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I had an interesting reaction to Brian Linson's comments on Lisa Russell's observations about postposed modifiers. Although I am a psycholinguist with a clear preference for gathering lots of data, I also acknowledge the value of linguists' intuitions, including intuitions about contexts of use. To the extent that Russell's claim is based on her knowledge of this structure, it should have about the same status as, for example, the claim that coreference is blocked for "I knew him when Harry was just a boy". Such claims are in fact little theories that can be subjected to empirical test, in this case by recording such utterances, or perhaps by gathering judgments from others about it. Ron Smyth smythMail to author|Respond to list|Read more issues|LINGUIST home page|Top of issuelake.scar.utoronto.ca
In reply to Victor Raskin - and maybe others too (I have not read every entry under this heading) - I'd make the following comment. The phenomena of synaesthesia, as I understand it, is not cultural; or at least, not necessarily so. To suppose that one could ever hope to find a uniform set of colours for sounds seems quite bizarre. I have synaesthesia which colours all alpha-numeric characters; as does my sister, and as did my father (mother did not, brother does not). The colours we each have/d differ. A school-based experiment produced only very few who even knew what I was talking about - and later reference to psychology texts, and published papers on the topic confirmed my impression - a small percent of people have this form of synaesthesia. It appears to be neurological, and possibly hereditary. So, how do we know Rimbaud was talking about sounds, not shapes? Why should we assume that there should be any uniformity? If anyone else sees black print on a white page as multifariously coloured, please let me know - I'll submit a summary to the LINGUIST list if it looks like being of general interest. William EdmondsonMail to author|Respond to list|Read more issues|LINGUIST home page|Top of issue