This volume consists of an introduction and two groups of essays by Paul M. Postal, each with a connecting theme. The first, positive group of papers, contains five previously unpublished studies of English syntax. These include a long study of so-called "locative inversion," two investigations related to raising to non-subject status, an argument for the existence of a hitherto ignored nominal grammatical category and a study of vulgar negative polarity items. Each investigation of specific English details is argued to have significant theoretical consequences. The second, negative group of papers, contains seven essays each of which seeks to show that aspects of contemporary linguistic activity are in part contaminated by elements of what is called "junk linguistics." Postal uses the term to denote work which advances proposals, puts forward claims and asserts deep results which, he argues, can only be accepted by ignoring serious standards of inquiry and scholarship. Postal claims that much of this work is nonetheless currently considered not only serious but prestigious reveals the problem to exist at the core of the field, not its periphery. These chapters include documentation of "junk linguistic" aspects in National Science Foundation refereeing, work on the foundations of linguistics, and even in widespread terminological usages. The final chapter briefly lists personal suggestions for dealing with this problem.

Can language hide thoughts? This question, posed by the German Academy for Language and Literature in 1965 as the topic of its first essay competition, was taken up by the philologist Harald Weinrich, with far-ranging results. The most immediate was his claiming first prize with this volume's title essay, published the following year as Linguistik der Luge. Weinrich's influential essay, now in its sixth printing in Germany, is presented here for the first time in English, with an updated preface by the author and additional essays selected by him. With wit and clarity, Weinrich brings sophisticated thinking about semantics to bear on the question of how, and how much, language corresponds to thought. He argues that lying is a function not of words but of sentences; it belongs to the semantic aspect of language. His survey of the different ways in which language is untrue forges striking links between linguistic and literary categories on the one hand and ethics and even good manners on the other. In contrast with scholars of an earlier generation, for whom literary and cultural theory circumscribed the issue of style within a fixed aesthetic framework, Weinrich demonstrates that stylistic analysis is closely linked with analysis in the domains of sociology and anthropology. The essays "Jonah's Sign: On the Very Large and the Very Small in Literature," "Politeness, an Affair of Honor," "Politeness and Sincerity," and "The Style Is the Man Is the Devil" complement "The Linguistics of Lying" in their focus on real and false representations in literature and in life, and notably on the immensely destructive lies, Adolf Hitler's in particular, that marked the politics of the twentieth century.

This book contains new articles by leading philosophers and linguists discussing a promising philosophical framework distinct from currently dominant ones: Linguistic Realism. As opposed to Nominalism and Chomskyian Conceptualism, this approach distinguishes between use of language, knowledge of language, and language as such. The latter is conceived as part of the realm of abstract objects. The authors show how adopting Linguistic Realism overcomes entrenched problems with other frameworks and suggest that Linguistic Realism will best serve those interested in formal linguistics, the cognitive dimension of natural language, and linguistic philosophy. The essays offer different perspectives on Linguistic Realism, either supporting this paradigm or taking it as a starting point for developing modified conceptions of linguistics and for further tying linguistics to the kind of formal theories of sensory cognition that were pioneered in visual perception by David Marr—whose work is predicated on exactly the object/knowledge distinction made by Linguistic Realists.

Essays by leading theoretical linguists—including Noam Chomsky, B. Elan Dresher, Richard Kayne, Howard Lasnik, Morris Halle, Norbert Hornstein, Henk van Riemsdijk, and Edwin Williams—reflect on Jean-Roger Vergnaud's influence in the field and discuss current theoretical issues Jean-Roger Vergnaud's work on the foundational issues in linguistics has proved influential over the past three decades. At MIT in 1974, Vergnaud (now holder of the Andrew W. Mellon Professorship in Humanities at the University of Southern California) made a proposal in his Ph.D. thesis that has since become, in somewhat modified form, the standard analysis for the derivation of relative clauses. Vergnaud later integrated the proposal within a broader theory of movement and abstract case. These topics have remained central to theoretical linguistics. In this volume, essays by leading theoretical linguists attest to the importance of Jean-Roger Vergnaud's contributions to linguistics. The essays first discuss issues in syntax, documenting important breakthroughs in the development of the principles and parameters framework and including a famous letter (unpublished until recently) from Vergnaud to Noam Chomsky and Howard Lasnik commenting on the first draft of their 1977 paper “Filters and Controls.” Vergnaud's writings on phonology (which, the editors write, “take a definite syntactic turn”) have also been influential, and the volume concludes with two contributions to that field. The essays, rewarding from both theoretical and empirical perspectives, not only offer insight into Vergnaud's impact on the field but also describe current work on the issues he introduced into the scholarly debate. Contributors Joseph Aoun, Elabbas Benmamoun, Cedric Boeckx, Noam Chomsky, B. Elan Dresher, Robert Freidin, Morris Halle, Norbert Hornstein, Richard S. Kayne, Samuel Jay Keyser, Howard Lasnik, Yen-hui Audrey Li, M. Rita Manzini, Karine Megerdoomian, David Michaels, Henk van Riemsdijk, Alain Rouveret, Leonardo M. Savoia, Jean-Roger Vergnaud, Edwin Williams

A comprehensive and very readable resource to help students of English language and linguistics write essays, projects and reports.

Anthropology and linguistics, as historically developing disciplines, have had partly separate roots and traditions. In particular settings and in general, the two disciplines have partly shared, partly differed in the nature of their materials, their favorite types of problem the personalities of their dominant figures, their relations with other disciplines and intellectual current. The two disciplines have also varied in their interrelation with each other and the society about them. Institutional arrangements have reflected the varying degrees of kinship, kithship, and separation. Such relationships themselves form a topic that is central to a history of linguistic anthropology yet marginal to a self-contained history of linguistics or anthropology as either would be conceived by most authors. There exists not only a subject matter for a history of linguistic anthropology, but also a definite need.

Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment.