By Stephen King

From the writer of dozens of number one manhattan occasions bestsellers and the writer of many unforgettable videos comes a vibrant, clever, and sentimental trip via 3 many years of horror as skilled throughout the eyes of the most well-liked author within the style. In 1981, years earlier than he sat all the way down to take on On Writing, Stephen King made up our minds to deal with the subject of what makes horror frightening and what makes terror terrifying. right here, in ten brilliantly written chapters, King grants one colourful remark after one other concerning the nice tales, books, and movies that contain the horror genre—from Frankenstein and Dracula to The Exorcist, The Twilight area, and Earth vs. The Flying Saucers.
With the perception and sturdy humor his fanatics favored in On ?Writing , Danse Macabre is an enjoyably interesting travel via Stephen King’s liked global of horror.

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There is considerably more to say about the Paderewski puzzle; we will return to it repeatedly in the chapters to follow, and it will be the central topic of chapter 4. But at least one effect of exploring this puzzle is apparent already, namely, we cannot rely on our untutored intuitive linguistic notions to provide an accurate indication of underlying linguistic reality. In most cases, our intuitive criterion—if words sound (look) the same, they are the same, and if they sound (look) different, they are different—is unproblematic, giving clear grounds for judgment in our everyday encounters with language.

From this alone we can conclude that “[Oscar]” and the pronoun in (1) have the same reference. ”) No such conclusion as this follows for (2), however. 13 It only means that there are tokens of distinct syntactic types, just as coindexing means just that there are tokens of the same type. Beliefs speakers have about the form of language, about whether expression tokens are of the same type, are in this way directly reflected in their semantic beliefs about coreference and noncoreference. And these beliefs will have a direct effect on how speakers can realize their communicative goals via the anaphoric use of language.

Thus, the string “Oscar kissed his mother” is structurally ambiguous, but only between two conditions: coindexing and noncoindexing. 18 We should perhaps make an interjection here in order to stress that the points we are making about syntactic-expression identity reflect properties of general linguistic theory, and are integral to the definition of the notion of grammar itself. As such, they are not a matter of any particular implementation; rather, they are aspects of any conceptualization of linguistic theory, independently of descriptive framework, or method or mode of representation.

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Danse Macabre by Stephen King

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