🗊Презентация The Category of Mood

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Слайд 1


The Category of Mood Different Approaches
Описание слайда:
The Category of Mood Different Approaches

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A Theory of Multiple Moods (M. Deutschbein, A.I. Smirnitsky)
Описание слайда:
A Theory of Multiple Moods (M. Deutschbein, A.I. Smirnitsky)

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A Theory of Multiple Moods M. Deutschbein: 16 moods including Indicative, Optative, Voluntative, Expectative, Potentialis, Concessive, Dubitative, Irrealis, Subjunctive, Imperative, Adhortative … This approach is semantic and does not take the form into consideration: He may be here (Potentialis). He may be here, but I don’t want to see him (Concessive).
Описание слайда:
A Theory of Multiple Moods M. Deutschbein: 16 moods including Indicative, Optative, Voluntative, Expectative, Potentialis, Concessive, Dubitative, Irrealis, Subjunctive, Imperative, Adhortative … This approach is semantic and does not take the form into consideration: He may be here (Potentialis). He may be here, but I don’t want to see him (Concessive).

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A Theory of Multiple Moods A.I. Smirnitsky: six moods (Indicative, Imperative, Subjunctive I, Subjunctive II, Suppositional, Conditional). Weak points: The semantic basis is inconsistent (condition is not modal). Combinations of modal verbs having pronounced lexical meaning with the infinitive are referred to analytical forms, which is not the case. Homonymous forms are introduced. It is not clear why some forms are the forms of different moods if they have the same meaning and similar syntactic contexts.
Описание слайда:
A Theory of Multiple Moods A.I. Smirnitsky: six moods (Indicative, Imperative, Subjunctive I, Subjunctive II, Suppositional, Conditional). Weak points: The semantic basis is inconsistent (condition is not modal). Combinations of modal verbs having pronounced lexical meaning with the infinitive are referred to analytical forms, which is not the case. Homonymous forms are introduced. It is not clear why some forms are the forms of different moods if they have the same meaning and similar syntactic contexts.

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A Theory of Three Moods (Traditional Grammar, G.O. Curme, O. Jespersen)
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A Theory of Three Moods (Traditional Grammar, G.O. Curme, O. Jespersen)

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A Theory of Three Moods Sweet, Curme, Jespersen: three moods (Indicative - Fact-Mood, Imperative - Will-Mood, Subjunctive - Thought-Mood). Similar to Latin, the same as in Russian. Indicative represents an action as a fact: He is here. Imperative expresses the speaker’s inducement (order, request, command, etc.) addressed to another person to do smth: Come here. Subjunctive shows actions as non-facts (including not modal; + heterogeneous means of expression).
Описание слайда:
A Theory of Three Moods Sweet, Curme, Jespersen: three moods (Indicative - Fact-Mood, Imperative - Will-Mood, Subjunctive - Thought-Mood). Similar to Latin, the same as in Russian. Indicative represents an action as a fact: He is here. Imperative expresses the speaker’s inducement (order, request, command, etc.) addressed to another person to do smth: Come here. Subjunctive shows actions as non-facts (including not modal; + heterogeneous means of expression).

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A Theory of Two Moods (M.Y. Bloch)
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A Theory of Two Moods (M.Y. Bloch)

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A Theory of Two Moods M.Y. Bloch: two moods (Indicative and Subjunctive). Indicative represents an actual action. Subjunctive represents an imaginary action.
Описание слайда:
A Theory of Two Moods M.Y. Bloch: two moods (Indicative and Subjunctive). Indicative represents an actual action. Subjunctive represents an imaginary action.

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A Theory of Two Moods The theory is semantic-formal. The formal point is tense-retrospect shift: The opposition of perfect and non-perfect phases turns into the opposition of relative substitutes for the absolute past and present tenses of the indicative. E.g., I know it (present real) - I wish I knew it (present unreal); I knew it (past real) - I wish I had known it (past unreal). ! Though this shift is very important in expressing unreality, tense and phase are verbal categories other than mood and should be treated as such. One category cannot be expressed by another. They are only means of expressing modality.
Описание слайда:
A Theory of Two Moods The theory is semantic-formal. The formal point is tense-retrospect shift: The opposition of perfect and non-perfect phases turns into the opposition of relative substitutes for the absolute past and present tenses of the indicative. E.g., I know it (present real) - I wish I knew it (present unreal); I knew it (past real) - I wish I had known it (past unreal). ! Though this shift is very important in expressing unreality, tense and phase are verbal categories other than mood and should be treated as such. One category cannot be expressed by another. They are only means of expressing modality.

Слайд 10


A Theory of No Moods (V.Y. Plotkin)
Описание слайда:
A Theory of No Moods (V.Y. Plotkin)

Слайд 11


A Theory of No Moods V.Y. Plotkin: no moods. This approach is purely formal. The construction should/would + infinitive is a free word combination. The category of mood has died out. It has failed to maintain and strengthen its categorial status. There is no correlation between the plane of expression and the plane of content. I wish he came. I wish he would come. (same meaning, different forms) I suggest that he would go there. He would go there if he could. (different meanings, same form) ,,The way to cut the ”Gordian knot” of problems posed by the analysis of modal meanings in the verb.’’ ~B.A. Ilyish
Описание слайда:
A Theory of No Moods V.Y. Plotkin: no moods. This approach is purely formal. The construction should/would + infinitive is a free word combination. The category of mood has died out. It has failed to maintain and strengthen its categorial status. There is no correlation between the plane of expression and the plane of content. I wish he came. I wish he would come. (same meaning, different forms) I suggest that he would go there. He would go there if he could. (different meanings, same form) ,,The way to cut the ”Gordian knot” of problems posed by the analysis of modal meanings in the verb.’’ ~B.A. Ilyish

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