Kyle Johnson University of Massachusetts at Amherst Ian Roberts University of Stuttgart An important chapter in the history of syntactic theory opened as the 70's reached their close. The revolution that Chomsky had brought to linguistics had to this point engendered theories which remained within the grip of the philologists' construction-based vision. Their image of language as a catalogue of independent constructions served as the backdrop against which much of transformational grammar's detailed exploration evolved. In a sense, the highly successful pursuit of th phonology and morphology in the 19 century as compared to the absence of similar results in syntax (beyond observations such as Wackemagel's Law, etc. ) attests to this: just noting that, for example, French relative clauses allow subject-postposing but not preposition-stranding while English relatives do not allow the former but do allow the latter does not take us far beyond a simple record of the facts. Prior to this point, th syntactic theory had not progressed beyond the 19 century situation. But as the 80's approached, this image began to give way to a different one: grammar as a puzzle of interlocking "modules," each made up of syntactic principles which cross-cut the philologist's constructions. More and more, "constructions" decomposed into the epiphenomenal interplay of encapsulated mini-theories: X Theory, Binding Theory, Bounding Theory, Case Theory, Theta Theory, and so on. Syntactic analyses became reoriented toward the twin goals of identifying the content of these modules and deconstructing into them the descriptive results of early transformational grammar.

Kyle Johnson University of Massachusetts at Amherst Ian Roberts University of Stuttgart An important chapter in the history of syntactic theory opened as the 70's reached their close. The revolution that Chomsky had brought to linguistics had to this point engendered theories which remained within the grip of the philologists' construction-based vision. Their image of language as a catalogue of independent constructions served as the backdrop against which much of transformational grammar's detailed exploration evolved. In a sense, the highly successful pursuit of th phonology and morphology in the 19 century as compared to the absence of similar results in syntax (beyond observations such as Wackemagel's Law, etc. ) attests to this: just noting that, for example, French relative clauses allow subject-postposing but not preposition-stranding while English relatives do not allow the former but do allow the latter does not take us far beyond a simple record of the facts. Prior to this point, th syntactic theory had not progressed beyond the 19 century situation. But as the 80's approached, this image began to give way to a different one: grammar as a puzzle of interlocking "modules," each made up of syntactic principles which cross-cut the philologist's constructions. More and more, "constructions" decomposed into the epiphenomenal interplay of encapsulated mini-theories: X Theory, Binding Theory, Bounding Theory, Case Theory, Theta Theory, and so on. Syntactic analyses became reoriented toward the twin goals of identifying the content of these modules and deconstructing into them the descriptive results of early transformational grammar.

What can "South Park" tell us about Socrates and the nature of evil? How does "The Office" help us to understand Sartre and existentialist ethics? Can "Battlestar Galactica" shed light on the existence of God? "Introducing Philosophy Through Pop Culture" uses popular culture to illustrate important philosophical concepts and the work of the major philosophers With examples from film, television, and music including "South Park," "The Matrix," "X-Men," "Batman," "Harry Potter, Metallica" and "Lost, " even the most abstract and complex philosophical ideas become easier to grasp Features key essays from across the Blackwell "Philosophy and Pop Culture" series, as well as helpful editorial material and a glossary of philosophical terms From metaphysics to epistemology; from ethics to the meaning of life, this unique introduction makes philosophy as engaging as popular culture itself Supplementary website available with teaching guides, sample materials and links to further resources at www.pop-philosophy.org

This volume is the first book to take a deep dive into the philosophical, social, moral, political, and religious issues tackled by Seth MacFarlane's marvelous space adventure, The Orville. Far more than just "Spaceballs for Star Trek," the episodic sci-fi adventure combines humor and philosophy to create a narrative that both engages fans and sheds light on the realities of today's world. These essays explore what The Orville has to say on everything from climate change, artificial intelligence, and sexual assault, to gender, feminism, love, and care. Divided into six "acts" (just like every episode of The Orville), with the show as its backdrop, the book asks questions about the dangers of democracy and social media, the show's relationship to Star Trek and the puzzle of time travel. It features a foreword by The Orville writer and co-executive producer Andre Bormanis.

Ellipsis occurs when certain portions of a sentence are not spoken - for example 'Mary has read more books than Bill has [read books]' and 'Jack called, but I don't know where [he called] from'. These constructions interest linguists because the meaning of the sentence cannot be traced directly to the words it contains. This volume brings together a team of leading syntacticians to propose new and original solutions to some key questions in the study of ellipsis: What characterises ellipsis? Under what conditions is it possible? What kinds of meanings are allowed to go unspoken? Drawing on a variety of authentic constructions, they examine ellipsis in the context of a range of syntactic phenomena such as binding, raising, anaphora, movement and scrambling. Making significant progress towards solving some central problems in syntactic theory, this volume will be of key interest to anyone working on theoretical syntax, semantics and psycholinguistics.

Ellipsis occurs when certain portions of a sentence are not spoken - for example 'Mary has read more books than Bill has [read books]' and 'Jack called, but I don't know where [he called] from'. These constructions interest linguists because the meaning of the sentence cannot be traced directly to the words it contains. This volume brings together a team of leading syntacticians to propose new and original solutions to some key questions in the study of ellipsis: What characterizes ellipsis? Under what conditions is it possible? What kinds of meanings are allowed to go unspoken? Drawing on a variety of authentic constructions, they examine ellipsis in the context of a range of syntactic phenomena such as binding, raising, anaphora, movement and scrambling. Making significant progress towards solving some central problems in syntactic theory, this cutting-edge volume will be of key interest to anyone working on theoretical syntax, semantics and psycholinguistics.