Semantic in the context of "Conceptual semantics"

Poetry (from the Greek word poiesis, "making") is a form of literary art that uses aesthetic and often rhythmic qualities of language to evoke meanings in addition to, or in place of, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, consonance, euphony and cacophony, onomatopoeia, rhythm (via metre), rhyme schemes (patterns in the type and placement of a phoneme group) and sound symbolism, to produce musical or other artistic effects. They also frequently organize these devices into poetic structures, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often rely on rhythmic metre: patterns of syllable stress or syllable (or mora) weight. They may also use repeating patterns of phonemes, phoneme groups, tones, words, or entire phrases. Poetic structures may even be semantic (e.g. the volta required in a Petrachan sonnet).

Most written poems are formatted in verse: a series or stack of lines on a page, which follow the poetic structure. For this reason, verse has also become a synonym (a metonym) for poetry. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz, or Rumi may think of it as written in lines based on rhyme and regular meter. There are, however, traditions, such as Biblical poetry and alliterative verse, that use other means to create rhythm and euphony. Other traditions, such as Somali poetry, rely on complex systems of alliteration and metre independent of writing and have been described as structurally comparable to ancient Greek and medieval European oral verse. Much modern poetry reflects a critique of poetic tradition, testing the principle of euphony itself or altogether forgoing rhyme or set rhythm. In first-person poems, the lyrics are spoken by an "I", a character who may be termed the speaker, distinct from the poet (the author). Thus if, for example, a poem asserts, "I killed my enemy in Reno", it is the speaker, not the poet, who is the killer (unless this "confession" is a form of metaphor which needs to be considered in closer context – via close reading).

Deductive reasoning is the process of drawing valid inferences. An inference is valid if its conclusion follows logically from its premises, meaning that it is impossible for the premises to be true and the conclusion to be false. For example, the inference from the premises "all men are mortal" and "Socrates is a man" to the conclusion "Socrates is mortal" is deductively valid. An argument is sound if it is valid and all its premises are true. One approach defines deduction in terms of the intentions of the author: they have to intend for the premises to offer deductive support to the conclusion. With the help of this modification, it is possible to distinguish valid from invalid deductive reasoning: it is invalid if the author's belief about the deductive support is false, but even invalid deductive reasoning is a form of deductive reasoning.

Deductive logic studies under what conditions an argument is valid. According to the semantic approach, an argument is valid if there is no possible interpretation of the argument whereby its premises are true and its conclusion is false. The syntactic approach, by contrast, focuses on rules of inference, that is, schemas of drawing a conclusion from a set of premises based only on their logical form. There are various rules of inference, such as modus ponens and modus tollens. Invalid deductive arguments, which do not follow a rule of inference, are called formal fallacies. Rules of inference are definitory rules and contrast with strategic rules, which specify what inferences one needs to draw in order to arrive at an intended conclusion.

In the study of the biological sciences, biocommunication is any specific type of communication within (intraspecific) or between (interspecific) species of plants, animals, fungi, protozoa and microorganisms. Communication means sign-mediated interactions following three levels of rules (syntactic, pragmatic and semantic). Signs in most cases are chemical molecules (semiochemicals), but also tactile, or as in animals also visual and auditive. Biocommunication of animals may include vocalizations (as between competing bird species), or pheromone production (as between various species of insects), chemical signals between plants and animals (as in tannin production used by vascular plants to warn away insects), and chemically mediated communication between plants and within plants.

Biocommunication of fungi demonstrates that mycelia communication integrates interspecific sign-mediated interactions between fungal organisms, soil bacteria and plant root cells without which plant nutrition could not be organized. Biocommunication of Ciliates identifies the various levels and motifs of communication in these unicellular eukaryotes. Biocommunication of Archaea represents key levels of sign-mediated interactions in the evolutionarily oldest akaryotes. Biocommunication of phages demonstrates that the most abundant living agents on this planet coordinate and organize by sign-mediated interactions. Biocommunication is the essential tool to coordinate behavior of various cell types of immune systems.

In a written language, a logogram (from Ancient Greek logos 'word', and gramma 'that which is drawn or written'), also logograph or lexigraph, is a written character that represents a semantic component of a language, such as a word or morpheme. Chinese characters as used in Chinese as well as other languages are logograms, as are Egyptian hieroglyphs and characters in cuneiform script. A writing system that primarily uses logograms is called a logography. Non-logographic writing systems, such as alphabets and syllabaries, are phonemic: their individual symbols represent sounds directly and lack any inherent meaning. However, all known logographies have some phonetic component, generally based on the rebus principle, and the addition of a phonetic component to pure ideographs is considered to be a key innovation in enabling the writing system to adequately encode human language.

In linguistics, romanization or romanisation is the conversion of text from a different writing system to the Roman (Latin) script, or a system for doing so. Methods of romanization include transliteration, for representing written text, and transcription, for representing the spoken word, and combinations of both. Transcription methods can be subdivided into phonemic transcription, which records the phonemes or units of semantic meaning in speech, and more strict phonetic transcription, which records speech sounds with precision.

Lexicography is the study of lexicons and the art of compiling dictionaries. It is divided into two separate academic disciplines:

• Practical lexicography is the compiling, writing, and editing of dictionaries.
• Theoretical lexicography is the scholarly study of semantic, orthographic, syntagmatic, and paradigmatic features of lexemes of the lexicon (vocabulary) of a language, developing theories of dictionary components and structures linking the data in dictionaries, the needs for information by users in specific types of situations, and how users may best access the data incorporated in printed and electronic dictionaries. This is sometimes referred to as "metalexicography" as it is concerned with the finished dictionary itself.

There is some disagreement on the definition of lexicology, as distinct from lexicography. Some use "lexicology" as a synonym for theoretical lexicography; others use it to mean a branch of linguistics pertaining to the inventory of words in a particular language.

In linguistics, ellipsis (Ancient Greek: ἔλλειψις, romanized: élleipsis, lit. 'omission') or an elliptical construction is the omission from a clause of one or more words that are nevertheless understood in the context of the remaining elements. There are numerous distinct types of ellipsis acknowledged in theoretical syntax. Theoretical accounts of ellipsis seek to explain its syntactic and semantic factors, the means by which the elided elements are recovered, and the status of the elided elements.