Theoretical
Overview of Columbia School Linguistics
Columbia School linguistics takes as its ultimate object of explanation the
perceptible sounds of speech (or sequence of symbols in a written text).
Instances of human communicative behavior, then, are its primary data. It
accounts for these observables by postulating abstract cognitive systems upon
which speakers appear to be operating. Columbia School is thus an avowedly
explanatory enterprise and neither a throwback to behaviorism nor an instance of
an Externalized (E-)language approach.
The basic structural unit in the cognitive systems is a sign—a signal
paired with a meaning. (This is reminiscent of Saussure's signe
linquistique composed of a signifiant and a signifié). Both
the signals and their meanings are language-particular rather than universal;
each language offers its own semantic categories. The analytical problem for the
Columbia School linguist is to determine the actual identity of these
signal-meaning units in a particular language. This is done by testing proposed
signs against actual usage; a hypothesized meaning must fit every message
for which its signal is used. This demonstration involves both case-by-case
analysis of authentic examples in context, and quantitative testing for
predicted skewings of signals throughout a text.
The explanation for the appearance of a particular signal in a text is that
its associated meaning—hypothesized and tested by the analyst—contributes
semantically to the message being conveyed. A typical Columbia School question
would be, What motivates speakers of English to say sometimes broken hearts
and other times breaking hearts? What is the difference in meaning
between the signals -ing and -en that is guiding their choice? Or,
What motivates speakers of Spanish to say sometimes le escribí and
others lo escribí, sometimes le llamo, others lo llamo?
The sequential order of signals is addressed as well; for example, What
motivates the choice between the order of signals in he left the house
windowless and he left the windowless house? Here we find two kinds
of explanations: either a particular feature of word order is due to natural
iconic principles, or it is itself a signal of a grammatical meaning.
This mode of explanation is goal-directed rather than formal because
the choice of a sign, either grammatical or lexical, is explained in terms of
what its 'chooser’—the speaker—is attempting to accomplish, rather than in
terms of syntactic rules. While the linguistic system has a well-defined
structure, its deployment is affected by an open-ended number of factors and is
thus not amenable to algorithmic formalization. Language use is creative
in the everyday sense of that word.
A second aspect of linguistic creativity is the conceptual leap that the
hearer must make between individual linguistic meanings and the intended
message. The message is more than the sum of its semantic parts because the
meanings of many common signs are imprecise, functioning more as hints
to the message than as conceptual fractions. Hearers must rely on context,
social setting, life experience and common sense to jump to a message that is
under-determined by the semantic input. This gap between semantic input and
output means that Columbia School theory espouses an inferential model of
communication rather than the familiar compositional model.