Types Of Quotation Research Articles

Artifacts of culture in polycode advertising text: Types of quotation

The article is devoted to the problem of using cultural artifacts — material or mental objects created by man, functioning in various areas of the cultural-semantic field- in the structure of a polycode advertising text. The research methodology is based on a structural-semiotic approach and functional analysis. The paper considers various approaches to the definition of the concept of artifact; the typology of cultural artifacts used in advertising is determined. Based on the dichotomy of artistic and non-artistic ways of human exploration of the world, the following types of artifacts are distinguished in the structure of creolized media and advertising discourse: artifacts of spatial art (fine arts, architecture, decorative and applied arts); artifacts of temporary art (literature, folklore and musical); artifacts of spatio-temporal syncretic art (theatrical, choreographic, cinematographic, comics, actually advertising, etc.); extra-artistic artifacts (artifacts of history, fashion, politics, mass media, visual and verbal memes, etc.). We can define the mechanism for including artifacts in the fabric of media and advertising text as quoting texts of a previous culture that can manifest themselves at various levels of depth of the semantic structure of advertising. In this sense, citation is understood as broadly as possible, as the actualization in the text structures of the content elements of past texts or formal ones. The types of artifactual citation are determined by us on the basis of the modality parameter: mono modal citation (citation in the advertising text of the text of the same medial rank); polymodal citation (citation in the text of an advertisement of a text of a different medial rank); auto-citation (quoting texts of previous advertisements in advertising); meta citation (citation in advertising of expressions containing a reflection on the advertisement itself).

Referring nouns in name-informing quotation: A copula-based approach

In name-informing constructions like The phenomenon is called a “sun halo”, the noun mentioned in the quotation (a “sun halo”) adopts a referring interpretation, as indicated by the determiner. As an account, we claim predicates like call to introduce a copular relation, which is the source of referring uses of nominals in name-informing quotation: To call y“n” entails that y is an n. Two copula types are argued to be covertly contained in name-in- forming constructions, an identificational copula and an equative copula, and we put forward linguistic evidence in support of this distinction. Further, corpus data show that nouns quoted in a name-informing construction are more prone to be used with quotes when accompanied by a determiner. We interpret this to reflect a pragmatic strategy employed to highlight theexpression’s mentioning use. Lastly, the quotations under discussion are differentiated from other types of quotation. Specifically, name-informing quotations are treated as instantiations of pure quotation, which we reason to be entailed compositionally and, although they can be referential hybrids, should not be subsumed either under open or mixed quotation.

화용표지로서 인용부호의 사용 양상과 유형 분류

The purpose of the study is to elucidate the roles and characteristics of quotation marks based on the pragmatic approach. Traditionally, the quotation in Korean is subdivided as direct and indirect quotation. However, Those categories cannot reflect the whole reality of various linguistic phenomena related to quotation marks. In fact, linguistic expressions like syllables, morphemes, words in addition to utterance can appear between quotation marks and nonlinguistic expressions like sounds and symbols also do. Accordingly, anything can appear between quotation marks. Moreover, I suggest types of quotation depending on syntactic and pragmatic criteria. Specifically, I show five kinds of them such as pure quotation, direct quotation, name quotation, mixed quotation, attitude quotation. I demonstrate that the pragmatic approach is more convincing than semantic one to explain the uses of quotation marks in Korean.

Estilo directo e indirecto en el <i>Corpus sociolingüístico de Caracas 1987<i>

En esta investigación analizamos el uso del estilo directo (ED) y el estilo indirecto (EI), dos de los mecanismos más frecuentes en la oralidad para citar de manera explícita palabras o pensamientos. En esta oportunidad, analizamos una muestra del Corpus sociolingüístico de Caracas 1987 (Bentivoglio y Sedano, 1993) conformada por 12 hablantes estratificados según la variable sexo. Los criterios considerados para el análisis fueron: marco introductor, verbos, atribución de la palabra, funciones pragmáticas de las citas y uso de cada una de estas categorías según el sexo de los hablantes. Los resultados obtenidos muestran que: i) el ED es más empleado que el EI y no existe mayor diferencia entre el uso de uno y otro estilo por parte de hombres y mujeres; ii) la forma de introducción más frecuente se manifiesta a través de un verbo y, en menor proporción, sin él; iii) hay una tendencia por parte de las mujeres a citar empleando como marco introductor un verbo, mientras que los hombres suelen elidirlo en más oportunidades; iv) el verbo decir es el más utilizado tanto por hombres como por mujeres; v) los hablantes prefieren citar el discurso de otros; vi) la función pragmática más frecuente es relatar una anécdota, seguida por ejemplificar una circunstancia.

The Creative Erudition of Chapaṭa Saddhammajotipāla, a 15th-Century Grammarian and Philosopher from Burma

This paper focuses on the scholastic technique of the Theravāda scholar-monk Chapaṭa Saddhammajotipāla (Burma, fifteenth century CE). Chapaṭa is the author of several scholastic treatises in Pāli, the most voluminous of which is the Suttaniddesa, a commentary on the Pāli grammar of Kaccāyana (ca. sixth to seventh century CE). I offer a general introduction to the Pāli grammatical tradition and especially to the Pāli grammatical tradition of Burma, together with an introduction to the life and works of Chapaṭa. I also offer the first annotated translation of a passage from the Suttaniddesa and in this way I show how the scholastic technique of Chapaṭa is based on a precise (and sometimes fastidious) use of quotations, mainly from other Pāli or Sanskrit grammatical texts, but also from Buddhist literature. I finally give a preliminary assessment of typology and purpose of every different type of quotation. Although this paper consists mainly of preliminary work, it is the first essay entirely devoted to the Suttaniddesa, which is one of the most important grammatical works in the Theravāda tradition.

On the Types of Quotation and Modification in the Poetry and Proses of Sanbao-taijian Xiyangji Tongsu-yanyi[三寶太監西洋記通俗演義

On the Types of Quotation and Modification in the Poetry and Proses of Sanbao-taijian Xiyangji Tongsu-yanyi[三寶太監西洋記通俗演義

In the Eyes of the Beholder: Unmarked Attributed Quotations in Job

(ProQuest: ... denotes non-US-ASCII text omitted.) Quotations, in the broadest sense, pervade every utterance, for all texts are compelled to draw on previous vocabulary, expressions, images, and ideas. As Julia Kristeva puts it, text is constructed as mosaic of quotations; any text is the absorption and transformation of another.1 In more conventional sense, quotation may refer to words that are intended to be recognized as originating from another source but are reused as the words of the speaker. The words uttered, however, are meant to be heard as the voice of the primary speaker, even though the voice of the precedent text is also simultaneously invoked. This phenomenon is what Mikhail Bakhtin calls double voicing.2 The current voice may have different types of relationship to the precedent voice, ranging from absolute alignment to total opposition. In her intriguing monograph on Job, Carol A. Newsom argues that both Job and his friends at times quote traditional sayings in order to enhance their own arguments. According to her, both the present speaker's voice and that of the tradition are intended to be simultaneously recognized by the audience. Whereas the friends often cite authoritative tradition in agreement and support, Job at times alludes to the hymnic tradition in order to parody them.3 In biblical studies, this type of quotation is sometimes discussed under the rubric of innerbiblical exegesis, intertextuality, allusion, or echo.4 For the sake of clarity, in what follows, I will use the term allusion when referring to this type of quotation. Another distinct type, called attributed quotation, consists of words that are intended to be taken as belonging to subject other than the primary speaker, regardless of their actual source, and only repeated by the latter. This is what Bakhtin calls or represented discourse.5Whether the quotation expresses the sentiment of the precedent voice truthfully is not matter in question. Most important is the distance that the primary speaker sets in relation to that voice. In Bakhtin's words, the primary speaker's intention does not penetrate inside the objectified discourse.6 In this type of quotation, the voice may change significantly, even in total opposition to that of the primary speaker, especially in disputation. The correct identification of an attributed quotation is thus crucial to its interpretation. An attributed quotation can be marked by verbum dicendi, an explicit verb of speaking or thinking, such as ... This type of explicitly marked attributed quotation appears frequently in many portions of the book of Job, such as the dialogue between Job and his three friends (11:4; 19:28; 20:7b; 21:14-15, 28; 22:13-14, 17; 24:15b), the so-called wisdom poem (28:14, 22, 28), Job's later testimony (31:31), and the speeches of Elihu (32:13; 33:9-11, 24, 27-28; 34:5-6, 9, 18, 31-32, 35-37; 35:2-3, 10-11; 36:23b; 37:6a). In addition to verbum dicendi, an attributed quotation can sometimes be signaled by virtual markings. The main indices for marking quoted discourse are suggested by Michael V. Fox as follows: (a) There is another subject besides the primary speaker present in the immediate vicinity of the quotation, . . . (b) There is virtual verbum dicendi-a verb or noun that implies speech. (c) The switch to the perspective of the quoted voice is signalled by change in grammatical number and person. The presence of this last sign is largely dependent on the content of the quotation and may unavoidably be lacking, but when present it is often the clearest of the three signals.7 Recently, Edward L. Greenstein has also suggested that the presence of (d) a deictic (pointing) pronoun that draws attention to the quoted is another indicator of quotation.8 Of course, not all attributed quotations necessarily contain all four of the virtual markers noted above. …

Musical quotation an outline of the problem

A primary issue: musical tradition, i.e. a work of music as repository of the past. Involved in this are two principal technical-aesthetic-axiological-semiotic types: music in music and music about music. There are various ways of exploting pre-existent material (ante-facti or prae-facti) or stylistic ideas. Governing these are the main sources of borrowings; the polysemic complexity of interrelations and dialogues between loan-music and the music absorbing it (a dialectical network). Musical quotations have various functions, their context an essential factor in conditioning signification: Some quotations are context-sensitive, some context-free. There are negative and positive reasons for employing quotations, and several types of quotation: parole quotation, langue quotation, quotation-symbol, crypto-quotation, hetero-codal quotation, quotation-signature, as well as collage. Numerous illustrations are given, mainly from 20th-century music.

Goldstein on quotation

AURENCE Goldstein ('Quotation of Types and Other Types of Quotation'. ANALYSIS 44.1, January 1984, p. 1) disputes the commonly held view that the sign formed by placing quotation marks around another sign is a sign for the other sign. He says (p. 4) 'One can think of ... quotation marks as arrows pointing to a sample which could be remote from the sentence'. Davidson ('Quotation', Theory and Decision 11, 1979, pp. 27-40, reprinted in Inquiries into Truth and Interpretation, Oxford 1984, pp. 79-92) holds a similar view: a 'demonstrative' account of quotation. The account seems to me quite implausible, since it requires, ultimately, that we cannot read conventionally quoted expressions in the way that we do. Consider:

Quotation of types and other types of quotation

T HE type/token distinction, apparently a simple one, is beset by worrisome difficulties, and attempts to give an account of types have been plagued by confusion. A suggestion of Hugly and Sayward [11] that types are classes has been successfully rebutted, in my opinion, by Peter Simons [17], but Simons' preferred theory, a pattern approach to types, also seems unsatisfactory. In this note, I shall first register some complaints about Simons' theory, then present an alternative account of type-talk which, I claim, is simpler and more general in that the type/token distinction falls out as a special case. Simons proposes the convention of using single quotation marks to name types, double quotation marks to name patterns, the Greek letters ?, 7 as place-holders for names and p?, i as place-holders for predicate letters. A single expression may exemplify several different patterns. Thus, any token of 'Faa' exemplifies all of the patterns Faa, Fa , F a , F q, F )9 4, ?paa , rpa , p44 a , 96 t9,

Quotation of Types and Other Types of Quotation

Quotation of Types and Other Types of Quotation