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His fingers ran up and down the keyboard. Unless we are referring to an accordion, we tend to think of keyboards as being oriented horizontally, not vertically. So in (2b) we are actually referring to left-right spatial movement, not vertical. It is not difficult to imagine what might be involved in motivating this extension. This is summarized in Figure 9 showing a network of associa- Completion, comas and other “downers” 45 tions between pitches as conventionally represented on a music scale with up/down orientation and their corresponding locations on the horizontal keyboard, resulting in what we might call ‘surrogate verticality’ or ‘verticality by proxy’.

The blank boxes indicate potential intermediate schemas owing to interpretational ambiguities observed between certain forms; these will be discussed briefly in the following section. Completion, comas and other “downers” 57 Figure 16. LPU 5. Ambiguities Some of the Wanca forms are ambiguous between competing interpretations: (30) wan˜u-lpudie-dwn ‘to finally die (i. e. to go into a coma eg. after a long illness)’ or ‘to finish dying’ 58 (31) Rick Floyd micu-lpu-12 eat-dwn ‘to finish eating’ or ‘eat all there is’ (32) a.

The gist of the binding hierarchy is that the degree of force exerted by the agent of a matrix clause over the agent of a complement clause correlates with the degree of morpho-syntactic restrictions that are imposed on the complement clause. ” Examples of verbs with strong binding force are the English “manipulative verbs” make and cause and “modality verbs” begin and succeed. Examples with intermediate binding force are verbs of emotional involvement, such as English hope and want. Examples with weak binding force are English “cognition-utterance verbs” know and say.