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Inspired by Frank Palmer's work, this book addresses a set of specific topics pertaining to the description of modality in English and places them in a broader context. A number of more general theoretical and typological matters are also raised, which bear upon the theory of syntax, semantics and pragmatics and their interfaces. The methodology adopted is mostly functional-typological, though some reference is made to various theoretical frameworks, ranging from cognitive linguistics to parametric variation. Modal meanings are seen to extend beyond particular lexical and grammatical exponents, through sentential semantics and into actual contexts of use. At the same time, the study of modality seems to challenge commonly held views on the relationship between different levels of linguistic analysis. Other languages discussed include Brazilian Portuguese, Classical and Modern Greek and Spanish.
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Frank Palmer's new book is a typological survey of grammatical roles, such as Agent, Patient, Beneficiary, and grammatical relations, such as Subject, Direct Object and Indirect Object, which are familiar concepts in traditional grammars. It describes the devices, such as the Passive, that alter or switch the identities between such roles and relations. A great wealth of examples is used to show that the grammatical systems of the familiar European languages are far from typical of many of the world's languages, for which we need to use such terms as 'Ergative' and 'Antipassive'. Professor Palmer provides an elegant and consistent framework within which grammatical roles and relations may be discussed, combining a great clarity of discussion with evidence from an enormous number of the world's languages.
Palmer Bullock has made a good life for himself. All of his many accomplishments have been based on his very high and rigid principles and his rules of ethical conduct. Some would think such a life grueling and unrewarding, but for Palmer, it is the easy way; rewarding in its certainty and pleasing to his sense of right and wrong. He has a good law practice, a generous gentleman's farm, a pretty wife, a son, and a daughter. Then, one remote act sets in motion a chain of events which, like cascading dominos falling one upon the next, upsets his entire world: his confidence in his rules of life, his confidence in his self-control and self-determination, and his belief in himself as a good man....
How can we be morally concerned with fiction? What does our experience of literature contribute to our capacity for moral understanding? This study of the relation of art to morality presents a defence of the humane value of art and explores the moral dimension of culture.