Overview

Providing an ideal introduction to historical pragmatics, this guide gives students a solid grounding in historical pragmatics and teaches the methodology needed to analyse language in social, cultural and historical contexts. Using a number of case studies including politeness, news discourse, and scientific discourse, this book provides new insights into the analysis of discourse markers, interjections, terms of address and speech acts. Through focusing on the methodological problems in using historical data, students learn the key concepts in historical pragmatics, as well as covering recent work at the interface of between language and literature.

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9781322981253

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John Mullarkey is Professor of Film and TV at Kingston University, London. In 2014, his name reverted from the English 'Mullarkey' to the original Irish, 'O Maoilearca', which ultimately translates as 'follower of the animal'. He previously taught at the University of Dundee (2004-2010) and the University of Sunderland (1994-2004). He is the author of Bergson and Philosophy (1999), Post-Continental Philosophy: An Outline (2006), and Philosophy and the Moving Image: Refractions of Reality (2010). He is an editor of Film-Philosophy and co-editor of The Continuum Companion to Continental Philosophy (2009) and Laruelle and Non-Philosophy (2012). His work explores variations of 'non-standard-philosophy', arguing that philosophy is a subject that continually shifts its identity through engaging with (supposedly) 'non-philosophical' fields such as cinema, diagrams, and animality. He is currently working on a book entitled Reverse Mutations: Laruelle and Non-Human Philosophy. Charlotte de Mille is Lecturer in Art History at the University of Sussex. Her work studies the intersection of painting, music and philosophy in Europe c. 1848-1950, on which she has published for Art History, and in chapters for Continuum, Routledge, and the Courtuald Institute of Art. She is editor of Music and Modernism (2011), and Chair of the Royal Musical Association Music and Visual Arts Group. She previously taught at the Courtauld Institute of Art, where she continues to curate a music-art series for the Courtauld Gallery Lates.

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