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Monographic Series
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The Negative Existential Cycle
In 1991, William Croft suggested that negative existentials (typically lexical expressions that mean ‘not exist, not have’) are one possible source for negation markers and gave his hypothesis the name Negative Existential Cycle (NEC). It is a variationist model based on cross-linguistic data. For a good twenty years following its formulation, it was cited at face-value without ever having been tested by (historical)-comparative data. Over the last decade, Ljuba Veselinova has worked on testing the model in a comparative perspective, and this edited volume further expands on her work. The collection presented here features detailed studies of several language families such as Bantu, Chad...
Melodies, Rhythm and Cognition in Foreign Language Learning
Melodies, Rhythm and Cognition in Foreign Language Learning is a collection of essays reflecting on the relationship between language and music, two unique, innate human capacities. This book provides a clear explanation of the centrality of melodies and rhythm to foreign language learning acquisition. The interplay between language music brings to applied linguists inquiries into the nature and function of speech melodies, the role of prosody and the descriptions of rhythmical patterns in verbal behaviour. Musical students seem to be better equipped for language learning, although melodies and rhythm can benefit all types of students at any age. In fact, in this book melodies and rhythm are considered to be a springboard for the enhancement of the learning of foreign languages.
Signs of Music
Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.
