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cadlin.bsky.social
Cadernos de Linguística
@cadlin.bsky.social
2.1K followers 6K following 340 posts
A #DiamondOA journal sponsored by the Brazilian Linguistics Association (Abralin), promoting responsible research practices, collaboration, diversity, inclusion, and openness in academia.

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cadlin.bsky.social
Understanding cross-language interference helps explain why learners invent certain words. A paper by Alessandra Baldo shows these forms often reflect systematic strategies, suggesting teaching can design targeted activities instead of treating them as random errors. doi.org/10.25189/267...
The image is a minimalist text card on a light beige background. At the top, in small uppercase letters, it says “READ IN CADERNOS DE LINGUÍSTICA,” with a thin horizontal line above and below. Centered on the card is a short paragraph set in dark text. Two phrases—“cross-language” and “interference”—are softly highlighted in pale pink. The text states that a clearer understanding of cross-language interference in language learning can support foreign language development by helping teachers design activities that target learners’ specific needs. Below the paragraph, aligned toward the lower left, is the citation “BALDO, A, 2025.” In the bottom-left corner, there is a small decorative icon made of short radiating lines, resembling a subtle sunburst or signal mark.
January 5, 2026 at 2:36 PM
cadlin.bsky.social
A new article by Alessandra Baldo suggests that when advanced learners get stuck, they often build target-like words using patterns from their native language—pointing teachers toward feedback on recurring repair strategies rather than isolated mistakes. doi.org/10.25189/267...
The image is a clean, minimalist text card on a light beige background. At the top, in small uppercase letters, it reads: “READ IN CADERNOS DE LINGUÍSTICA,” separated by thin horizontal lines above and below. Centered in large, dark text is the question: “What should teachers do when an L2 learner makes up a word?” Below, a paragraph explains the idea. One phrase, “lexical gap,” is visually highlighted with a soft pink background. The full text says that instead of treating the invented word as a random error, teachers can see it as an attempt to bridge a lexical gap, and turn this into a teaching strategy by working with cross-language lookalikes, productive affixes, and word building in context, so learners make more reliable writing choices. In the bottom-left corner, there is a small decorative icon made of short radiating lines, resembling a subtle sunburst or signal mark.
January 4, 2026 at 5:02 PM
cadlin.bsky.social
Learners sometimes fill lexical gaps by adapting a known word into a target-like form or by using an existing word with an imported meaning. Baldo documents these patterns in advanced learner writing and shows how cross-language knowledge can surface even at high proficiency.
doi.org/10.25189/267...
A vertical promotional card with a soft pink background. At the top, a thin horizontal line sits above the text “READ IN CADERNOS DE LINGUÍSTICA,” written in small, dark gray capital letters. Centered on the card is a large block of italicized, dark gray words stacked one per line: “ESFRUTAMENTO,” “SOFERENÇA,” “PRESENCIA,” “DIFERENCIA,” “EMARGINADOS,” and “TESTEMUNHANÇA.” These are nonstandard word forms presented as examples. In the bottom left corner, there is a small abstract logo made of several short dark gray lines fanning outward, resembling a minimalist burst or signal icon.
January 3, 2026 at 2:16 PM
cadlin.bsky.social
Most word “slips” in L2 writing happen under the radar. In this study, Baldo argues learners often don’t notice their lexical deviationsnand would likely be unable to explain what triggered them. She suggests introspective methods like verbal protocols. doi.org/10.25189/267...
A clean, minimalist graphic on a light beige background. At the top, in small uppercase letters, it reads: “READ IN CADERNOS DE LINGUÍSTICA”, separated from the rest by a thin horizontal line. Below, four rounded pink labels appear like tags, arranged in two rows: LEXICAL BORROWINGS NEOLOGISMS MORPHOLOGY LEXICAL DEVIANT FORMS Centered underneath is a large quotation in dark gray text: “Not only do learners fail to notice these deviations, but they would also, in all likelihood, be unable to explain what drives them to make them”. At the bottom of the quote, the reference appears: BALDO, A., 2025. The overall style is calm and academic, with soft colors, generous spacing, and no images of people—only text and simple graphic elements.
January 2, 2026 at 5:36 PM
cadlin.bsky.social
Janayna Carvalho is an Associate Editor at CadLin. She studies Brazilian Portuguese morphosyntax in a generative, Romance-comparative view, focusing on impersonal constructions and pronominal/reflexive change. cadernos.abralin.org/index.php/ca...
Portrait-oriented 4×5 card with a pale pink background and dark gray text. A thin horizontal line runs across the top. Below it, left-aligned in uppercase: “MEET THE EDITORIAL TEAM”. On the upper left, there is a small circular black-and-white headshot. The person faces the camera, with dark curly hair and a neutral expression. Centered below, the name appears in large letters on two lines: “JANAYNA” “CARVALHO” Under the name, a paragraph reads: “Associate Professor at the School of Letters of the Federal University of Minas Gerais (UFMG, Brazil). She studies the morphosyntax of Brazilian Portuguese in generative linguistics, comparing it with other Romance languages, with current work on impersonal constructions, pronominal change, reflexivity, and Distributed Morphology.” In the bottom-left corner, there is a small symbol made of four short diagonal strokes, like a fan.
January 1, 2026 at 5:03 PM
cadlin.bsky.social
Advanced learners from Italy writing in Portuguese sometimes invent a word when the right one won’t come: "esfrutamento", "soferença". In 90 student essays, Alessandra Baldo finds 28 nonstandard word forms or meanings, most linked to Italian influence. #langsky #linguistics doi.org/10.25189/267...
A minimalist vertical promo card on a pale beige background. At the top, a thin horizontal line sits above the header “NEW ARTICLE | RESEARCH REPORT.” Centered below, in large gray text, the title reads: “Analysis of Neologisms in Written Corpus of Learners of Portuguese as a FL.” Lower on the page, a small pale pink dot appears to the left of the author line: “ALESSANDRA BALDO,” with “Universidade Federal de Pelotas” beneath it in smaller text. In the bottom left corner, there’s a small abstract logo made of short dark gray lines, like a fan or burst.
December 31, 2025 at 6:40 PM
Reposted by Cadernos de Linguística
propcazhpm.bsky.social
Yes, and manner of posting matters as well. I follow several journals and even those that post infrequently but effectively can get decent engagement.

Using graphics with alt-text (esp. when URL doesn't show thumbnail), brief summaries, authors' names, hashtags for applicable feeds, etc. all help.👇🏾
cadlin.bsky.social Cadernos de Linguística @cadlin.bsky.social · 14d
You describe an action one way; the reply renames it with a loaded label—like calling a land occupation an “aggression.” Zoé Camus shows how this kind of relabeling can redraw what a political discussion can be about next.
doi.org/10.25189/267...
#langsky #linguistics
A clean quote card on a mint-green background. Near the top, a thin dark line stretches across the width, and below it the header reads “READ IN CADERNOS DE LINGUÍSTICA,” with “CADERNOS DE LINGUÍSTICA” in bold. On the left side of the quote area there is a thick vertical bar, like a stylized quotation mark. The main text is an English quote in dark gray: “When you produce an utterance in a political interaction or a social conflict, you are not acting on an interlocutor or on a prior utterance; you are modifying the semantic configuration of the conflictual interaction.” The words “semantic configuration” are emphasized with a light rectangular highlight behind them. Below the quote, the attribution reads “CAMUS, Z., 2025.” In the bottom-left corner, a small abstract logo made of short dark strokes forms a fan-like burst.
December 31, 2025 at 11:15 AM
cadlin.bsky.social
Evidence on categorization in aphasia and dementia comes mostly from a narrow language base. When experimental data are missing for some languages, cross-language comparison and clinical inference are harder. doi.org/10.25189/267...
The image is a clean, text-based editorial card with a light turquoise background. At the top, in small uppercase letters, it says “READ IN CADERNOS DE LINGUÍSTICA,” separated from the main text by a thin horizontal line. The center of the image contains a large block of uppercase dark-gray text that reads: “If categorization is a shared pressure point in aphasia and dementia, the evidence base still lacks experimental work in Portuguese—limiting cross-language clinical inference.” Key words such as “CATEGORIZATION,” “APHASIA,” “DEMENTIA,” and “CROSS-LANGUAGE” appear in a heavier font weight for emphasis. In the bottom left corner, there is a small decorative graphic made of short radiating lines. The overall design is minimalist, modern, and focused entirely on the message.
December 30, 2025 at 3:42 PM
cadlin.bsky.social
Experimental work suggests that neurological conditions can raise the “cost” of meaning-based categorization—slowing decisions and increasing variability in performance. That makes everyday semantic judgments a useful window into language–cognition interaction.
doi.org/10.25189/267...
A vertical, clean academic card on a light beige background. At the very top, in small uppercase letters, it reads: “READ IN CADERNOS DE LINGUÍSTICA”, with a thin horizontal line beneath it. Centered below, in larger text, there is a question: “Which language ability can change in aphasia and dementia?” A thin horizontal line separates the question from the answer. The answer appears as a short paragraph in dark gray text. The word “classification” is highlighted with a turquoise background. The text explains that, in some neurological conditions, grouping words or objects by meaning can become slower and less consistent, and that deciding “what belongs where” may require more effort, especially when tasks rely on meaning rather than simple visual matching. At the bottom left corner of the card, there is a small abstract graphic made of short, radiating lines, serving as a subtle decorative element. The overall layout is minimalist, with generous spacing and high contrast designed for easy reading.
December 29, 2025 at 4:03 PM
cadlin.bsky.social
Ingrid Finger (UFRGS) is an Associate Editor of Cadernos de Linguística. She researches bilingualism and bilingual education, language processing in bilinguals, and biliteracy in unimodal and bimodal contexts. cadernos.abralin.org/index.php/ca...
A vertical 4×5 card with a light turquoise background. Near the top, a thin dark horizontal line runs across the card. Below it, in uppercase, it says: “MEET THE EDITORIAL TEAM”. On the upper left, there is a small circular portrait photo. The person faces the camera, smiling, with medium-length dark hair. The background of the photo shows an indoor setting with a window and greenery outside. Below the portrait, large text reads: “INGRID” “FINGER” (in italic). Under the name, a paragraph says: “Full Professor at the Department of Modern Languages, Federal University of Rio Grande do Sul (UFRGS). Her work focuses on bilingualism and bilingual education, psycholinguistics of bilingual processing, and cognitive/neuroscience approaches to language, including biliteracy and bilingual literacy in unimodal and bimodal contexts.” At the bottom left, there is a small abstract logo made of short dark lines radiating upward.
December 28, 2025 at 9:57 AM
cadlin.bsky.social
When a task feels automatic, we rarely notice how much work it takes. Experimental research shows that changes in language or memory can slow down everyday decisions that depend on meaning—and sometimes make them less reliable.
doi.org/10.25189/267...
A vertical, minimalist academic card on a light beige background. At the top, in small uppercase letters, it reads: “READ IN CADERNOS DE LINGUÍSTICA”, separated from the rest of the content by a thin horizontal line. Below, a bold title appears in uppercase: “CLASSIFICATION IN APHASIA AND DEMENTIA”. The title is highlighted with a horizontal turquoise band behind the text, making it stand out visually. Under the title, there is a block of left-aligned paragraph text in dark gray. The text explains that classifying things is usually easy for people without neurological impairments, giving the example that deciding an “apple” is a fruit is typically quick and effortless. It then states that experimental studies suggest this is not always the case in aphasia and dementia, where meaning-based classification can take longer and be less consistent. At the bottom left corner of the card, there is a small abstract graphic element made of short radiating lines, resembling a subtle logo or decorative mark. The overall design is clean, uncluttered, and uses generous white space to emphasize readability.
December 27, 2025 at 7:32 PM
cadlin.bsky.social
A review of experimental studies suggests that aphasia and dementia often raise the mental effort required for language production and comprehension during categorization tasks. This added load can spill over into everyday language use, making communication harder.
doi.org/10.25189/267...
A vertical poster with a light turquoise background. At the top, in small uppercase letters, it reads: “READ IN CADERNOS DE LINGUÍSTICA.” A thin horizontal line runs just above this text. Centered on the page is a large quotation in dark gray text: “People with aphasia or dementia tend to require more mental effort than typical adults to carry out language production and comprehension tasks when categorizing.” Below the quote, in smaller uppercase text, appears the reference: “JUVITO DA COSTA, S. H.; LEITE, J. E. R., 2025.” The layout is minimalist, with generous empty space. In the bottom left corner, there is a small abstract graphic made of short curved lines, resembling a simple decorative mark.
December 26, 2025 at 4:04 PM
cadlin.bsky.social
How do researchers test categorizing when language is altered by aphasia or dementia? Samara Hellenn Juvito da Costa and Jan Edson Rodrigues Leite review 25 experiments. Many report slower, less accurate sorting by meaning, with semantic tasks often most strained.
doi.org/10.25189/267...
A minimalist announcement card on an off white background. At the very top there’s a thin horizontal line, and beneath it the heading in uppercase: “NEW ARTICLE | LITERATURE REVIEW.” Centered below, in large gray text, the title reads: “Linguistic–Cognitive Categorization in Aphasia and Dementia: An Integrative Review.” Under the title, two author entries appear, each preceded by a small light blue dot: SAMARA HELLENN JUVITO DA COSTA Universidade Federal da Paraíba JAN EDSON RODRIGUES LEITE Universidade Federal da Paraíba In the bottom left corner there’s a small abstract logo made of short gray lines fanning outward.
December 25, 2025 at 9:42 AM
cadlin.bsky.social
Geraldo Vicente Martins is an Associate Editor of Cadernos de Linguística. At UFMS (Brazil), he works with discursive semiotics and enunciation, analyzing literary texts and song lyrics. cadernos.abralin.org/index.php/ca...
A mint-green 4x5 card with dark gray text. At the top there is a thin horizontal line, and the heading “MEET THE EDITORIAL TEAM” in uppercase. On the upper left, there is a small circular portrait photo. It shows a man with short dark hair and glasses, speaking into a microphone. The background of the photo is dark. Below, in large text, the name appears as: “GERALDO VICENTE” “MARTINS” (italicized) Under the name, a paragraph reads: “Associate Professor at the Federal University of Mato Grosso do Sul (UFMS, Brazil). He works in Linguistics and discursive semiotics, focusing on enunciation and the analysis of literary texts and song lyrics.” In the bottom-left corner, there is a small abstract logo made of short angled lines.
December 24, 2025 at 10:08 AM
cadlin.bsky.social
In a debate, someone may answer by renaming what you said. Example: “social benefits” gets recast as “handouts.” Zoé Camus shows how this label swap shifts the target, makes your point easier to attack, and forces you into repair: “That’s not what I said.”
doi.org/10.25189/267...
#linguistics
A minimalist text-only card on a light beige background. Near the top, a thin dark horizontal line runs across the page, and beneath it the header reads “READ IN CADERNOS DE LINGUÍSTICA.” In the center-left area, very large italic uppercase text says “THAT’S NOT WHAT I SAID!” in dark gray. The rest of the card is mostly empty space. In the bottom-left corner, there is a small abstract logo made of short dark strokes arranged like a simple fan or burst.
December 23, 2025 at 4:49 PM
cadlin.bsky.social
You describe an action one way; the reply renames it with a loaded label—like calling a land occupation an “aggression.” Zoé Camus shows how this kind of relabeling can redraw what a political discussion can be about next.
doi.org/10.25189/267...
#langsky #linguistics
A clean quote card on a mint-green background. Near the top, a thin dark line stretches across the width, and below it the header reads “READ IN CADERNOS DE LINGUÍSTICA,” with “CADERNOS DE LINGUÍSTICA” in bold. On the left side of the quote area there is a thick vertical bar, like a stylized quotation mark. The main text is an English quote in dark gray: “When you produce an utterance in a political interaction or a social conflict, you are not acting on an interlocutor or on a prior utterance; you are modifying the semantic configuration of the conflictual interaction.” The words “semantic configuration” are emphasized with a light rectangular highlight behind them. Below the quote, the attribution reads “CAMUS, Z., 2025.” In the bottom-left corner, a small abstract logo made of short dark strokes forms a fan-like burst.
December 22, 2025 at 11:39 PM
cadlin.bsky.social
Drawing on her work on interaction, meaning-making, and pragmatics, Zoé Camus shows in a new article how substituting a speaker’s words can redirect what a group ends up debating—and how speakers use further talk to bring the discussion back to their original point.
doi.org/10.25189/267...
A clean, minimalist profile card on a light beige background. At the top, a thin horizontal line sits above the heading “MEET THE AUTHOR” in uppercase letters. Below, on the left, there is a small circular black-and-white portrait of a woman. She has short hair, a serious expression, and is photographed straight on. Under the photo, the author’s name appears in large uppercase text, split across two lines: ZOÉ on one line and CAMUS below it. Beneath the name, a paragraph of text describes her professional profile. It states that she is a linguist and an associate member of the Centre de recherches sur les arts et le langage (CRAL) at the École des Hautes Études en Sciences Sociales. The text explains that her research focuses on oral interactions in contemporary political collectives, especially how people build shared meaning, argue, and use language in interaction, drawing on discourse analysis and interactional linguistics. At the bottom left of the card, there is a small decorative icon made of short curved lines, resembling rays or sound waves.
December 20, 2025 at 1:56 PM
cadlin.bsky.social
Ever had a reply attack something you didn’t mean? This paper analyzes “scarecrow” moves as a semantic reclassification and shows how “I didn’t say X; I said Y” can flag the shift. doi.org/10.25189/267... #linguistics
A minimalist vertical graphic on a light mint-green background. Near the top, a thin horizontal line runs across, and below it (left-aligned) the text reads: “READ IN CADERNOS DE LINGUÍSTICA” in small uppercase gray letters. Center-left, very large gray sans-serif text says, across three lines: “DO YOU KNOW / HOW TO SPOT A / SCARECROW?” In the bottom-left corner, there’s a small gray decorative mark of short lines fanning outward.
December 19, 2025 at 1:58 PM
Reposted by Cadernos de Linguística
dansperber.bsky.social
Thom Scott-Phillips presents a novel analysis of people's spontaneous intuitions about sentence acceptability "grounded in theoretical and empirical knowledge from cognitive linguistics, cognitive psychology and evolutionary approaches to the mind." cadernos.abralin.org/index.php/ca...
Why Do Humans Have Linguistic Intuition? | Cadernos de Linguística
cadernos.abralin.org
December 18, 2025 at 7:11 PM
Reposted by Cadernos de Linguística
thomscottphillips.bsky.social
Thanks Ben! Very happy to read this

cadernos.abralin.org/index.php/ca...
December 19, 2025 at 9:15 AM
cadlin.bsky.social
Someone can answer your idea in a meeting by turning it into a scarecrow: a claim you never made. Zoé Camus offers a new way to analyze this move: not just “bad faith”, but a semantic maneuver that shifts what the group ends up debating. #langsky #linguistics doi.org/10.25189/267...
A minimalist promotional card on a light beige background. At the top, in small uppercase letters, it reads “NEW ARTICLE | CADERNOS DE LINGUÍSTICA”. Centered below, in larger dark gray text, is the title “Resemantization Is Not a Strawman”. Under the title, aligned to the left, appears the author’s name, “Zoé Camus”, preceded by a small green dot, followed by the affiliation “École des Hautes Études en Sciences Sociales” in lighter gray text. In the bottom left corner, there is a small abstract graphic made of short dark lines arranged like a partial fan. The overall design is clean, calm, and uncluttered, with no photos or people shown.
December 18, 2025 at 12:49 PM
cadlin.bsky.social
Associate Editor of Cadernos de Linguística, Friederike Lüpke works on African linguistics, language documentation, and small-scale multilingualism, linking linguistic description to social practice and education.
cadernos.abralin.org/index.php/ca...
A vertical card with a light lilac background. At the top, the heading reads “Meet the Editorial Team.” Below it, on the left, there is a small circular portrait of a woman with short grey hair, wearing red-framed glasses and a red jacket over a colorful top, facing the camera. The name “Friederike Lüpke” appears prominently in large text. Under the name, smaller text states that she is Professor of African Studies at the University of Helsinki and works in descriptive and documentary linguistics, focusing on Mande and Atlantic languages of West Africa. The text also lists research interests including argument structure, nominal classification, small-scale multilingualism, multilingual education, and grassroots writing practices in multilingual societies. A small decorative graphic appears near the bottom of the card.
December 17, 2025 at 2:35 PM
cadlin.bsky.social
From cognitive science and evolutionary work on communication, Thom Scott-Phillips brings a new proposal to a classic debate on linguistic intuitions and grammar—linking judgments of “oddness” to communicative relevance.
Read: doi.org/10.25189/267...
The image is a clean, minimalist “Meet the Author” card from Cadernos de Linguística, with a light beige background and dark gray text. At the top, centered, it reads: “MEET THE AUTHOR | CADERNOS DE LINGUÍSTICA”, separated by a thin horizontal line. On the upper left side, there is a small circular portrait of a man. He appears to be a middle-aged white man with short light hair, light stubble, and glasses. He is wearing a light blue shirt and looking directly at the camera with a neutral, calm expression. The background of the photo is softly blurred. Below the photo, in large uppercase letters, the name THOM SCOTT-PHILLIPS is displayed, with “SCOTT-PHILLIPS” emphasized in italics. Under the name, there is a short biographical paragraph in English stating that he is a Senior Researcher in the Department of Cognitive Science at Central European University, that his research focuses on evolutionary and cognitive approaches to mind and culture, especially communication and language, and that he has received several prestigious fellowships and prizes for his research. In the bottom left corner of the card, there is a small decorative graphic made of short radiating lines, resembling a subtle sunburst or signal icon.
December 16, 2025 at 2:50 PM
cadlin.bsky.social
What if the feeling that a sentence is “odd” doesn’t come from grammar at all?
An open review highlights how Why Do Humans Have Linguistic Intuition? reframes acceptability as a matter of communicative relevance, not rule checking.
Read the article: doi.org/10.25189/267...
The image features a public review excerpt of the article Why Do Humans Have Linguistic Intuition? by Scott-Phillips (2025), published in Cadernos de Linguística. The review is written by Michael Pleyer and highlights the novel explanation proposed by the author for the sense of "oddness" we experience when interpreting ungrammatical or unacceptable sentences. The reviewer emphasizes that this oddness does not stem from the internalized linguistic system of language users tracking and processing grammaticality or acceptability per se, but is instead related to the principle of communicative relevance. The background of the image is a soft lilac color, with a clean and modern layout, including the title "OPEN REVIEW" and the journal name "CADERNOS DE LINGUÍSTICA" at the top. A small symbol resembling a curved arrow is placed near the bottom left.
December 15, 2025 at 8:23 PM
Reposted by Cadernos de Linguística
thomscottphillips.bsky.social
Why do humans have linguistic intuition? And why should you care?

A short thread about my new paper in @cadlin.bsky.social

This work has the most original insight I've ever had, a genuinely new idea about the nature of language

cadernos.abralin.org/index.php/ca...

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Why Do Humans Have Linguistic Intuition? | Cadernos de Linguística
cadernos.abralin.org
December 15, 2025 at 4:14 PM