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Constructed action and constructed dialogue are pragmatic features of languages where the speaker performs the role of someone else during a conversation or narrative. Metzger defines them as the way people "use their body, head, and eye gaze to report the actions, thoughts, words, and expressions of characters within a discourse". [ 1 ]
Constructed language created for the residents of More's fictional nation of Utopia; one of the first attempts at a constructed language. Zaum: 1913 Velimir Khlebnikov, Aleksei Kruchonykh et al. Poetic tongue elaborated by these Russian Futurists as a "transrational" and "most universal" language "of songs, incantations, and curses." Syldavian
The term dialogue stems from the Greek διάλογος (dialogos, ' conversation '); its roots are διά (dia, ' through ') and λόγος (logos, ' speech, reason '). The first extant author who uses the term is Plato, in whose works it is closely associated with the art of dialectic. [3] Latin took over the word as dialogus. [4]
We see example 1 work because the French Embedded Language island Le matin de bonne heure, "early in the morning", is a time expression. (Also, it is repeated in Wolof in the second sentence.) In example 2, we see the quantifier a lot of is a predicted Embedded Language island. Here we see an objective complement of a finite verb begin with the ...
Dialogue is usually identified by the use of quotation marks and a dialogue tag, such as 'she said'. [5] "This breakfast is making me sick," George said. 'George said' is the dialogue tag, [6] which is also known as an identifier, an attributive, [7] a speaker attribution, [8] a speech attribution, [9] a dialogue tag, and a tag line. [10]
For example: I can get it for free. OR I could get it for free. He said that he could get it for free. (ambiguity) However, in many Slavic languages, there is no change of tense in indirect speech and so there is no ambiguity. For example, in Polish (a male speaker, hence third person masculine singular): Mogę mieć to za darmo.
This is a list of dāstāns and qissas (prose fiction) written in Urdu during the 18th and 19th centuries. The skeleton of the list is a reproduction of the list provided by Gyan Chand Jain in his study entitled Urdū kī nasrī dāstānen .
[1] A shayar can use the maqta ' in a variety of interesting ways. He can "talk to himself", "to somebody else", "refer to something" etc. For example Firaq Gorakhpuri, whose takhallus is the word for the common theme in Urdu poetry of the state of pining for the beloved, plays on his pen name and the word firaq: Urdu: