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This article claims that the conjecturing clause-taking huaiyi predicate in Modern Chinese (e.g. Renmen huaiyi zheming taoyi de jingcha hen keneng canyu le zheqi anjian. ‘People conjecture that the escaped policeman had probably been involved in the case.’) is actually a parenthetical structure. Diachronically, it does not develop from an NP-taking huaiyi predicate (e.g. Wo hen huaiyi zhe ge shuofa. ‘I doubt the statement a lot.’) or a doubting clause-taking huaiyi predicate (e.g. Du Yifu changchang huaiyi ta yu erzi you guo nazhong ge’ermen yiqi de shiguang. ‘Du Yifu often doubted that he had had times of buddy loyalty with his son.’). Rather, it develops from a prosodically separated conjecturing huaiyi predicate. The goal of this paper is to show that its formation did not follow the commonly accepted matrix clause pathway, whereby a parenthetical clause-taking predicate develops from a corresponding matrix clause structure. Instead, it followed a hypothesized conjoining pathway, which involves the loss of a phonetic gap between a prosodically separated huaiyi predicate and the clause with which it occurs.

This paper offers a unified approach to Italian spatial prepositions, such as di fronte a 'in front of', verso 'towards', in 'in', dietro a 'behind', and nel mezzo di 'in the middle of'. Three assumptions play a key role. First, Italian spatial prepositions can differ sensibly in their morphological structure, but share the same syntactic properties. Second, their sentential distribution is in part context-sensitive, thus based on the categories with which they combine. Third, their semantic contribution is "layered", in the sense that it includes the meaning dimensions of both aspectual boundedness and specificity. The main result is a generalised theory on the structure and semantic interpretation of these prepositions.

This article discusses the interaction between themes, narrative structure and focalization points employed in Shingeki no Kyojin ('attack on Titan', Isayama 2009-ongoing), a manga featuring the desperate battle of humankind against the mysterious Titans. Following a narratological approach, the article explores how the themes underpinning the narrative, especially the 'control' theme, act as information filters on both narrative structure and background knowledge of Shingeki no Kyojin. The resulting interplay of these themes with a focalization point are explored in detail, and connected to ongoing discussions on focalization in comics and other media.

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