The Art Of Syntax

With intelligence and precision, Ellen Bryant Voigt parses out the deft and alluring shape of poetic language in The Art of Syntax. Through brilliant readings of poems by Bishop, Frost, Kunitz, Lawrence, and others, Voigt examines the signature musical scoring writers deploy to orchestrate meaning. "This structure—this architecture—is the essential drama of the poem's composition," she argues. The Art of Syntax is an indispensable book on the writer's craft by one of America's best and most influential poets and teachers.

"In Artful Sentences: Syntax as Style, Virginia Tufte shows how standard sentence patterns and forms contribute to meaning and art in more than a thousand wonderful sentences from the twentieth and twenty-first centuries. The book has special interest for aspiring writers, students of literature and language, and anyone who finds joy in reading and writing."--Publisher's description.

The present volume contains a selection of papers presented at the 23rd and 24th Comparative Germanic Syntax Workshop held at the University of Edinburgh and the Hogeschool-Universiteit Brussels. The contributions provide new perspectives on several topics of current interest for syntactic theory on the basis of comparative data from a wide range of Germanic languages. Among the theoretical and empirical issues explored are various ellipsis phenomena, the internal structure of the DP, the syntax-morphology interface, the syntax-semantics interface, Binding Theory, various diachronic developments, and ‘do-support’-type phenomena. This book is of interest to syntacticians with an interest in theoretical, comparative and/or diachronic work, as well as to morphologists and semanticists interested in the connections their fields have with syntax. It will also be of interest to graduate and advanced undergraduate students in linguistic disciplines.

It is standardly assumed that Universal Grammar (UG) allows a given hierarchical representation to be associated with more than one linear order. This book proposes a restrictive theory of word order and phrase structure that denies this assumption. According to this theory, phrase structure always completely determines linear order, so that if two phrases differ in linear order, they must also differ in hierarchical structure. It is standardly assumed that Universal Grammar (UG) allows a given hierarchical representation to be associated with more than one linear order. For example, English and Japanese phrases consisting of a verb and its complement are thought of as symmetrical to one another, differing only in linear order. The Antisymmetry of Syntax proposes a restrictive theory of word order and phrase structure that denies this assumption. According to this theory, phrase structure always completely determines linear order, so that if two phrases differ in linear order, they must also differ in hierarchical structure. More specifically, Richard Kayne shows that asymmetric c-command invariably maps into linear precedence. From this follows, with few further hypotheses, a highly specific theory of word order in UG: that complement positions must always follow their associated head, and that specifiers and adjoined elements must always precede the phrase that they are sister to. A further result is that standard X-bar theory is not a primitive component of UG. Rather, X-bar theory expresses a set of antisymmetric properties of phrase structure. This antisymmetry is inherited from the more basic antisymmetry of linear order. Linguistic Inquiry Monograph No. 25

"Poetry is the sound of language organized in lines." James Longenbach opens The Art of the Poetic Line with that essential statement. Through a range of examples - from Shakespeare and Milton to Ashbery and Glück - Longenbach describes the function of line in metered, rhymed, syllabic, and free-verse poetry. That function is sonic, he argues, and our true experience of it can only be identified in relation to other elements in a poem. Syntax and the interaction of different kinds of line endings are primary to understanding line, as is the relationship of lineated poems to prose poetry. The Art of the Poetic Line is a vital new resource by one of America's most important critics and one of poetry's most engaging practitioners.

A novel logic-based framework for representing the syntax-semantics interface of natural language, applicable to a range of phenomena. In this book, Yusuke Kubota and Robert Levine propose a type-logical version of categorial grammar as a viable alternative model of natural language syntax and semantics. They show that this novel logic-based framework is applicable to a range of phenomena—especially in the domains of coordination and ellipsis—that have proven problematic for traditional approaches. The type-logical syntax the authors propose takes derivations of natural language sentences to be proofs in a particular kind of logic governing the way words and phrases are combined. This logic builds on and unifies two deductive systems from the tradition of categorial grammar; the resulting system, Hybrid Type-Logical Categorial Grammar (Hybrid TLCG) enables comprehensive approaches to coordination (gapping, dependent cluster coordination, and right-node raising) and ellipsis (VP ellipsis, pseudogapping, and extraction/ellipsis interaction). It captures a number of intricate patterns of interaction between scopal operators and seemingly incomplete constituents that are frequently found in these two empirical domains. Kubota and Levine show that the hybrid calculus underlying their framework incorporates key analytic ideas from competing approaches in the generative syntax literature to offer a unified and systematic treatment of data that have posed considerable difficulties for previous accounts. Their account demonstrates that logic is a powerful tool for analyzing the deeper principles underlying the syntax and semantics of natural language.