The authors of the three pieces this week cover distinct
concepts in linguistics, examining specific cases of their topics to illustrate
the larger ideas that the pieces discuss. Atkins and Levin train their focus on
“shake,” and the verbs synonymous to it, in order to demonstrate the syntactic
differences between what are recognized to be semantically close words. They
attribute these apparent differences to whether or not the verbs rely on
internal or external causation, where the subject of the verb is either the
source of the action described or is not, respectively.
Meanwhile, Haspelmath describes and defines the distinction
between lexemes and word-forms, which each word-form belonging to a lexeme. Among
other examples, he looks at the specific case of “insula” in Latin to present
this initial idea, and later discusses how variations in morphemes, the
shortest meaningful parts of an expression, contribute to the variation in
word-forms. Haspelmath indicates how lexemes can be compounded – maybe with
interfixes as in German – into nominal compounds that are either endocentric or
exocentric that utilize tree diagrams to examine and exhibit their hierarchical
structure.
Finally, Slobin looks intently at versions of the frog-story
in order to discover how portrayal and understanding of the same story differs
based on the specificity of the verbs typically used in one’s language, whether
a language is satellite-framed such as English, and the scope of a verb is
narrowed by a preposition, or if a language is verb-framed, like Spanish, and
the verb itself specifies a manner, path of motion, etc. What is interesting to
consider is whether or not there is a bias towards either type of construction
in English. Do authors who rely more heavily on verb-framed expressions in
English become more popular or receive more critical acclaim for their
specificity and command of language/vocabulary? Do orators who utilize more explicit
or precise verbs in telling stories or in calling people to action become more
charismatic, more persuasive?
I agree it's a fascinating question of what kind of expression is used more often in critically acclaimed works in English. I do think it could go either way. I think of authors like Ernest Hemingway, who are known for their use of simple, clipped language (of which I have done no linguistic analysis but I assume uses mostly satellite-framed expressions). Whereas with authors known for their flowery language, like Charles Dickens, certainly are on the other end of the spectrum, linguistically-speaking...
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