If, when asked whether you want more beer, you utter, ‘I’ve had enough’, your interlocutor knows that you have had enough of beer. That is, from the literal content of ‘I’ve had enough’, your interlocutor infers that you say, ‘I’ve had enough [of beer]’. Language theorists convincingly claim that hearers almost always make similar inferences to figure out what speaker say. However, in doing so they also claim that interlocutors do not evaluate literal content for truth in everyday conversation – it is either true or false that you have had enough of beer, not just ‘enough’. That is, they claim that literal content is not useful to interlocutors. In this thesis, I defend Emma Borg’s (2019) claim that literal content actually is useful to interlocutors. First, I argue that Borg is correct in that asking for ‘speaker liability’ shows that interlocutors evaluate literal content for truth in cases of lying. Second, I both consider a challenge to speaker liability and an objection to how the Gricean distinction between saying and implicating, the composite notion of ‘what is said’, I (and Borg) argue for should be drawn.

The thesis examines the nineteenth century German philosopher and philologist Friedrich Nietzsche’s early notion of how a word is generated in the process of perception. It does so by looking at the “metaphorical transitions” Nietzsche talks about in the essay “Über Wahrheit und Lüge im außermoralischen Sinne” (“On Truth and Lie in an Extra-MoralSense”). According to the relevant passage in “On Truth and Lie…“ an image is first created as a metaphor for a stimulus and a word is then created as a metaphor for the image. Nietzsche also states that the word has two fundamental aspects: metaphor and concept. The essay, and in particular the passage on the metaphorical transitions, has often been interpreted either from a skeptical viewpoint, saying that Nietzsche’s enterprise is to reject philosophical realism and the Aristotelian/Kantian correspondence theory of truth. Or it has been interpreted from a dogmatic viewpoint, saying that Nietzsche holds that there is an insurmountable barrier between “consciousness” and “the world” and that human knowledge is therefore doomed only to consist of private and erroneous representations of a world beyond the reach of the intellect. This thesis suggests a third way of looking at the passage, where the metaphorical transitions are taken to be the very possibility of knowledge, since they constitute the human way of being in the world. Thus Nietzsche’s train of thought in “On Truth and Lie...” is interpreted as a general model for looking at how knowledge arises. By force of this interpretation, it is argued that a consequence of Nietzsche’s position is that the epistemological strength of language, taken as the ability to pose the question what something is, lies in its image creating aspect, the metaphor, rather than in its discursive aspect, the concept.

How do letters differ from other letters, or other symbols? Is it the shape, sound, or use? The metaphysicality and ontology of words has been discussed extensively, but the discussion about letters is far from being conclusive. Due to this I will, by bringing forth a background on words, discuss letters’ origins and metaphysical distinction.  I will examine a Platonist proposal of words, and then theories about shape, sound, meaning and origin. Nurbay Irmak opposes said theories and instead means that it is history that makes words ontologically distinct, which J.T.M. Miller disagrees with. I apply all these theories on the metaphysicality of letters and symbols and explain why they do not work for symbols either. Herman Cappelen and Ernest Lepore have previously discussed symbols and sign systems, and I will use their conclusions to strengthen my arguments. Lastly, I will argue for and against three of my own theories: Relation, Equivalence and Context. The point of this essay is to examine the metaphysicality of letters and symbols. What is it that makes symbols metaphysically distinct?

<p>In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something.</p><p>Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described.</p><p>I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play.</p><p>I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.</p>

In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something. Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described. I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play. I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.

No description available.

Målet med denne bacheloroppgåva var å studere to bøker av Tomas Espedal og Kristian Lundberg for å sjå kva deira språklege grep kunne seie oss om synet på språk og røyndom i bøkene. Eg studerte bøkene imot kunsten og imot naturen av Espedal og Yarden og Och allt skall vara kärlek av Lundberg med vekt på dei språklege verkemidla dei har brukt. Alle bøkene går innunder omgrepet sjølvframstillande litteratur og eg har jamstilt formen med dei andre språklege verkemidla for å sjå kva også sjangeren dei har skrive i har hatt å seie for å kunne utrykkje eit syn på forholdet mellom språk og verd i bøkene. Eg tok utgangspunkt i teorien rundt språkfilosofi og underleggjering i litteraturen og brukte dette som grunnlag for min komparative analyse. Det eg til slutt kom fram til er at både formen og dei andre språklege verkemidla utrykkjer eit syn på språket som utilstrekkeleg og røyndommen som noko subjektivt som heile tida er i forandring. Ein konstruerer si eiga verd gjennom ein individuell bruk av språket. Dei litterære grepa utrykkjer dette på ulikt sett, som til dømes komposisjonen som vitnar om ei uoversikteleg verd og eit minne ein ikkje kan stole på. Prosainnslaga viser til ei verd utan klare grenser og med eit behov for eit språk som kan vise til noko meir enn dei språklege bileta vi allereie kjenner. Sjølvframstillinga i seg sjølv viser til ei subjektiv røynd, med eit subjektiv språk der grensene mellom fakta og fiksjon er utflytande. Dermed kan ein forstå desse fire bøkene som eit forsøk på å seie noko meir enn det språket kan utrykkje og som eit lite klapp på skuldra som fortel deg at det finst ei sanning så lenge du godtek at den er subjektiv og konstruert i språket.

The purpose of this study is to perform both a quantitative and language philosophical analysis of the folksono-my and the tags in the Stockholm public library catalogue, which together with the Umeå university folksonomy, and the folksonomy of the Norrköping public library are the only library folksonomies in Sweden. The purpose of the first part of the study is to perform an analysis of the linguistical structure of the tags in the folksonomy. To do this a quantitative analysis has been conducted to grammatically categorize and evaluate tags using a method based on Louise Spiteri‟s article “The structure and form of folksonomy tags: the road to the public library catalogue” and the SAO guidelines. This part of the analysis aims to answer questions like: what characteristics do the tags in the folksonomy have and in what ways do they separate themselves from subject headings in a controlled vocabulary? Tags were here categorized according to grammatical properties like parts of speech and their social and private characteristics. A discussion regarding different semantical problems in folksonomies was conducted along with a comparative analysis between the SSB tags and the subject headings of SAO. Based on the findings from the first part of the analysis, the second part aims to answer questions about the use and meaning of tags within a folksonomy. The later theories of Ludwig Wittgenstein are used to discuss the findings of the first analysis. There is a twofold focus here: firstly, on the potential of seeing a folksonomy as a language game, and secondly, on the private characteristics of tags. The latter being a thought that so far has been neglected in studies of library and information science. This part of the analysis aims to discuss the possi-bilities of seeing a folksonomy as a language game and what it is that makes tags in a folksonomy meaningful. It also aims to discuss the possibility of seeing tags as private sensations. Different examples and discussions from Philosophical investigations are used as a theoretical framework in the analysis. The results of the analysis show that tags in the SSB folksonomy mostly consist of single-word terms  - nouns written in indefinite and concrete article  - and that they have a high social value. They highly correlate with subject headings either fully or as see also references. It also shows that folksonomies can be seen as both primitive and more advanced language games, plus that the meanings of tags are derived from the context in which they reside and the context of the folksonomy users. Discussions also show that tags may or may not be seen as private sensations depending on individual perspectives regarding the matter.

Denne masteroppgaven tar for seg to ulike sterke fortidspartisipper i nordnorsk (hovedsakelig Troms-mål), der man i intransitive verb har ei veksling mellom vanlig supinumsending -e og det som antakelig opphavlig har vært hankjønnsforma -en, uavhengig av kjønn. Disse to fortidspartisippa opptrer også med ulike hjelpeverb, henholdsvis ha og være. Vekslinga blir analysert semantisk som ei aspektuell markering av hendelsesstruktur, der være + -en koder det som blir kalt resultativt aspekt, mens ha + -e koder perfektivt aspekt. Resultativt aspekt forutsetter at hendelsesstrukturen består av to distinkte hendelser, en aktivitet og en tilstand som blir forårsaka av denne aktiviteten. Det blir også forsøksvis vist hvordan hendelsesstrukturen og aspektet oppstår i derivasjonen av ei setning, og gjennom dette framgår det dessuten hva betydningsbidraget til de to ulike morfema og til hjelpeverba er.

No description available.