LEADER 02581oam 2200517Mn 450 001 9910150346003321 005 20230808200401.0 010 $a1-138-20721-7 010 $a1-315-46281-8 010 $a1-315-46279-6 024 7 $a10.4324/9781315462813 035 $a(CKB)3710000000932755 035 $a(MiAaPQ)EBC4741902 035 $a970383736 035 $a(OCoLC)972159597 035 $a(OCoLC-P)972159597 035 $a(FlBoTFG)9781315462813 035 $a(EXLCZ)993710000000932755 100 $a20161117d2016 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aSyntax of the albanian verb complex 210 $a[Place of publication not identified] $cRoutledge$d2016 215 $a1 online resource (146 pages) $cillustrations, tables 225 0 $aRoutledge Library Editions : Syntax ;$vVolume 11 300 $aFirst published in 1985 by Garland Publishing, Inc. 311 $a1-138-20720-9 311 $a1-315-46280-X 320 $aIncludes bibliographical references. 327 $aI. Preliminaries -- II. Verb morphology : the active and the non-active systems -- III. Other non-active constructions -- IV. Dative clitics -- V. Lexical-interpretive approaches to the Albanian data -- VI. Conclusion. 330 $aThis work, first published in 1985, is an analysis of the syntax of the Albanian verb complex. The term "verb complex" is defined here as the verb stem and its conjugational endings, together with the perfect auxiliaries and verb clitics. In a wider sense the verb includes the verb and its central arguments: subject, direct object, and indirect object. The analysis is presented in a somewhat expanded version of the relational grammar framework of Perlmutter and Postal (1977). It is argued that by assuming the existence of multiple levels in the syntactic structure of a clause, it is possible to account for the distribution of active and non-active verb forms over the various constructions of Albanian with a single generalisation. This title will be of interest to students of language and linguistics. 606 $aAlbanian language$xVerb phrase 606 $aAlbanian language$xSyntax 615 0$aAlbanian language$xVerb phrase. 615 0$aAlbanian language$xSyntax. 676 $a491/.9915 700 $aHubbard$b Philip L$0115754 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910150346003321 996 $aSyntax of the albanian verb complex$92879555 997 $aUNINA LEADER 03897nam 22005413 450 001 9910806000103321 005 20240322174007.0 010 $a1-04-077365-6 010 $a1-04-078236-1 010 $a90-485-6327-5 024 7 $a10.1515/9789048563272 035 $a(CKB)30381515500041 035 $a(MiAaPQ)EBC31202960 035 $a(Au-PeEL)EBL31202960 035 $a(DE-B1597)680343 035 $a(DE-B1597)9789048563272 035 $a(OCoLC)1427032201 035 $a(ScCtBLL)feb960d2-4c1f-4448-9862-81308ee7a849 035 $a(EXLCZ)9930381515500041 100 $a20240311d2024 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSpaces $eExploring Spatial Experiences of Representation and Reception in Screen Media 205 $a1st ed. 210 1$aAmsterdam :$cAmsterdam University Press,$d2024. 210 4$d©2024. 215 $a1 online resource (224 pages) 225 1 $aThe Key Debates: Mutations and Appropriations in European Film Studies ;$vv.9 311 08$a90-485-6326-7 327 $aCover -- Table of Contents -- Editorial -- Acknowledgments -- 1. Introduction - Phenomenologies of Screen Space -- Ian Christie -- PART I: Spaces of Spectatorship -- 2. Panoramic Space and the Mesdag Show -- Luke McKernan -- 3. Places of Exhibition -- Mark Cosgrove -- 4. Lockdown as a Mental Space of Communication -- Roger Odin -- PART II: Spaces on Screen -- 5. The Go-Between's Picturesque -- Figure (and Disfigurement) in the Landscape -- Mark Broughton -- 6. Akerman and Domestic Space -- Sarah Leperchey -- 7. Sequence and Simultaneity -- Critiquing English Spaces with a Cine Camera -- Patrick Keiller -- 8. Unhoused -- On the American Spaces of Nomadland -- Ian Christie -- PART III: Spatial Speculations -- 9. Conjuring Spaces on Page and Screen - A Dialogue -- Isobel Armstrong and Ian Christie -- 10. Fly Me to the Moon ? Extra-Terrestrial Projections in Artists' Film and Video -- Catherine Elwes -- 11. Stereoscopic Space in Cinema -- An Embodied Experience -- Yosr Ben Romdhane -- 12. Of Drones and the Environmental Crisis in the Year 2020 -- Teresa Castro -- 13. Afterword - Beyond the Frame: "Immersion," New Technologies and Old Ambitions -- Ian Christie -- Index of Film and Video Titles -- Index of Names -- Index of Subjects. 330 0 $aFilm has long been defined as a temporal art, most famously by André Bazin and Andrei Tarkovsky. Yet more fundamentally it has always been a spatial art, transporting its audiences imaginatively to spaces and places other than those they literally inhabit. In the digital era, this spatial illusion and paradox has been greatly expanded ? by the predominance of domestic film viewing, along with new extra-terrestrial perspectives, and the promise of novel kinesthetic experiences with Virtual Reality and ?immersion?. The international authors in this collection address the history and aesthetics of screen media as spatial transposition, in a range of exemplary analyses that run from the landscapes of John Ford?s westerns to Chantal Akerman?s claustrophobic domestic spaces, from the conventions of the English country house film to Patrick Keiller?s Robinson roaming a changed country, and from the experiences of Covid pandemic confinement to those of un-homed van-dwellers in Chloe Zhao?s award-winning NOMADLAND. 410 0$aKey debates 606 $aART / Film & Video$2bisacsh 610 $aSpacial art, screen media, virtual reality, film viewing, temporal art. 615 7$aART / Film & Video. 676 $a791.436 700 $aChristie$b Ian$0704082 701 $aIan Christie$0704082 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910806000103321 996 $aSpaces$94132543 997 $aUNINA