---
title: "Pardon my code mix:"
subtitle: "Hypostatic frame constructions in Czech"
author: "Dominik Lukeš"
outline_version: 2
auto_title_slide: false
auto_thanks_slide: false
---

## Pardon my code mix: Hypostatic frame constructions in Czech
{id=pptx-beacfb8b8fe4-001} {title}

Dominik Lukeš

dominik@dominiklukes.net

MetaphorHacker.net

@TechCzech

## A speculative inquiry into the nature of constructions with examples from Czech morphology in communicative context.
{id=pptx-beacfb8b8fe4-002}

## Slide 3
{id=pptx-beacfb8b8fe4-003} {notitle}

1. Constructional treatment of text-level phenomena
2. Mental representations of schematic forms
3. Hypostatic code switching

## Case of the Czech “hypostatic frame construction”?
{id=pptx-beacfb8b8fe4-004}

## Assumptions about code-switching / Code mixing
{id=pptx-beacfb8b8fe4-005}

## Slide 6
{id=pptx-beacfb8b8fe4-006} {notitle}

Code switching can apply to any systematic variation even in a ‘monolingual’ context.

There is a continuum between code switching and mixing (as well as borrowing).

There is a continuum of speakers’ conscious control over the process.

## Hypostatic code-switching
{id=pptx-beacfb8b8fe4-007}

## Slide 8
{id=pptx-beacfb8b8fe4-008} {notitle}

Often code-switching is ‘turned on’ in the conversation by some lexical / morphological means or signalled in another way.

## Slide 9
{id=pptx-beacfb8b8fe4-009} {notitle}

And then Fred said **unto** Karen.

Panenka s červenejma šatičk**ami**.

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ejma in červenejma.

## Slide 10
{id=pptx-beacfb8b8fe4-010} {notitle}

- “Pardon my French”
- “That’s what she said” jokes
- Intonation
- Characterisation in narrative

## Code switching research has a tradition in Czech studies going back to  at least the 1980s
{id=pptx-beacfb8b8fe4-011}

## Slide 12
{id=pptx-beacfb8b8fe4-012} {notitle}

> “The features which are marked as "bookish”,  i.e. those which are usually found in the written form of the literary language, are often used in the colloquial language in an **ironic way** in order to **foreground the  particular idea** or ideas which they express.”
>
> — (Hammer, 1985)

## Slide 13
{id=pptx-beacfb8b8fe4-013} {notitle}

> “[Common Czech] (especially in a specific combination with bookish means) often serves to the **aims of irony**.”
>
> — Sgall, et al. (1992) Variation in language: Code switching in Czech as a challenge for sociolinguistics


## Slide 14
{id=pptx-beacfb8b8fe4-014} {notitle}

> “V některých rozhlasových a televizních pořadech se užívá OČ, aby se vytvořila „intimní“ atmosféra mezi moderátorem a hosty. I tato tendence se ne vždy setkává s nadšením veřejnosti”
>
> “Colloquial Czech is often used in radio and TV shows to create an “intimate” atmosphere between show host and guests. This trend is not always enthusiastically received by the public.”
>
> — (N. Bermel, 2010)

## Czech “diglossia”
{id=pptx-beacfb8b8fe4-015}

- **Standard - Spisovná**
  - Written, formal, high register
  - **Lexicon:** dům, déle
  - **Morphology:** velk**ý** dům
  - **Phonology:** oko
- **Non-Standard – Nespisovná**
  - Spoken, informal, low register
  - **Lexicon:** barák, dýl
  - **Morphology:** velkej barák
  - **Phonology:** voko

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): in the Non-Standard column, barák and dýl (Lexicon), ej in velkej and barák (Morphology), v in voko (Phonology).

## Adjectival declension, Sig, Masc
{id=pptx-beacfb8b8fe4-016}

|  |  |  |
|---|---|---|
| **Nom** | -ý | -ej |
| **Gen** | -ého | -ýho |
| **Dat** | -ému | -ýmu |
| **Acc** | -ý | -ej |
| **Loc** | -ým | -ym |
| **Inst** | -ým | -ym |

## In a Czech group discussing a project in a professional context. Switching is often not hypostesized but…
{id=pptx-beacfb8b8fe4-017}

## Slide 18
{id=pptx-beacfb8b8fe4-018} {notitle}

(2) teda bez koktání / bez takovýho hláskování / vona čte po slabikách /jo / … / tak tam je **psáno** *jenom* velk**ými** písmen**y** / no / a vona si je schopn*a* ty dvě tři stránky přečíst // sama //

Louise Hammer (1985)

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): teda; ýho in takovýho; v in the first vona; jo; jenom (also italic); v in the second vona; si.

## Slide 19
{id=pptx-beacfb8b8fe4-019} {notitle}

…ale tó se dovíme ’až / po tom desát**ym**   řekneme   / na dnes / já sem vás **v**obcházel jednotlivě / na dnes sem chtěl / abyste se podívali všichni / na ty / ’alternativy / ’a připravili si přístup ’a případně **kritéria** jednotliv**á** / na to hodnocení / s tím / že já předpokládám že do konce ledna byzme to měli mít hotov**ý** ’abych to **mohl** dát přeložit ’a toho des**átého** ’aby to **v**odešlo   / vycház**ím** z předpokladu   že   / hodnocení bude zase v technick**é** a v obchodní části / že se to týká / pokud se týká t**é** technick**é** části / teda těch technick**ejch** **charakteristik** pardon   v technick**é** oblasti / se to týká technick**ejch** **charakteristik** **bezpečnosti** / **paliva** / ’organizačních ’aspektů / no ’a v té obchodní tam je více méně jasn**ý**…

Bogoczová et al. (2000)

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in desátym; v in vobcházel; ty (in “na ty”); to (in “na to hodnocení”); ý in hotový; v in vodešlo; ejch in technickejch (both times); ý in jasný.

## Code switching signal **into** project language:
{id=pptx-beacfb8b8fe4-020}

- podle pana
- jak tomu říká …
- jak se píše v tom
- tak zvaný
- abych to tak řekl(a)
- jak tomu tady říkáme
- DET
- word choice
- intonation

## Code switching signal **from** project language:
{id=pptx-beacfb8b8fe4-021}

- jak se říká
- jestli to tak mohu říct
- já jsem x, tak...
- jak se lidově říká
- jak já vždycky říkám
- hezky česky
- sprostonárodně
- DET
- Intonation

## Code switching in informal conversations
{id=pptx-beacfb8b8fe4-022}

Oral v1, 6 mil, conversational spoken corpus, 2017

[https://kontext.korpus.cz](https://kontext.korpus.cz)

## Slide 23
{id=pptx-beacfb8b8fe4-023} {notitle}

jo to právě ty přijedeš na technickou a on ti zkontroluje číslo motoru a číslo karosérie , napíše to zkontroluje to s techničákem a vydá ti **papír** na kterym je **pouze** naps**áno** že prostě **evidenční prohlídka** a že čísla karosérie a motoru ***odpovídaj*** **technickému průkazu** , a voni potom **podle** **tohodle** papíru na @ na tom ***dopravnim*** inspektorátu sou sou si jistý že to auto máš s těma číslama který máš a že tam nemáš vyměněnej motor nebo že nemáš vyměněnou **karoserii** a protože voni to nejdou zkontrolovat že jo voni to tam pouze *zapapírujou* a tim to pro ně

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in kterym; aj in odpovídaj (also bold and italic); tohodle (also bold); im in dopravnim (also bold and italic).

## Slide 24
{id=pptx-beacfb8b8fe4-024} {notitle}

a ať vona nám řekne co tam teda chce napsat pe naše pamačka to tak vždycky dělala , to dělám jednou za rok takovoule krávovinu každej rok se tam mění kolonky a mění se takový a započitatel**ný** a nezapočitatel**ný** a a **podle** nových novel novel zákon*ů* takže tim sem se nikdy nevzrušoval abych tohlencto se snažil vůbec pochopit protože příští rok bude jiný a já to zase budu dělat jenom jednou , tak sme to takle vyplnili natřikrát nó von to vdycky dovez vo vona mu řekla co von to zase přivez

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): pamačka; vždycky; takovoule; krávovinu; ej in každej; ný in započitatelný and in nezapočitatelný (also bold); ých in nových; the second novel; že in takže; tim; sem; tohlencto; sme; takle; von; dovez; vo in vona; v in von; zase; přivez.

## spisovně
{id=pptx-beacfb8b8fe4-025}

## Slide 26
{id=pptx-beacfb8b8fe4-026} {notitle}

Awareness of the two codes is very high in the Czech speech community. Attested by the high number of occurrences of “spisovn.`*`” (Standard Czech) in the Oral corpus (32)

## Slide 27
{id=pptx-beacfb8b8fe4-027} {notitle}

maminka ho tam prostě protlačila prže tam je to všechno jenom o známosti tam nejsou vystudovan**í** lidi tam nejsou pravý žurnalist*a* . dyž se na to podíváš tam fakt nikdo nemluví **spisovně** . každý ňá**ký** ten debilní pražsk**ý** **akcent** a skloňuje si to jak chce si tam vymýšlí ňáké . nov*é* česk*é* slova

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): i in lidi; ňá in ňáký; debilní; ňáké; é in nové and in české (also italic).

## Slide 28
{id=pptx-beacfb8b8fe4-028} {notitle}

ale to já třeba sem zjistila teda že **hyper spisovně** mluvim když se **v**ožeru , teda když sem v takov**ém** **stádiu** že teda ještě můžu mluvit …… když se opiju tak začnu mluvit spisovně , né vždycky ale často

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in mluvim; vožeru (also bold on the v).

## Slide 29
{id=pptx-beacfb8b8fe4-029} {notitle}

|  |  |
|---|---|
| Eduard_197 | ● člověka nenapadá nic jiného než že sou za tim skutečně ekonomick**é** zájmy a nic než ekonomick**é** **zájmy** , |
| Vítězslav_198 | ● ty teda **hovoříš** tak **spisovně** teďka , |
| Blažena_196 | ● tak (nesrozumitelné) , |
| Eduard_197 | ● (nesrozumitelné) vždycky vždycky **hovořím** + |
| Vítězslav_198 | ● ty *mluvíš jako jako při rozhovoru* no , |
| Eduard_197 | ● + ne já _vždycky hovořím spiš`*` spisovně_ když @ mluvim mluvim takhle **o něčem konkrétním** , |
| Blažena_196 | ● no to souvisí i s **určitejma tématama** , |
| Vítězslav_198 | ● hmm je to možný no a`*` - |

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in tim; teďka; im in each of the two mluvim; ejma in určitejma (also bold); ama in tématama (also bold).

## hezky česky
{id=pptx-beacfb8b8fe4-030}

## Slide 31
{id=pptx-beacfb8b8fe4-031} {notitle}

Jestliže si národ dokáže bez váhání odpovědět na **klasické Gercenovo Kto vinovat** ? , pak je přece jen složitější najít rozumnou **odpověď na Černyševského Što dělať** ? , tedy kromě **Uljanovova** velmi nedemokraticky **zjednodušujícího Streljať** . Část odpovědi nabízejí takzvaní whistlebloweři , **hezky česky** „ **píšťalkáři** “ , kteří se neváhají vzepřít zaběhlému „ modu vivendi “ a jít proti proudu tím , že ohlásí případy korupce ve svém okolí .

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): whistlebloweři.

## Slide 32
{id=pptx-beacfb8b8fe4-032} {notitle}

Netvařme se , jako že je všechno v pořádku a že v této zemi všichni žijí šťastné životy . Právě na takové pokrytectví **dojela** – jak se **hezky česky** říká – většina tzv. komunistických režimů . S tím pak bezprostředně souvisí můj druhý návrh . Přestaňme se bát levicové literatury ! Levicoví , opoziční autoři nejsou v této republice – na rozdíl od disidentů normalizačních let – mocensky nijak pronásledováni .

## Slide 33
{id=pptx-beacfb8b8fe4-033} {notitle}

Režisérka Andrea Sedláčková režíruje Vojtěcha Dyka v roli tak trochu jiného Dannyho Smiřického . Ať žijí hudební paraziti Přiživování se na popularitě jiných , nebo tvůrčí posun nabízející nový pohled ? **Coververze** neboli **nehezky česky** "předělávky" jsou příjemným zpestřením populární hudby . Ve světě coververzí se fantazii meze nekladou . Existují country úpravy punkových Sex Pistols i překopané skladby Rolling Stones hrané na ukulele .

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ne in nehezky (also bold).

## Can we think of this phenomenon constructionally?
{id=pptx-beacfb8b8fe4-034}

## Slide 35
{id=pptx-beacfb8b8fe4-035} {notitle}

At first blush, the data does not appear have enough formal regularity to be described within the framework of construction grammar.

## Slide 36
{id=pptx-beacfb8b8fe4-036} {notitle}

> To adopt a **constructional** approach is to undertake a **commitment** in principle to account for **the entirety of each language**.
>
> — (Fillmore and Kay, 1999)


## What do constructions “look” like?
{id=pptx-beacfb8b8fe4-037}

## Slide 38
{id=pptx-beacfb8b8fe4-038} {notitle}

- form:meaning pairing
- organized in an inventory
- processed through the process of blending

## Slide 39
{id=pptx-beacfb8b8fe4-039} {notitle}

On the semantic pole meanings are organized through **frames** (schemas, metaphors, rich images, scenarios, etc.).

Different levels of **schematicity** and knowledge of the world are required.

## What does semantic schematicity look like?
{id=pptx-beacfb8b8fe4-040}

## Slide 41
{id=pptx-beacfb8b8fe4-041} {notitle}

> “Consider the idiom to keep someone at arm's length. I have asked hundreds of people if they have an image associated with this idiom. Almost everyone does, and it is almost always the same image.”
>
> — (Lakoff 1987)

## Slide 42
{id=pptx-beacfb8b8fe4-042} {notitle}

> “The arm is oriented forward with respect to the body, perhaps a little to the side. It is never oriented backward. or upward. or downward, though these are all logical possibilities.
>
> The arm is chest high.
>
> The hand is usually open (though some have it making a fist).
>
> The open palm is facing away from the subject; it is never facing toward the subject.
>
> The angle of the hand relative to the forearm is roughly 90 to 135 degrees.
>
> The arm muscles are tense, not lax. The person being kept at arm's length is facing toward the subject.”
>
> — (Lakoff 1987)

## At arm’s length
{id=pptx-beacfb8b8fe4-043}

![Blurred photograph of a hand pressed against frosted glass.](assets/media/img-8036ea37b4570660.jpeg)

## Slide 44
{id=pptx-beacfb8b8fe4-044} {notitle}

![Screenshot of an Adobe Stock search for “at arms length” with three results: a woman holding up her palm, a man pushing a woman away at arm's length, and a man and a woman standing apart with the man's arm stretched towards her.](assets/media/img-15879d531c78ea6d.png)

[https://stock.adobe.com/search/images?k="at+arms+length"](https://stock.adobe.com/search/images?k=%22at+arms+length%22)

## Slide 45
{id=pptx-beacfb8b8fe4-045} {notitle}

![The slide's original page: a video frame titled “Arm Length GIF” from an anime, in which one character holds another at arm's length while she tries to reach forward.](assets/pages/page-45.png)

[https://giphy.com/gifs/arm-length-onimonogatari-BVqTyss6XU72U](https://giphy.com/gifs/arm-length-onimonogatari-BVqTyss6XU72U)

## Slide 46
{id=pptx-beacfb8b8fe4-046} {notitle}

![Screenshot of a blog post, “5 reasons pastors keep members at arm's length” by Mark Dance, August 16, 2017, with a sepia photograph of an outstretched arm and open hand.](assets/media/img-c7c695e7ae9c8234.png)

[https://factsandtrends.net/2017/08/16/5-reasons-pastors-keep-members-arms-length/](https://factsandtrends.net/2017/08/16/5-reasons-pastors-keep-members-arms-length/)

## Slide 47
{id=pptx-beacfb8b8fe4-047} {notitle}

![Screenshot of an article on Migraine.com, “Keeping Friends at Arm's Length Due to Migraine” by Kerrie Smyres, October 19, 2018, with an illustration of two women talking through tin cans joined by a string.](assets/media/img-6e1b6d6dfd253fe6.png)

[https://migraine.com/living-migraine/keeping-friends-arms-length/](https://migraine.com/living-migraine/keeping-friends-arms-length/)

## What does a ‘formal’ schema look like?
{id=pptx-beacfb8b8fe4-048}

## Slide 49
{id=pptx-beacfb8b8fe4-049} {notitle}

> the construction grammarian is required to develop an **explicit system of representation**, capable of **encoding economically and without loss of generalization** all the constructions (or patterns) of the language, from the most idiomatic to the most general.
>
> — (Fillmore and Kay, 1999)


## Slide 50
{id=pptx-beacfb8b8fe4-050} {notitle}

There is **a conflict** between the **constructional commitment** to describe the entirety of each language and the scientific notion of **descriptive parsimony** when expressed through formalisms and ‘machine readable’ notations.

## Jackendoff, 2019
{id=pptx-beacfb8b8fe4-051}

![Photograph of a projected slide headed “Inflection and inflectional classes”: “A weak verb: machen (stem)” with its semantics MAKE (X, Y), morphosyntax and phonology, “2 of the 12 inflected forms” (mache and machten, with their morphosyntax and phonology) and “Schemas for 2 of the 12 inflected forms” (PRESENT 1 SG schema and PAST 3 PL schema).](assets/media/img-82c73a440387bac2.jpeg)

## Fauconnier and Turner, 1998
{id=pptx-beacfb8b8fe4-052}

![Black-and-white diagram of a conceptual integration network: a circle labelled “Generic Space” at the top, circles labelled “Input I1” on the left and “Input I2” on the right, and a circle labelled “Blend” at the bottom, joined by solid and dotted lines with small dots marking elements.](assets/media/img-c4f206de0d59c65d.png)

## What does this look like for constructional forms?
{id=pptx-beacfb8b8fe4-053}

![Blurred photograph of a hand pressed against frosted glass.](assets/media/img-8036ea37b4570660.jpeg)

## Janda (2019)
{id=pptx-beacfb8b8fe4-054}

yesterday

![Photograph of a projected scatter plot with Russian words, Factor 1 (53.3 %) against Factor 2 (9.7 %), with a cluster of overlapping Cyrillic labels and the labels “Masculine animates” and “pl.loc” in red.](assets/media/img-7b5b406527532d79.jpeg)

## Slide 55
{id=pptx-beacfb8b8fe4-055} {notitle}

- ***totiž*** **construction**
  - *constructional meaning:*
    - profile perceived cause in the discourse space
    - activate modal prosody of emphasis
  - *constructional form:* post-verb (unstressed) position
- ***because*** **construction**
  - *meaning:*
    - profile logical cause in the discourse space
    - activate logical prosody of causation
  - *form:* clause-initial (stressed) position

Lukeš, 2005, Cognitive Grammar Beyond the Sentence

## Slide 56
{id=pptx-beacfb8b8fe4-056} {notitle}

- **Czech causal cohesive harmony construction**
  - *constructional meaning:* profile all possible causal coherence links through connectives *plus* direction and/or semantic prosody of emphasis or attitude
  - *constructional form:* totiž, tak, proto, protože *plus* Czech elegant variation
- **English causal cohesive harmony construction**
  - *meaning:* profile necessary (logical) causal coherence links through connectives *plus* direction and/or semantic prosody of logical inference
  - *form:* zero, for, because, so, therefore, thus, which is why, then *plus* English elegant variation

Lukeš, 2005, Cognitive Grammar Beyond the Sentence

## Slide 57
{id=pptx-beacfb8b8fe4-057} {notitle}

What would this look like for something complex, patterned but also somehow vague like Slavic aspect?

Fundamental **event profile orientation** of the generic space serving as the source for constructional blends involving verbs.

Lukeš, 2015, Czech Without Aspect

## Tak jsme došli. **< Failure**
{id=pptx-beacfb8b8fe4-058}

- [MEANING]
  - **Time location:** Immediate past>Present
  - **Event status:** Completed
  - **Speaker attitude:** Negative (semantic prosody)
  - **Communicative intent:** Announcement of failure
- [FORM]
  - **Verb form:** -l marking (past prototype)
  - **Verb version:** completion prefix (perfective prototype)
  - **Intonation/stress pattern:** pattern (complaint/frustration prototype)
  - **Textual context:** particle inventory {tak, no tak, tak to, tak teda, no a}
  - **Usage context:** conversation
  - **Medium:** speech or simulated speech

## Slide 59
{id=pptx-beacfb8b8fe4-059} {notitle}

![The slide's original page: a blending diagram in circles. A “Generic space” circle at the top holds three small boxed diagrams, each of a path that rises, runs level and falls, with arrows to boxed labels. The first is headed “Perfective”: arrows go to boxes O (left), P (above) and F (right), and a shaded area headed “Perfective” covers the falling end of the path and its arrow to F. The second is headed “Imperfective”: arrows go to O, P and F, and a shaded area headed “Imperfective” covers the level middle of the path and its arrow to P. The third is headed “Repetitive - Habitual” and shows three identical short paths in a row, each rising, running level and falling, with no shading and no boxed labels. A stack of overlapping input circles on the left contains the words jít, dojít and tak, each followed by F:M in square brackets (given in the list below); a stack of overlapping circles on the right holds the full meaning and form specification of the construction (the content of slide 58); and an “Integrated space” circle at the bottom contains “Tak jsme došli < Failure”.](assets/pages/page-59.png)

- Generic space
  - Perfective: path with arrows to boxes O, P and F; the shaded area covers the end of the path and the arrow to F
  - Imperfective: path with arrows to boxes O, P and F; the shaded area covers the middle of the path and the arrow to P
  - Repetitive - Habitual: three identical short paths in a row, no shading
- Integrated space
- Tak jsme došli < Failure
- `jít[F:M]`
- `dojít[F:M]`
- `tak[F:M]`

## Would would this work for code switching
{id=pptx-beacfb8b8fe4-060}

## Code switch construction in Czech
{id=pptx-beacfb8b8fe4-061}

- [MEANING]
  - **Schematicity:** high, functions as generic space
  - **Register:** move from high to low and low to high
  - **Speaker consciousness:** indeterminate
  - **Communicative intent:** indeterminate
- [FORM]
  - **Morphological:** activation of marking inventory
  - **Lexical:** choice of word register
  - **Intonation/stress pattern:** neutral
  - **Textual context:** indeterminate
  - **Usage context:** indeterminate
  - **Medium:** indeterminate

## Hypostatic code mix construction in Czech
{id=pptx-beacfb8b8fe4-062}

- [MEANING]
  - **Schematicity:** high, functions as generic space
  - **Register:** move from high to low or low to high
  - **Speaker awareness:** conscious effort to switch register
  - **Communicative intent:** stress change of perspective, direct listener/reader to interpretation
- [FORM]
  - **Morphological:** activation of appropriate marking inventory
  - **Lexical:** choice of lexical items from contextually activated inventory
  - **Intonation/stress pattern:** emphasis on structure
  - **Textual context:** ten, podle toho, …
  - **Usage context:** professional conversation
  - **Medium:** speech

## Slide 63
{id=pptx-beacfb8b8fe4-063} {notitle}

![The slide's original page: a blending diagram in circles. A “Generic space” circle at the top contains “Register”, “Common Czech inventory”, “Standard Czech inventory” and “Preceding text”; a stack of overlapping circles on the left contains “GEN FEM ADJ -é”, “GEN FEM ADJ –ý”, “GEN FEM ADJ –ý vs -é” and “Lexical choice”; a stack of overlapping circles on the right holds the construction specification; and an “Integrated space” circle at the bottom contains “pokud se týká té technické části”.](assets/pages/page-63.png)

- Generic space
- Integrated space
- pokud se týká té technické části
- GEN FEM ADJ -é
- GEN FEM ADJ –ý
- GEN FEM ADJ –ý vs -é
- Register
- Common Czech inventory
- Standard Czech inventory
- Preceding text
- Lexical choice

## Concluding thought
{id=pptx-beacfb8b8fe4-064}

## Slide 65
{id=pptx-beacfb8b8fe4-065} {notitle}

If we are to take the constructional commitment to accounting for the “entirety of each language” seriously in the usage-based linguistics paradigm, we have to find ways dealing with entire text and conversation even when they remain outside the traditional linguistic formalism.

## Slide 66
{id=pptx-beacfb8b8fe4-066} {notitle}

![Photograph of an overhead projector in a dim room, projecting a drawing of a smiling sun onto the wall.](assets/media/img-3b168fa3da7a8ddb.jpg)

[This Photo](http://puzzling.stackexchange.com/questions/14578/overhead-projector-cryptography) by Unknown Author is licensed under [CC BY-SA](https://creativecommons.org/licenses/by-sa/3.0/)

## Thank you
{id=pptx-beacfb8b8fe4-067}

dominik@dominiklukes.net

[http://metaphorhacker.net](http://metaphorhacker.net)

@techczech