship between geographic reality and human cognition. Are ‘mountains’, ‘rivers, ‘lakes’ and the like universally recognised in languages as naturally salient objects to be named? The landscape subproject is concerned with the interrelation between language, cognition and geography. Specifically, it investigates issues relating to how landforms are categorised cross-linguistically as well as the characteristics of place naming.

Abstract

Place-names (toponyms) are at the intersection of spatial language, culture, and cognition. This questionnaire prepares the researcher to answer three overarching questions: how to formally identify place-names in the research language (i.e. according to morphological and syntactic criteria); what places place-names are employed to refer to (e.g. human settlements, landscape sites); and how places are semantically construed for this purpose. The questionnaire can in principle be answered using an existing database. However, additional elicitation with language consultants is recommended.

Abstract

Speech contains pronounced amplitude modulations in the 1–9 Hz range, correlating with the syllabic rate of speech. Recent models of speech perception propose that this rhythmic nature of speech is central to speech recognition and has beneficial effects on language processing. Here, we investigated the contribution of amplitude modulations to the subjective impression listeners have of public speakers. The speech from US presidential candidates Hillary Clinton and Donald Trump in the three TV debates of 2016 was acoustically analyzed by means of modulation spectra. These indicated that Clinton’s speech had more pronounced amplitude modulations than Trump’s speech, particularly in the 1–9 Hz range. A subsequent perception experiment, with listeners rating the perceived charisma of (low-pass filtered versions of) Clinton’s and Trump’s speech, showed that more pronounced amplitude modulations (i.e., more ‘rhythmic’ speech) increased perceived charisma ratings. These outcomes highlight the important contribution of speech rhythm to charisma perception.

Abstract

Reprinted from; Bowerman, M. (1989). Learning a semantic system: What role do cognitive predispositions play? In M.L. Rice & R.L Schiefelbusch (Ed.), The teachability of language (pp. 133-169). Baltimore: Paul H. Brookes.

Abstract

This task is designed to elicit expressions of spatial relations. It was originally designed by Melissa Bowerman for use with young children, but was then developed further by Bowerman in collaboration with Pederson for crosslinguistic comparison. It has been used in fieldsites all over the world and is commonly known as “BowPed” or “TPRS”. Older incarnations did not always come with instructions. This entry includes a one-page instruction sheet and high quality versions of the original pictures.

Abstract

This entry suggests ways to elicit descriptions of caused motion involving topological relations (the domain of English put IN/ON/TOGETHER, take OUT/OFF/APART, etc.). There is a large amount of cross-linguistic variation in this domain. The tasks outlined here address matters such as the division of labor between the various elements of spatial semantics in the sentence. For example, is most of the work of expressing PATH done in a locative marker, or in the verb, or both?

Abstract

The precursor to the Bowped stimuli, this entry suggests various spatial configurations to explore using real objects, rather than the line drawings used in Bowped.

Abstract

Kids’ Cut & Break is a task inspired by the original Cut & Break task (see MPI L&C Group Field Manual 2001), but designed for use with children as well as adults. There are fewer videoclips to be described (34 as opposed to 61), and they are “friendlier” and more interesting: the actors wear colorful clothes, smile, and act cheerfully. The first 2 items are warm-ups and 4 more items are fillers (interspersed with test items), so only 28 of the items are actually “test items”. In the original Cut & Break, each clip is in a separate file. In Kids’ Cut & Break, all 34 clips are edited into a single file, which plays the clips successively with 5 seconds of black screen between each clip.

Abstract

The surge of research activity focussing on children's acquisition of verbs (e.g., Tomasello and Merriman 1996) addresses some fundamental questions: Just how variable across languages, and across individual children, is the process of verb learning? How specific are arguments to particular verbs in early child language? How does the grammatical category 'Verb' develop? The position of Universal Grammar, that a verb category is early, contrasts with that of Tomasello (1992), Pine and Lieven and their colleagues (1996, in press), and many others, that children develop a verb category slowly, gradually building up subcategorizations of verbs around pragmatic, syntactic, and semantic properties of the language they are exposed to. On this latter view, one would expect the language which the child is learning, the cultural milieu and the nature of the interactions in which the child is engaged, to influence the process of acquiring verb argument structures. This paper explores these issues by examining the development of argument representation in the Mayan language Tzeltal, in both its lexical and verbal cross-referencing forms, and analyzing the semantic and pragmatic factors influencing the form argument representation takes. Certain facts about Tzeltal (the ergative/ absolutive marking, the semantic specificity of transitive and positional verbs) are proposed to affect the representation of arguments. The first 500 multimorpheme combinations of 3 children (aged between 1;8 and 2;4) are examined. It is argued that there is no evidence of semantically light 'pathbreaking' verbs (Ninio 1996) leading the way into word combinations. There is early productivity of cross-referencing affixes marking A, S, and O arguments (although there are systematic omissions). The paper assesses the respective contributions of three kinds of factors to these results - structural (regular morphology), semantic (verb specificity) and pragmatic (the nature of Tzeltal conversational interaction).

Abstract

Interaction, for all that it has an ethological base, is culturally constituted, and how new social members are enculturated into the interactional practices of the society is of critical interest to our understanding of interaction – how much is learned, how variable is it across cultures – as well as to our understanding of the role of culture in children’s social-cognitive development. The goal of this task is to document the nature of caregiver infant interaction in different cultures, especially during the critical age of 9-15 months when children come to have an understanding of others’ intentions. This is of interest to all students of interaction; it does not require specialist knowledge of children.

Abstract

Speakers of the Mayan language Tzeltal use two frames of reference for spatial reckoning: an absolute system (based on the south/north axis abstracted from the overall slope of the land) and an intrinsic system utilizing spatial axes of the reference object to establish body parts. This paper examines the use of absolute, intrinsic, and landmark cues in descriptions of spatial relations by 22 pairs of Tzeltal children aged between 5 and 17. The data are drawn from interactive space games, where a Director describes a spatial layout in a photo and the Matcher reproduces it with toys. The paper distinguishes use of ad hoc landmarks ('Red Cliffs', 'the electricity post') from genuine absolute reference points ('uphill'/'downhill'/’across’), and shows that adults in this task use absolute ('cow uphill of horse'), intrinsic ('at the tree's side') and landmark ('cow facing Red Cliffs') descriptions to communicate the spatial relations depicted. The youngest children, however, do not use landmark cues at all but rely instead on deictics and on the absolute 'uphill/downhill' terms; landmark terms are still rare at age 8-10. Despite arguments that landmarks are a simpler, more natural, basis for spatial reckoning than absolute terms, there is no evidence for a developmental progression from landmark-based to absolute-based strategies. We relate these observations to Slobin’s ‘thinking for speaking’ argument.

Abstract

The spatial vocabulary of the Mayan language Tzeltal is dominated by an Absolute system of spatial reckoning, whereby an "uphill/downhill" coordinate abstracted from the lay of the land is used to reckon spatial relationships on the horizontal in both small-scale and long distance space. This system is used in lieu of a Front/Back/Left/Right system which does not exist in this language. The spatial vocabulary dedicated to this system (which I refer to in general as the UP/DOWN vocabulary) includes intransitive motion verbs (roughly translatable as "ascend"/"descend"), their transitivized counterparts ("make it ascend/descend"), directional adverbs ("uphillwards"/"downhillwards"), and possessed relational nouns ("uphill/downhill in relation to it"). This same vocabulary applies to spatial relations on the vertical axis. Two seemingly contradictory observations about children's early meanings for the spatial verbs dedicated to this system motivate the proposal put forward in this paper. On the one hand, Tzeltal children's UP/DOWN vocabulary shows very early sensitivity to the semantic structure of the language they are learning: the meanings for these verbs are from the first usages attached to the slope of the land, and to particular places; there is no evidence of an initial preference for the vertical meaning. On the other hand, children's meanings remain for a long time too specific, and errors of interpretation/production (using the verbs to mean 'local slope of land' rather than 'overall N/S slope of land direction) are evident in verbal productions of some children as late as age 7 or 8. The proposal is made that the highly specific nature of Tzeltal verbs at the basic level influences the children's hypotheses about what kinds of meanings verbs can have.

Abstract

This is a reprint of the Brown 1999 article.

Abstract

This is an encyclopedia entry surveying research and theoretical approaches to politeness phenomena in language usage.

Abstract

This article is a reprint of chapter 1, the introduction to Brown and Levinson, 1987, Politeness: Some universals in language usage (Cambridge University Press).

Abstract

Semplates are a new descriptive and theoretical concept in lexical semantics, borne out of recent L&C work in several domains. A semplate can be defined as a configuration consisting of distinct layers of lexemes, each layer drawn from a different form class, mapped onto the same abstract semantic template. Within such a lexical layer, the sense relations between the lexical items are inherited from the underlying template. Thus, the whole set of lexical layers and the underlying template form a cross-categorial configuration in the lexicon. The goal of this task is to find new kinds of macrostructure in the lexicon, with a view to cross-linguistic comparison.

Abstract

“Recognitional” words and constructions enshrine our systematic reliance on shared knowledge in dedicated morphological forms and usage patterns. For example, English has a large range of terms for use when a speaker cannot locate the word or name for something or someone (e.g., whatsit, what’s-his-name), but thinks that the interlocutor knows, or can easily work out, what the speaker is talking about. This task aims to identify and investigate these kinds of expressions in the research language, including their grammaticalised status, meaning, distribution, and productivity. The task consists of a questionnaire with examples of relevant hypothetical scenarios that can be used in eliciting the relevant terms. The researcher is then encouraged to pursue further questions in regard to these items.

Abstract

This task investigates the extensional meaning of body part terms, in particular the terms for the upper and lower limbs. Two questions are addressed, namely (i) are the boundaries of these body parts universal, guided by proposed universals of object recognition? (ii) How can we compare the extensional meanings of body part terms within and across different systems of nomenclature? Consultants receive booklets with line drawings of a body and are asked to colour in specific parts of the body.

Abstract

This task is designed to elicit virtual 3D ‘models’ created in gesture space using iconic and other representational gestures. This task has been piloted with Lao speakers, where two speakers were asked to explain the meaning of terms referring to different kinds of fish trap mechanisms. The task elicited complex performances involving a range of iconic gestures, and with especially interesting use of (a) the ‘model/diagram’ in gesture space as a virtual object, (b) the non-dominant hand as a prosodic/semiotic anchor, (c) a range of different techniques (indexical and iconic) for evoking meaning with the hand, and (d) the use of nearby objects and parts of the body as semiotic ‘props’.