Pied-piping, the phenomenon that wh-movement may target categories not marked with the feature [wh], has generally been considered idiosyncratic and pathological. On Pied-Piping argues that this assessment is not correct. The book presents a compilation of crosslinguistic generalizations on pied-piping and a theory that derives them. Pied-piping is incorporated into a derivational theory of successive cyclic wh-movement that includes input-output optimization, the operation Agree, and phase theory. The resulting theory is a step towards closing a long-standing gap in syntactic theorizing.
An argument that the word order of a given language is largely predictable from independently observable facts about its phonology and morphology. Languages differ in the types of overt movement they display. For example, some languages (including English) require subjects to move to a preverbal position, while others (including Italian) allow subjects to remain postverbal. In its current form, Minimalism offers no real answer to the question of why these different types of movements are distributed among languages as they are. In Contiguity Theory, Norvin Richards argues that there are universal conditions on morphology and phonology, particularly in how the prosodic structures of language can be built, and that these universal structures interact with language-specific properties of phonology and morphology. He argues that the grammar begins the construction of phonological structure earlier in the derivation than previously thought, and that the distribution of overt movement operations is largely determined by the grammar's efforts to construct this structure. Rather than appealing to diacritic features, the explanations will generally be rooted in observable phenomena. Richards posits a different kind of relation between syntax and morphology than is usually found in Minimalism. According to his Contiguity Theory, if we know, for example, what inflectional morphology is attached to the verb in a given language, and what the rules are for where stress is placed in the verb, then we will know where the verb goes in the sentence. Ultimately, the goal is to construct a theory in which a complete description of the phonology and morphology of a given language is also a description of its syntax.
Preposition placement, the competition between preposition stranding (What is he talking about?) and pied-piping (About what is he talking?), is one of the most interesting areas of syntactic variation in English. This is the first book to investigate preposition placement across all types of clauses that license it, such as questions, exclamations and wh-clauses, and those which exhibit categorical stranding, such as non-wh relative clauses, comparatives, and passives. Drawing on over 100 authentic examples from both first-language (English) and second-language (Kenyan) data, it combines experimental and corpus-based approaches to provide a full grammatical account of preposition placement in both varieties of English. Although written within the usage-based construction grammar framework, the results are presented in theory-neutral terminology, making them accessible to researchers from all syntactic schools. This pioneering volume will be of interest not only to syntacticians, but also second-language researchers and those working on variation in English.
This monograph is one of the first studies that approaches Latin syntax from a formal perspective, combining detailed corpus-based description with formal theoretical analysis. The empirical focus is word order in embedded clauses, with special attention to clauses in which one or more constituents surface to the left of a subordinating conjunction. It is proposed that two such types of left peripheral fronting should be distinguished. The proposed analyses shed light not only on the clausal left periphery, but also on the overall structure of the Latin clause. The study is couched in the framework of generative grammar, but since a thorough introduction is provided, no special background in formal syntax is required. Major topics touched upon are word order, information structure, locality, and the syntax of pied-piping. The book covers both synchronic and diachronic topics of Latin syntax, and is of interest for classical philologists, historical linguists, and formal syntacticians.
The central idea of Dynamic Antisymmetry is that movement and phrase structure are not independent properties of grammar; more specifically, that movement is triggered by the geometry of phrase structure. Assuming a minimalist framework, movement is traced back to the necessity for natural language to organize words in linear order at the interface with the perceptual-articulatory module.Andrea Moro uses this innovative perspective to analyze several empirical domains, focusing on small clauses, split wh-movement, and clitic constructions. In a final speculative chapter, he examines the general consequences for the design of grammar implied by Dynamic Antisymmetry.The book is self-contained, with a synopsis of current theories of movement and a synthetic presentation of the theory of antisymmetry. An appendix presents the essentials of a unified theory of copular sentences, which plays a central role in the argument and has several important consequences for syntax, for example, for expletives and locality.Linguistic Inquiry Monograph No. 38
The Grammar of Q puts forth a novel syntactic and semantic analysis of wh-questions, one that is based upon in-depth study of the Tlingit language, an endangered and under-documented language of North America. A major consequence of this new approach is that the phenomenon classically dubbed "pied-piping" does not actually exist.
With this first book in Russell Brand’s Trickster Tales series, the famed comedian, actor, and bestselling author delivers a hilarious retelling of an old fairytale favorite that will appeal to adults and children alike. Once upon a time, long ago, in a time that seemed, to those present, exactly like now except their teeth weren’t so clean and more things were wooden, there was a town called Hamelin. The people of Hamelin were a pompous bunch who loved themselves and their town so much that if it were possible they would have spent all day zipped up in a space suit smelling their own farts. But space suits hadn’t been invented yet so they couldn’t. Then one day without warning a gang of rats bowled into the town and began causing a right rumpus… So begins Russell Brand’s wildly funny and surprisingly wise retelling of the classic tale The Pied Piper of Hamelin. Whether you’re a kid or a grown-up kid, you’ll be chuckling the whole way through this zany story that bypasses Brand’s more adult humor for the outrageous, the madcap, and the just plain silly. Maybe you’ve heard about the Pied Piper before, with his strange music and those pompous townspeople and pesky rats. Or maybe you haven’t. But one thing is for sure: you’ve never heard it quite like this.
When the Pied Piper enchanted the children of Hamelin and led them away, Mari and her brother, Jakob, followed his song. Now they are trapped in a beautiful but cruel world inhabited by a horrid Beast. Finding a way to escape will require some wild magic, in this powerful story of a family torn apart by tragedy, and the magical adventure that heals them.
