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How to Think Before You Speak: Getti...
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Do, Monica L.
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How to Think Before You Speak: Getting from Abstract Thoughts to Sentences.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
How to Think Before You Speak: Getting from Abstract Thoughts to Sentences./
作者:
Do, Monica L.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:
154 p.
附註:
Source: Dissertations Abstracts International, Volume: 80-08, Section: A.
Contained By:
Dissertations Abstracts International80-08A.
標題:
Linguistics. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=11017085
How to Think Before You Speak: Getting from Abstract Thoughts to Sentences.
Do, Monica L.
How to Think Before You Speak: Getting from Abstract Thoughts to Sentences.
- Ann Arbor : ProQuest Dissertations & Theses, 2018 - 154 p.
Source: Dissertations Abstracts International, Volume: 80-08, Section: A.
Thesis (Ph.D.)--University of Southern California, 2018.
This item must not be sold to any third party vendors.
Speaking is hard. Part of what makes it hard is the fact that the ideas speakers start with bear little resemblance to the sentences that they ultimately utter. The messages that speakers initially formulate are abstract concepts with no overarching structure; but the end product of that message-the sentences that speakers end up saying-is highly structured. So, how do speakers go from abstracts thoughts to linguistic utterances? At what point are abstract concepts mapped onto the structure of language and how are these concepts integrated into the different types of structure present in language? This dissertation presents five experiments that aim to shed some light on precisely these questions. Little is known about the process by which speakers formulate an abstract message that they wish to communicate, but what seems clear is that this entails (at the very least) deciding what to include and exclude from the message. Chapter 2 focuses on the production of short ('The green beans were cooked.') versus long ('The green beans were cooked by the pilot.') passives to investigate two factors that can affect what is ultimately included/not included in the message. I find that the prominence/accessibility of the concepts-the entities and events-within that message can influence the content of a message, but find little evidence that the accessibility of syntactic structures can do the same. Further evidence from real-time sentence production involving a special class of verbs, known as psychological verbs, corroborates these results. Once speakers have formed their message, they must linguistically encode their conceptual representations for speech (e.g. Bock and Levelt, 1994; Levelt, 1989). In four visual-world eye-tracking studies (Chapters 3-5), I investigate how the process of linguistic encoding unfolds and in particular, how linear word order, syntactic structure, and semantic structure are integrated during this process. I show that effects of linear word order, syntactic structure, and semantic structure all emerge during roughly the same time window-meaning that linguistic encoding is simultaneously influenced by many different factors (e.g. Kuchinsky, 2009; Konopka, 2012; Kuchinsky et al., 2011). Importantly, though, the current work extends prior work in language production by shedding light on how these factors interact during linguistic encoding. Specifically, experiments on the production of object wh-questions (e.g. 'Which chefs did the nurses tickle?') in English and Mandarin (Chapters 3-4)-the first view of question production in real time-show how the process of encoding unfolds when the syntactic structure of an utterance conflicts with the linear word order of the sentence. Subsequent experiments (Chapter 5) on the real-time production of sentences containing psychological verbs-again, providing a novel look at production-focus on the interaction between syntactic and semantic structure during linguistic encoding. Taken together, the whole of this work argues that syntactic structure is privileged over linear structure, but both syntactic and semantic structure collaboratively inform the process of linguistic encoding. Consequently, the primary task of the language production system at the point of linguistic encoding, is to align conceptual prominence with linguistic prominence. This is proposed and discussed in Chapter 6.Subjects--Topical Terms:
524476
Linguistics.
How to Think Before You Speak: Getting from Abstract Thoughts to Sentences.
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Speaking is hard. Part of what makes it hard is the fact that the ideas speakers start with bear little resemblance to the sentences that they ultimately utter. The messages that speakers initially formulate are abstract concepts with no overarching structure; but the end product of that message-the sentences that speakers end up saying-is highly structured. So, how do speakers go from abstracts thoughts to linguistic utterances? At what point are abstract concepts mapped onto the structure of language and how are these concepts integrated into the different types of structure present in language? This dissertation presents five experiments that aim to shed some light on precisely these questions. Little is known about the process by which speakers formulate an abstract message that they wish to communicate, but what seems clear is that this entails (at the very least) deciding what to include and exclude from the message. Chapter 2 focuses on the production of short ('The green beans were cooked.') versus long ('The green beans were cooked by the pilot.') passives to investigate two factors that can affect what is ultimately included/not included in the message. I find that the prominence/accessibility of the concepts-the entities and events-within that message can influence the content of a message, but find little evidence that the accessibility of syntactic structures can do the same. Further evidence from real-time sentence production involving a special class of verbs, known as psychological verbs, corroborates these results. Once speakers have formed their message, they must linguistically encode their conceptual representations for speech (e.g. Bock and Levelt, 1994; Levelt, 1989). In four visual-world eye-tracking studies (Chapters 3-5), I investigate how the process of linguistic encoding unfolds and in particular, how linear word order, syntactic structure, and semantic structure are integrated during this process. I show that effects of linear word order, syntactic structure, and semantic structure all emerge during roughly the same time window-meaning that linguistic encoding is simultaneously influenced by many different factors (e.g. Kuchinsky, 2009; Konopka, 2012; Kuchinsky et al., 2011). Importantly, though, the current work extends prior work in language production by shedding light on how these factors interact during linguistic encoding. Specifically, experiments on the production of object wh-questions (e.g. 'Which chefs did the nurses tickle?') in English and Mandarin (Chapters 3-4)-the first view of question production in real time-show how the process of encoding unfolds when the syntactic structure of an utterance conflicts with the linear word order of the sentence. Subsequent experiments (Chapter 5) on the real-time production of sentences containing psychological verbs-again, providing a novel look at production-focus on the interaction between syntactic and semantic structure during linguistic encoding. Taken together, the whole of this work argues that syntactic structure is privileged over linear structure, but both syntactic and semantic structure collaboratively inform the process of linguistic encoding. Consequently, the primary task of the language production system at the point of linguistic encoding, is to align conceptual prominence with linguistic prominence. This is proposed and discussed in Chapter 6.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=11017085
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