Other available formats:
Looking for an examination copy?
If you are interested in the title for your course we can consider offering an examination copy. To register your interest please contact firstname.lastname@example.org providing details of the course you are teaching.
In a work that is part memoir, part monograph, Nigel Duffield offers a set of lyrical reflections on theories of Psycholinguistics, which is concerned with how speakers use the languages they control, as well as with how such control is acquired in the first place. Written for professionals and enthusiastic amateurs alike, this book offers a 'well-tempered' examination of the conceptual and empirical foundations of the field. In developing his ideas, the author draws on thirty years of direct professional experience of psycholinguistic theory and practice, across various sub-disciplines, including theoretical linguistics, cognitive psychology, philosophy, and philology. The author's personal experience as a language learner - more importantly, as the father of three bilingual children - also plays a crucial role in shaping the discussion. Using examples from popular literature, song, poetry, and comedy, the work examines many of the foundational questions that divide researchers from different intellectual traditions: these include the nature of 'linguistic competence', the arbitrariness of language, and the theoretical implications of variation between speakers and across languages.Read more
- Original use of literary examples, including popular literature, provides a fresh perspective on high-level topics in the psychology and philosophy of language
- Interdisciplinary, it relates philosophical and psychological theories of language and mind, to sociolinguistics, historical linguistics, stylistics, as well to theories of arithmetic and physical architecture
- Accessible to non-expert readers, it assumes little prior knowledge of particular linguistic theories and uses non-technical language to present its ideas
Reviews & endorsements
Advance praise: ‘This is an insightful and far ranging book on writing, its history, and how to teach it. Drawing on the insights of philosophers, scientists, educators, and accomplished writers, Dominic Wyse lays bare the power, mystique, and the pleasures of writing.' Steve Graham, Arizona State UniversitySee more reviews
Advance praise: ‘Wyse's deep dive into the history of writing will make this book an instant classic and a must-read for scholars who study any aspect of writing. It is not an ordinary history of a discipline, but a rigorous and creative text that will make readers rethink relationships between music, composing, creativity and writing across our lifespans.' Jessica Pandya, California State University, Long Beach
Advance praise: ‘Like music of the soul with an original melody, replete with philosophical and historical notes, this book captures the very essence of writing and composition processes. Dominic Wyse's new volume switches up the tempo of current research to consider writing differently.' Kathy A. Mills, Learning Sciences Institute Australia, Australian Catholic University
Not yet reviewed
Be the first to review
Review was not posted due to profanity×
- Publication planned for: February 2018
- format: Paperback
- isbn: 9781108404648
- dimensions: 228 x 152 mm
- availability: Not yet published - available from February 2018
Table of Contents
Part I. Both Sides, Now:
1. Breaking us in two
2. Marr's Vision I
3: Marr's Vision II
Part II: Six Different Ways
4. (Case #1): 'Lip my stocking'
5. (Case # 2): 'There's a word for it'
6. (Case # 3): 'Running up that hill'
7. (Case # 4): 'Me, myself, I'
8. (Case # 5): 'Be my number two'…won't you?
9. (Case # 6): 'Cwucial questions'
Part III. Say it ain't so, Joe:
10. A is for Abstraction (and Ambiguity)
11. B is for Arbitrariness
12. C is for Competence~Performance, and Proficiency
13. F is for Functions of Language
14. G is for Grammar
15. H is for Homogeneity
16. I is for Internalism (I-language)
17. J is for Judgment
18. N is for (Chomskyan) Nativism
19. O is for Object of Study
20. P is for Poverty of the Stimulus (Good Arguments)
21. R is for (Exophoric) Reference
22. T is for Sentence
23. V is for von Humboldt (Discrete Infinity)
24. Ω is for Love
Part IV. A Tale of Two Cities:
25. 'I ain't bovvered'
26. 'Who did say that?'
Sorry, this resource is locked
Please register or sign in to request access. If you are having problems accessing these resources please email email@example.comRegister Sign in
You are now leaving the Cambridge University Press website. Your eBook purchase and download will be completed by our partner www.ebooks.com. Please see the permission section of the www.ebooks.com catalogue page for details of the print & copy limits on our eBooks.Continue ×