02901nam 22006373u 450 991045248200332120210107034118.01-282-16296-9978661216296190-272-9873-4(CKB)1000000000520690(EBL)623013(OCoLC)70766105(SSID)ssj0000283189(PQKBManifestationID)11227845(PQKBTitleCode)TC0000283189(PQKBWorkID)10324504(PQKB)10757393(MiAaPQ)EBC623013(EXLCZ)99100000000052069020130729d1999|||| u|| |engur|n|---|||||txtccrThe Prominence of Tense, Aspect and Mood[electronic resource]Amsterdam/Philadelphia John Benjamins Publishing Company19991 online resource (213 p.)Studies in Language Companion SeriesDescription based upon print version of record.1-55619-935-X 90-272-3052-8 THE PROMINENCE OF TENSE, ASPECT AND MOOD; Editorial page; Title page; LCC data; Table of contents; Preface; CHAPTER 1. Introduction; CHAPTER 2. Category of Tense; CHAPTER 3. Category of Aspect; CHAPTER 4. Category of Mood; CHAPTER 5. Basis of the Typology; CHAPTER 6. Classification of Languages; CHAPTER 7. Correlatable Characteristics; References; Index; STUDIES IN LANGUAGE COMPANION SERIES (SLCS)The book puts forth an exciting hypothesis for the typologist. Its major claim is that languages can generally be regarded as belonging to a tense-prominent, aspect-prominent or mood-prominent language type. This grouping can be based upon the relative prominence that languages attach to one or the other of the three verbal categories, namely tense, aspect and mood, by grammaticalizing the chosen category to a greater degree than others, and by making it more obligatory, more systematic and more pervasive than others. The grouping, however, involves a gradation, as is indeed the case with otheStudies in Language Companion SeriesGrammar, Comparative and general -- VerbLinguisticsTypology (Linguistics)Philology & LinguisticsHILCCLanguages & LiteraturesHILCCElectronic books.Grammar, Comparative and general -- Verb.Linguistics.Typology (Linguistics).Philology & LinguisticsLanguages & Literatures415Bhat D.N.S174509AU-PeELAU-PeELAU-PeELBOOK9910452482003321The Prominence of Tense, Aspect and Mood2222333UNINA03808nam 2200601Ia 450 991078831620332120230803032544.00-292-74377-710.7560/743762(CKB)3170000000060185(EBL)3443659(SSID)ssj0000860715(PQKBManifestationID)11507804(PQKBTitleCode)TC0000860715(PQKBWorkID)10897784(PQKB)10876715(MiAaPQ)EBC3443659(OCoLC)859687331(MdBmJHUP)muse25082(Au-PeEL)EBL3443659(CaPaEBR)ebr10683916(OCoLC)932314385(DE-B1597)587117(DE-B1597)9780292743779(EXLCZ)99317000000006018520120720d2013 uy 0engur|n|---|||||txtccrQueer Bergman[electronic resource] sexuality, gender, and the European art cinema /by Daniel Humphrey1st ed.Austin University of Texas Press20131 online resource (235 p.)Description based upon print version of record.0-292-74376-9 Includes bibliographical references (p. 203-211) and index.Introduction: Ingmar Bergman and the foreign self -- "Foreign and refreshing": the art cinema's queer allure -- The cultural construction of a Cold War auteur: discourse and counterdiscourse -- The uncanny undefined -- Staring down gender: "caught between the shame of looking and the shame of being ashamed to do so" -- Conclusion.One of the twentieth century’s most important filmmakers—indeed one of its most important and influential artists—Ingmar Bergman and his films have been examined from almost every possible perspective, including their remarkable portrayals of women and their searing dramatizations of gender dynamics. Curiously however, especially considering the Swedish filmmaker’s numerous and intriguing comments on the subject, no study has focused on the undeniably queer characteristics present throughout this nominally straight auteur’s body of work; indeed, they have barely been noted. Queer Bergman makes a bold and convincing argument that Ingmar Bergman’s work can best be thought of as profoundly queer in nature. Using persuasive historical evidence, including Bergman’s own on-the-record (though stubbornly ignored) remarks alluding to his own homosexual identifications, as well as the discourse of queer theory, Daniel Humphrey brings into focus the director’s radical denunciation of heteronormative values, his savage and darkly humorous deconstructions of gender roles, and his work’s trenchant, if also deeply conflicted, attacks on homophobically constructed forms of patriarchic authority. Adding an important chapter to the current discourse on GLBT/queer historiography, Humphrey also explores the unaddressed historical connections between post–World War II American queer culture and a concurrently vibrant European art cinema, proving that particular interrelationship to be as profound as the better documented associations between gay men and Hollywood musicals, queer spectators and the horror film, lesbians and gothic fiction, and others.Homosexuality and motion picturesHomosexuality in motion picturesHomosexuality and motion pictures.Homosexuality in motion pictures.791.43086/64Humphrey Daniel1532256MiAaPQMiAaPQMiAaPQBOOK9910788316203321Queer Bergman3778350UNINA