This volume contains ten articles exploring a wide range of issues in the analysis of the imperative clause from a generative perspective. The language data investigated in detail in the articles come from Dutch, English, German, (old) Scandinavian, Spanish, and South Slavic; there is further significant discussion of data from other Germanic and Romance languages. The phenomena addressed (in several cases in more than one article, leading to some lively debate about contentious issues) include the following: the nature and interpretation of imperative subjects; the properties of participial imperatives; clitic behavior; restrictions on topicalization; word order; null arguments; negative imperatives; and imperatives in embedded clauses. The volume has a substantial introduction, sketching the results of earlier generative work on the topic (most of it scattered across disparate outlets), the issues left open by this earlier work, and the contribution to further insight and understanding made by the book's articles.

The imperative clause is one of three major sentence types that have been found to be universal across the languages of the world. Compared to declaratives and interrogatives, the imperative type has received comparatively less attention. Using compelling empirical evidence, this cutting-edge study presents a new linguistic theory of imperatives.

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction.

This volume examines several aspects of the syntax of imperative clauses in English and in a variety of other Germanic languages in the context of the challenge that apparent optional movement poses for the Minimalist Programme.

This book studies the properties of imperative clauses in the context of a theory of Universal Grammar. Daniela Isac argues that the specificity of imperative clauses cannot be the result of a unique imperative Force feature; instead, the `type' of imperative clauses can be traced back to a plurality of finer grained features, such as Modality and phi-features, hosted by the Mod, Infl, and Speech Event heads, among others. The data are drawn from a wide range of languages including various Romance, Slavic, and Germanic languages, as well as Finnish and Inuktitut. The analysis accounts for recurrent patterns in the interaction of imperative mood with phenomena like negation, restrictions on grammatical subjects, and the possibility of embedding imperative clauses. The approach, which focuses exclusively on morphosyntactic rather than semantic features, is potentially transferable to the analysis of other clause types, such as exclamatives, interrogatives, and declaratives.

The imperative clause is one of three major sentence types that have been found to be universal across the languages of the world. Compared to declaratives and interrogatives, the imperative type has received diverse analyses in the literature. This cutting-edge study puts forward a new linguistic theory of imperatives, arguing that categories of the speech act, specifically Speaker and Addressee, are conceptually necessary for an adequate syntactic account. The book offers compelling empirical and descriptive evidence by surveying new typological data in critical assessment of competing hypotheses towards an indexical syntax of human language. An engaging read for students and researchers interested in linguistics, philosophy and the syntax of language.

Imperatives and directive strategies have intrigued both formalists and functionalists. They continue to search for the answers to questions like “what are the semantics of the imperative?”, “how is it used (in the world’s languages)?” and “which factors determine the choice between imperatives and other directive strategies?”. This volume takes a broadly functional-typological perspective and contributes to the literature in several respects. It presents new data from a variety of languages, some of which have not been studied in depth before. It exemplifies the benefits of traditional methodologies as well as the potential of more innovative ones. In addition, the volume sheds new light on the imperative as a typological notion, its meaning and uses and its interaction with other grammatical categories. It also offers new insights into the relation between different directive strategies within and across languages and into the (dis)similarities between equivalent directive strategies in a language family.