Second language acquisition (SLA) is a field of inquiry that has increased in importance since the 1960s. Currently, researchers adopt multiple perspectives in the analysis of learner language, all of them providing different but complementary answers to the understanding of oral and written data produced by young and older learners in different settings. The main goal of this volume is to provide the reader with updated reviews of the major contemporary approaches to SLA, the research carried out within them and, wherever appropriate, the implications and/or applications for theory, research and pedagogy that might derive from the available empirical evidence.
Lexicalization, a process of language change, has been conceived in a variety of ways. In this up-to-date survey, Laurel Brinton and Elizabeth Traugott examine the various ideas that have been presented. In light of contemporary work on grammaticalization, they then propose a new, unified model of lexicalization and grammaticalization. Their approach is illustrated with a variety of case studies from the history of English, including present participles, multi-word verbs, adverbs, and discourse markers, as well as some examples from other Indo-European languages
This book is a collection of readings in phonological theory with special reference to English. The essays it contains are all concerned to a significant extent with discussion and criticism of the theory of phonology developed by Noam Chomsky and Morris Halle in their monograph The Sound Pattern of English.
Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that "spectators" are more accurately described as "audiences," that the gaze has its equal in eavesdropping.
