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- Bohnacker, Ute
(författare)
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On the “vulnerability” of syntactic domains in Swedish and German
- 2007
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Ingår i: Language Acquisition. - : Informa UK Limited. - 1048-9223 .- 1532-7817. ; 14:1, s. 31-73
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Tidskriftsartikel (refereegranskat)abstract
- Thispaper investigates the L2 acquisition of clausal syntax in post-puberty learnersof German and Swedish regarding V2, VP headedness and verb particleconstructions. The learner data are tested against L2 theories according towhich lower structural projections (VP) are acquired before higher functionalprojections (IP, CP), VP syntax is unproblematic (invulnerable), but where grammatical operations related to thetopmost level of syntactic structure (CP) are acquired late (e.g. Platzack’s(2001) vulnerable C-domain). It willbe shown that such theories do not hold water: native speakers of Swedishlearning German and native speakers of German learning Swedish both master V2from early on. At the same time, these learners exhibit a nontargetlike syntaxat lower structural levels: residual VO in the case of the Swedish-L1 learnersof German, and persistent nontarget transitive verb particle constructions inthe German-L1 learners of Swedish. I argue that these findings are bestexplained by assuming full transfer of L1 syntax (e.g. Schwartz & Sprouse 1996).
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| 2. |
- Bohnacker, Ute, 1969-, et al.
(författare)
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The clause-initial position in L2 German declaratives : Transfer of information structure
- 2008
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Ingår i: Studies in Second Language Acquisition. - 0272-2631 .- 1470-1545. ; 30:4, s. 511-538
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Tidskriftsartikel (refereegranskat)abstract
- This article investigates the information structure of verb-second (V2) declaratives in Swedish, German, and nonnative German. Even though almost any type of element can occur in the so-called prefield, the clause-initial preverbal position of V2 declaratives, we have found language-specific patterns in native-speaker corpora: The frequencies of prefield constituent types differ substantially between German and Swedish, and Swedish postpones new (rhematic) information and instead fills the prefield with given (thematic) elements and elements of no or low informational value (e.g., expletives) to a far greater extent than German. We compare Swedish learners of German to native controls matched for age and Genre (Bohnacker 2005, 2006; Rosén 2006). These learners master the syntactic properties of V2 but start their sentences in nonnative ways. They overapply the Swedish principle of rheme later in their second language German, indicating first language (L1) transfer at the interace of syntax and information structure, especially for structures that are frequent in the L1.
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| 3. |
- Brinck, Ingar
(författare)
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Situated cognition, dynamic systems and art
- 2007
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Ingår i: Janus Head. - 1521-9194. ; 9:2, s. 407-431
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Tidskriftsartikel (refereegranskat)abstract
- It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist’s work in similar ways.
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| 7. |
- Ericson, Maria
(författare)
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Making and sharing the space: initiatives for story-sharing and reconciliation among women and men in South Africa and Northern Ireland
- 2006
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Ingår i: Nederduitse Gereformeerde Teologiese Tydskrif. - : Stellenbosch. - 0378-9888. ; 47:3 & 4
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Tidskriftsartikel (refereegranskat)abstract
- In this article I present findings from my earlier research on reconciliation in South Africa and Northern Ireland, together with some issues raised by my current research project on “reconciliation in South Africa from women’s perspectives”. Reconciliation is seen as a process whereby the diverse “moral landscapes” held in a war-torn society are addressed, with the aim of building, rebuilding or transforming relationships between those in conflict. A common strategy is to provide “safe spaces” where people from all “sides” can broaden their “moral landscapes” and find sources of common ground by listening to, and being challenged by, each other’s life stories and personal experiences of the conflict. On the basis of my case studies, I identify some important conditions for such “story-sharing”, as well as certain dilemmas. I also ask critical questions about what beliefs and practices that may silence certain stories, and how space and power are shared between women and men in church and society, in particular in post-TRC South Africa.
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| 8. |
- Frisk, Henrik, et al.
(författare)
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New Communications Technology in the Context of Interactive Sound Art: an empirical analysis
- 2005
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Ingår i: Organised Sound. - 1469-8153. ; 10:2, s. 121-127
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Tidskriftsartikel (refereegranskat)abstract
- In this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition The Invisible Landscapes (curated by Miya Yoshida, Malmö Konstmuseum, 2003) and etherSound (created by Henrik Frisk), a sound installation displayed in that exhibition. In this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. Thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. Based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. We also attempt to describe what we believe an implementation of active public participation can lead to. We are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. The latter is, by definition, rather subject centred and expansive based on individual observation. We examine and analyse the phenomenon of ‘participation’ whilst playing etherSound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity.
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