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The indirect speech sentence is then ambiguous since it can be a result of two different direct speech sentences. For example: I can get it for free. OR I could get it for free. He said that he could get it for free. (ambiguity) However, in many Slavic languages, there is no change of tense in indirect speech and so there is no ambiguity.
In this theory both direct and indirect passives are derived from the same complementation structure with optional control. There is the assumption that the -(r)are morpheme in direct passives are the same as the ones used in indirect passives meaning that they both have an underlying structure containing the passive morpheme -(r)are. A problem ...
Download as PDF; Printable version ... used for the direct or indirect object of ... based on Latin and Greek parts of speech. [40] Some English grammar rules were ...
In Latin, the sequence of tenses rule affects dependent verbs in the subjunctive mood, mainly in indirect questions, indirect commands, and purpose clauses. [4] If the main verb is in one of the non-past tenses, the subordinate verb is usually in the present or perfect subjunctive (primary sequence); if the main verb is in one of the past tenses, the subordinate verb is usually in the ...
A complement of a verbum dicendi can be direct or indirect speech. Direct speech is a single unit of linguistic object that is '"mentioned" rather than used.' [1] In contrast, indirect speech is a proposition whose parts make semantic and syntactic contribution to the whole sentence just like parts of the matrix clause (i.e. the main clause/sentence, as opposed to an embedded clause).
Verbs often undergo tense changes in indirect speech. This commonly occurs in content clauses (typically that-clauses and indirect questions), when governed by a predicate of saying (thinking, knowing, etc.) which is in the past tense or conditional mood. In this situation the following tense and aspect changes occur relative to the original words:
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Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]