This chapter discusses the overall paradigmatic distribution of gaps in the Romance languages of the Iberian Peninsula. It revisits the Spanish data from a historical and comparative perspective, considering the closely related language, Portuguese. Ibero-Romance paradigm gaps are determined by the lexical rarity and the morphemic patterning. Paradigm gaps are also affected by ‘low speaker confidence’. This behaviour defines the avoidance of allomorphy even in the absence of reasonable grounds to expect the occurrence of allomorphy. Such (...) behaviour is triggered by the speaker's sensitivity to a major distributional pattern of root allomorphy in Spanish and Portuguese such as that in non-first conjunction verbs, the first person singular present indicative together with all persons and numbers of the present subjunctive in shared root allomorph. In addition to determining the defectiveness in the Ibero-Romance languages, the chapter also provides a discussion on the general domains and determinants of defectiveness. (shrink)

This book scrutinizes recent work in phonological theory from the perspective of Chomskyan generative linguistics and argues that progress in the field depends on taking seriously the idea that phonology is best studied as a mental computational system derived from an innate base, phonological Universal Grammar. Two simple problems of phonological analysis provide a frame for a variety of topics throughout the book. The competence-performance distinction and markedness theory are both addressed in some detail, especially with reference to phonological acquisition. (...) Several aspects of Optimality Theory, including the use of Output-Output Correspondence, functionalist argumentation and dependence on typological justification are critiqued. The authors draw on their expertise in historical linguistics to argue that diachronic evidence is often mis-used to bolster phonological arguments, and they present a vision of the proper use of such evidence. Issues of general interest for cognitive scientists, such as whether categories are discrete and whether mental computation is probabilistic are also addressed. The book ends with concrete proposals to guide future phonological research.The breadth and depth of the discussion, ranging from details of current analyses to the philosophical underpinnings of linguistic science, is presented in a direct style with as little recourse to technical language as possible. (shrink)

Language change can be conceptualized as a cyclical process of continuous renewal of the involved elements which somehow change their nature, with respect to phonological or lexico-grammatical features. A crucial aspect of such diachronic evolution is that cyclical change takes place systematically and follows regular and unidirectional patterns of development. Once the change is complete, the same developmental path will be undertaken by new linguistic items in the same cyclical fashion. In this paper, we illustrate the concept of cyclical change (...) by discussing two examples of linguistic cycles. A first instance of cyclical development is displayed at the phonological level by the diachronic changes in the obstruent consonant system taking place from Indo-European to German through the First and the Second Sound Shift: the cycle is completed in the Cimbrian dialects. A second instance is provided by the diachronic process known as Jespersen’s cycle ([1917] 1966): sentential negation, initially expressed through a single negative marker, is later reinforced by an additional one; eventually, this second element becomes the only negative marker available in the sentence while the original marker is deleted. The discussion of the negative cycle takes also into consideration the results of an empirical research conducted on two varieties of an Italo-Romance dialect spoken in northern Italy. (shrink)

Contemporary thought has been profoundly shaped by the early-twentieth-century turn toward synchronic models of explanation, which analyze phenomena as they appear at a single moment, rather than diachronically as they develop through time. But the relationship between time and system remains unexplained by the standard account of this shift. Through a new history of systematic thinking across the humanities and sciences, The Writing of Spirit argues that nineteenth-century historicism wasn't simply replaced by a more modern synchronic perspective. The structuralist revolution (...) consisted rather in a turn toward time's absolutely minimal conditions, and thus also toward a new theory of diachrony. Pourciau arrives at this surprising and powerful conclusion through an analysis of language-scientific theories over the course of two centuries, associated with thinkers from Jacob Grimm and Richard Wagner to the Russian Futurists, in domains as disparate as historical linguistics, phonology, acoustics, opera theory, philosophy, poetics, and psychology. The result is a novel contribution to a pressing contemporary question--namely, what role history should play in the interpretation of the present. (shrink)

At the heart of the stories in Everything Flirts are some of life's trickiest questions: Why is it so hard to make the first move on a date? How do we find the person we will love? If you finally find a person to love, how do you convince them to love you back? Searching for love, in all its stages-lustful intoxication through lasting commitment-is a process peppered with unanswerable questions, the kind of questions that philosophers usually like to pursue. (...) Romantic love is one of the concerns at the center of most human lives, one of the basic things that can make our lives happy or unhappy. But philosophers, historically, have avoided this topic. Why? Is it too hard for them? Or do they simply lack the experience required to answer it? With a mixture of humor and reverence, Everything Flirts hijacks classic works of philosophy and turns their focus to love. The philosopher Wittgenstein helps us consider the limits of language: does there exist an argument, a logical deduction, that will cause another person to love us? The philosopher Zeno's laws of motion stipulate that we can only ever cross half of any distance. This principle is applied to a first date, where making a first move becomes more and more impossible because the movie this couple goes to see is a depressing mood-killer. A woman afraid of love applies Jeremy Bentham's utilitarian principles to find her perfect match, testing every man she meets until she finds one who aces every one of her tests. Nonetheless, she wonders: is he right for her? is she ready to fall in love, forever? The sublime and the ridiculous come together to playfully examine why love just might be a topic too hard for philosophers to explain. (shrink)

In the last few years a lively discussion on information packaging has arisen, where traditional dichotomies Theme/Rheme, Topic/Comment and Focus/Background have been taken up again and partly reinterpreted. The discussion is mainly being held in syntax, but also in the fields of semantics and pragmatics. Some remarkable progress has been made especially in Focus phonology. Even if the role of information conveying and information packaging in the Indoeuropean languages was hinted at as early as in the classical studies of (...) the Neogrammarians, this field has remained neglected in today's historical linguistics. This volume tries to partly cover this lack with a sample of papers which offer a various range of new empirical data analyzed from the point of view of information structure. The novelty of the papers consists in the modern theoretical perspective from which the data are analyzed and in the various phenomena considered, which range from the rise of clitic elements to word order change and verb movement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Political Economy of the Libro De AlexandreSimone Pinet (bio)The carefully composed and craftily pronounced stanzas of the thirteenth-century Libro de Alexandre, if mostly a (free) translation of Gautier de Châtillon’s Alexandreis, provide readers with glimpses of northern Iberia in descriptions and comparisons, but especially through curious formulations and eloquent rewritings.1 These incite the reader to reflect upon the emergence of the vernacular regime of literary composition by (...) clerics that developed in the thirteenth century, a corpus known to us as the mester de clerecía. In this corpus, the use of the vernacular, in particular, brings with it an unproblematized sense of transparency of the context in which the works of mester de clerecía were produced, a genre of which the Libro de Alexandre is a key poetic point of origin. Next to an emphasis on a Latinate syntax and recitation techniques that underline the corpus’s clerical production, the irruption of quotidian phrases, vocabulary, figures of medievalization, and especially of Iberization, make these texts a privileged site to study the articulation of the varied phenomena that from economics to the grammatical, from Aristotle to technology, come to revolutionize medieval culture from the twelfth century onward. Of the many peculiar uses of the vernacular in the Libro de Alexandre, references that connote a sense of worthlessness through the repeated structure “not worth an X, ” especially those that express the comparison with minted coinage of little value: dinero, meaja, pepión, or sueldo, as in “not worth a penny,”2 will serve here as a point of entry. These hyperbolic [End Page 44] expressions, common to Romance languages, underline not only the moral and economic ambivalence of terms such as preçio, valor, honor, pagar(se), dar crédito, and so forth, but also the incorporation of a monetary economy within this ambivalence. These types of expressions, moreover, produce a linguistic marker for such ambiguity, as Louis F. Sas noted when he underlined the “affect” which marks, at the level of speech, the reference to abstract terms such as infinity, nothing, and zero in these types of constructions [469, 471].3Sas notes that the vast majority of the occurrences of these phrases in the Libro de Alexandre happen “in combination with the word valer, with its synonyms, or with dar por, that is, in contexts of exchange” [475]. Many years before Sas exhaustively documented these expressions, Alois Richard Nykl had interpreted their presence as related to barter and a supposed clerical contact with local markets, which to some extent could explain their frequent use in the poem, and he especially mentioned the use of fruits and vegetables in these expressions. Nykl also suggested these were “rustic” similes, favored by men of the clergy such as Berceo, Juan Ruiz, and the authors of the Alexandre and the Fernán González, showing, in his opinion, these men’s contact with a certain world in which fruits and vegetables could serve as payment for the church or diezmo, bringing in through this curious interpretation not only a historical economic context but also its [End Page 45] qualification as something “rustic” or at least foreign to the cleric [311].4In 1929, a couple of years after Nykl’s article appeared, George Irving Dale would correct his affirmations, noting that the expressions called “rustic” by Nykl belonged to a well-studied figure called figurative negation. Dale remarked that figurative negation appeared already in the Poema de mio Cid, and he directed the reader to the bibliography offered by Menéndez Pidal in his edition of the Poema under the title of “Refuerzo de la Negación” [Cantar de Mio Cid 1: 376 and glossary]. In his article, Dale wrote in passing that the type of adjectives used with these expressions “increases the insignificance or lack of value” [324]. Later, agreeing with Dale, Sas wrote that the emphasis added to these phrases through the use of adjectives such as vile or rotten did not point to any medieval particular practice beyond that of a peculiar affect, which has been interpreted in terms of “simplicity.” In the next pages I want to suggest some lines of... (shrink)

Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is (...) the world of existence, like the world of images, chaos or cosmos? Erwin Panofsky's1 great merit consists in having understood that, in spite of its confused appearance, the world of images is an ordered world and that it is possible to do the history of art as the history of images. In order to do this, he had to begin, as indeed he did, with the demonstration that classical art, in spite of the deep-rooted theoretical certitude, is also an art of the image; its forms are nothing if not images to which one tries to attribute the consistency of concepts, with the sole result of the demonstrating that even concepts are images and that the intellect is still another sector or segment of the image. · 1. See, e.g., Erwin Panofsky, Meaning in the Visual Art: Papers in and on Art History ; Studies in Iconology: Humanistic Themes in the Art of the Renaissance ; Problems in Titian, Mostly Iconographic ; Idea: Ein Beitrag zur Begriffsgeshicte der älteren Kunsttheorie [Idea: a concept in art theory, trans. Joseph J. S. Peake ]. Giulio Carlo Argan, who has seriously influenced the course of art history and criticism in postwar Italy, is professor of modern art at the University of Rome. He has written on Fra Angelico, Botticelli, Borromini, Brunelleschi, and Gropius and three volumes of critical essays on modern art. His Skira volume on Baroque art, Europe of the Capitals, is his only major work published in English. "Ideology and Iconology" originally appeared in Italian in the journal Storia dell'arte, which he edits, and in Psicon. Rebecca West, translator of this article and assistant professor of Romance Languages and Literatures at the University of Chicago, presently is collaborating on a translation of Dario Fo's theater. She has translated "Narrative Structures and Literary History" by Cesare Segre, for the Winter 1976 issue of Critical Inquiry. (shrink)

This essay does not aim to investigate film-novel relationships per se, although the fact that the two genres now share certain generative procedures may be further evidence that fiction in print and on film lie to a great extent in a unified field not only of diegesis but also of structure. A diachronic or historical approach to the theory of fictional generators would show that, with the shifts which have occurred on present-day aesthetic thought, much of what once was (...) considered to be a static analysis of retrospective rules or established forms could now be regarded as the disguised beginning of generative theory. Aristotle's seemingly static doctrines of dramatic structure, involving such notions as peripeteia, discovery, or unity of action, to the extent that dramatists had consciously or unconsciously followed such doctrines, obviously served the production of their works, as well as their later analysis. In fact, any sort of artistic intentionality constitutes a kind of "generator," as does the deliberate adherence to outward forms as rhyme schemes, stanzas, cantos, or chapters. As we shall see, it is not always easy to distinguish between generative formulas and self-imposed forms or limits, such as the sonnet with its fourteen lines, its quatrains, and its tercets. Although the most advanced practitioners of generative theory, like Jean Ricardou, seem to view their work as a radical break with the past and the discovery of an entirely new domain of fiction, literary history would provide innumerable examples of precedents, from antiquity through the Grands Rhétoriqueurs, the Gongorists and Baroque poets, and many subsequent groups of writers down to and including the pre-modern and modern periods. Bruce Morrissette has published widely on French fiction of the classical period, Rimbaud and the Symbolist movement, the Nouveau Roman and Robbe-Grillet, and on contemporary film. He is the Sunny Distinguished Service Professor and Chairman of Romance Languages and Literatures at the University of Chicago. He translated Alain Robbe-Grillet's "ARTISTS ON ART: Order and Disorder in Film and Fiction" for the Autumn 1977 issue of Critical Inquiry. (shrink)

Written from a non-Western perspective, this book exposes the inadequacy of oppositions such as native vs. non-native Englishes and English vs. New Englishes. It explains why the label 'World Englishes' captures both what the different Englishes share and how they differ from each other. It also criticizes the kinds of power asymmetries that have evolved between the Inner, Outer, and Expanding Circles of English, while showing the extent to which the Outer Circle has enriched their common language and made it (...) suitable for both its heritage and non-heritage users. The narrative is grounded in a wealth of historical knowledge, especially that of the colonization of the Outer Circle. Readers are invited to compare the spread and differentiation of English with those of Latin, which evolved into the Romance languages. This comparison may leave the reader asking: could English break up into Anglian languages? (shrink)

In Quaestiones naturales 4b.4.2 Seneca states that in early spring the weather drastically changes: in the warmer sky larger water droplets are formed and cause rain. The description of this ‘greater change’ is linked in the manuscript tradition to two different controversial readings, temporis and aeris, which are irregularly distributed. Most recent editors have printed the first reading, but H.M. Hine is probably right to accept aeris. A careful linguistic, stemmatic and stylistic examination shows that temporis is likely to be (...) a Medieval Latin gloss of aeris: the equivalence of both words would be difficult to justify in Classical Latin, but in Late Latin and in Medieval Latin tempus developed a climatological meaning which is explicitly found in medieval writers and glossaries and is also very widespread in Romance languages. The presence of this gloss in the hyparchetype Ψ, which is ultimately the source for most medieval copies, accounts for the irregular distribution of both readings in the manuscript tradition; this hypothesis is particularly consistent with Hine's suggestion that Ψ probably had interlinear or marginal readings. This historical investigation on the meaning of tempus is also relevant to the end of the same passage, where stylistic and linguistic evidence supports the reading tepore rather than tempore. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FROM SACRIFICIAL VIOLENCE TO RESPONSIBILITY: THE EDUCATION OF MOSES IN EXODUS 2-4 Sandor Goodhart Purdue University When toward the end of his life Moses tried to stave off death, God said to him: "Did I tell you to slay the Egyptian?" (Midrash in Plaut 383) I. Education in Plato and Judaism The word "education", of course, comes from the Latin, educare, meaning "to lead out" or "to bring up," (...) and both its Latinate morphology and the semantic value it assumes in English reflect its peculiar history. To "lead out" implies in the first place leadership, which is to say a relationship between one designated as a "leader" and another (or others) designated as the "led." The notion of leadership also entails a movement through which the leader propels the led, namely from a region designated as "inside," to another designated as "outside." Within the Western context, which is to say, within the Western European historical experience which traces itselfback through the romance language speaking countries to Rome and ultimately to Greece, the primary articulator ofthe notion of education we have inherited is, of course, Plato. Although Plato's Republic is nominally about justice, and even more specifically the "just" state, commentators have long pointed out that it is really about education (see, for example, Havelock). How shall the guardians ofthe state that we shall term "just" be educated?, Plato's interlocutors ask themselves. In this regard, of course, Plato was challenging the educational system already in place at the time at the head of which was Homer and the Homeric epics, and substituting for an older oral culture founded on an elaborate system of mnemonics another founded more decisively upon writing and the alphabet. Some have argued that in place of a aural or Sandor Goodhart1 3 hearing-centered culture Plato was inaugurating a visual or video-centric cultural organization, and much work is currently being done in this area (see, for example, Ong). What was Plato's educational solution? It was an appeal, in short, to the true, to the language of reason, and to the realm of the ontological as the context in which the true could be defined. The true, as the phenomenological tradition has taught us, may be regarded as the separation of that which has being from that which does not have being, that which only appears or seems to be from that which truly is. Reason in this context is the method or modality ofthinking by which such difference or distinction between the true and the false becomes articulated. Education may then be said to be the process by which all of this occurs, by which one learns to separate appearances from reality, the true from the false, the reasonable from the unreasonable, and thereby the process by which one avoids slavery. For at bottom the enemy for Plato remains slavery and the goal remains freedom from its ravages. Plato, for one, defines his program in specific opposition to Greek tragedy, which he takes among the species ofmimesis or of mimetic poesis that he cites to be the worst threat to his program of absolute difference. The tragic poets leave us without an antidote, he tells us, to its irresistible seductions. Even the best of us—by which he would certainly include Socrates, who has been educating these young men about the processes of education—go to the theater, follow the theatrical performance with enthusiasm, beat their breasts along with the players, and finally praise as most worthy those playwrights who most enable this enthusiasm to take place. The distinction between the true and the mimetic, between the true and the imitational or representational, between that which has being and that which only shadows being, is always on the verge of collapsing in this context. And as a consequence the only safe state, Plato tells us, is the one that excludes theatrical performance from its premises. There is no place in the present context to develop any further the complicated relationship Plato has with his predecessors, and I have hinted at this relationship elsewhere (see Goodhart 261). Suffice it to say that Plato remains in this regard the master in Western circles ofall... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Requiem for a Garden:Terraces of the Shrine of the Báb or Revisiting Alain Locke's "Impressions of Haifa" 1923 (Palestine) in 2023 (Israel)Leonard HarrisLouis Gregory, who first introduced Alain Locke to the Bahá'í faith in 1912, succeeded in convincing him to chair the first racial Amity Convention in 1921 in Washington, DC. Locke published annual reports of this committee in the Bahá'í News Letter until late in his life. The (...) Racial Amity Committee, of which Locke was a lifelong member, promoted racial amity and racial eliminativism through dialogue, personal example, interracial marriage, and cultural exchange. In 1924, Locke's "Impressions of Haifa" described his 1923 visit to Haifa and meeting—via an invitation likely arranged by Louis Gregory—the Guardian of the Faith, Shoghi Effendi, the great-grandson of Bahá'u'lláh, founder of the faith, who received revelations from God.1Why would a 38-year-old African American Harvard PhD in Philosophy (1918), former Oxford University Rhodes Scholar (1907–1910), University of Berlin student (1911), and English- and French-speaking scholar versed in Romance language literature and Greek philosophy seek the grace of the Guardian of the Faith? Why would he travel to Haifa, a place that required a circuitous route to reach, and meet, in 1923, a little-known shy Guardian of the Faith? He traveled from Vienna by train on 4 October to Trieste, then Greece, and then took a steamer to Alexandria, Egypt, for a few days before taking off on another steamer to the islands of Piraeus, Lesbos, and Chanak, and arrived in the ancient Byzantine capital of Constantinople (Istanbul), Turkey, on 14 October. After two days in the ancient capital, he was off again by steamer and train to Haifa, remaining there as a guest of the Guardian of the Faith until early November.Christopher Buck has consistently argued that Locke was a faithful Bahá'í, meaning that Locke was a doctrinaire believer that Bahá'u'lláh was the last messenger of God, as foretold by the Báb, Ali Muhammad. Buck has effectively described Locke's views via re-published core articles by Locke on [End Page 97] democracy, commentaries on Bahá'í ideas, and pictures of Locke with Bahá'í members at Bahá'í events. Buck has authored, among other works, Alain Locke: Faith and Philosophy (2005); "Alain Locke in His Own Words" (2005); "Alain Locke: Race Leader, Social Philosopher, Bahá'í Pluralist" (2005); "Alain Locke: Dean of the Harlem Renaissance and Bahá'í Race-Amity Leader" (2005); and "Alain Locke: Four Talks Redefining Democracy, Education, and World Citizenship" (2006/2007). Buck contends that a "Bahá'í Historical Record"—which Locke completed and signed in 1935—proves that Locke was a Bahá'í. Note Item #13: "Date of acceptance of the Bahá'í Faith": Locke answered: "1918." Under Item #14: "Place of acceptance of the Bahá'í Faith": Locke wrote: "Washington, D.C." (Buck, "Race Amity & the Bahai Faith" 5).2 At the January 1927 National Spiritual Assembly, Locke—along with Agnes Parsons, Louis Gregory, and others—was appointed to the membership committee.I have argued that Locke was a participant in the Bahá'í community, but evidence that he was a doctrinaire religious believer is lacking. As a pragmatist, Locke was steadfastly against metaphysical absolutism (that a particular belief is true beyond reasonable doubt) and foundationalism (that a First principle is the basis of truth); he favored "truth" as a sort of value, and thereby, a plurality of possible "faiths" could make sense. Locke authored critical pragmatism because he promoted the value of aesthetic virtues and rejected the classical pragmatist reliance on the scientific method to guide our preferences. That is, Locke cannot be a fallibilist and a value relativist while (at the same time) committing himself to one true approach to salvation, one true value ultimate, or one true/foundational divinity. I have co-authored Alain L. Locke: Biography of a Philosopher (2010), one anthology of Locke's philosophic works (1999), and two anthologies of articles about Locke's philosophy (1989, 2010). In each publication, I have assumed that philosophic commitments define what type of faith is acceptable. Are Locke's philosophic commitments and his commitments to Bahá'í principles or faith incompatible? Buck and... (shrink)

Expanded edition with new chapters and updates to the translation and bibliography. Borges cites innumerable authors in the pages making up his life’s work, and innumerable authors have cited and continue to cite him. More than a figure, then, the quotation is an integral part of the fabric of his writing, a fabric made anew by each reading and each re-citation it undergoes, in the never-ending throes of a work-in-progress. Block de Behar makes of this reading a plea for the (...) very art of communication; a practice that takes community not in the totalized and totalizable soil of pre-established definitions or essences, but on the ineluctable repetitions that constitute language as such, and that guarantee the expansiveness—through etymological coincidences of meaning, through historical contagions, through translinguistic sharings of particular experiences—of a certain index of universality. This edition includes a new introduction by the author and three entirely new chapters, as well as updated images and corrections to the original translation. Lisa Block de Behar is Professor of Communications at the Universidad de la República in Montevideo, Uruguay and is a renowned Jorge Luis Borges scholar. William Egginton is Andrew W. Mellon Professor in the Humanities and Chair of the Department of German and Romance Languages and Literatures at Johns Hopkins University. He is the author of several books, including In Defense of Religious Moderation. Christopher RayAlexander is a graduate student and language instructor in the Department of German and Romance Languages and Literatures at Johns Hopkins University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Benjamin I. Schwartz (1916-1999)Hoyt Cleveland TillmanBenjamin Sadie Schwartz was born on December 12, 1916,1 to Hyman and Jennie Weinberg Schwartz. In the wake of the Depression, this struggling family moved from the immigrant section of East Boston (near what became Logan Airport) to Orchestra, a working-class section of the city. Ben's intelligence and dedication to learning earned him the opportunity to study at Boston Latin, the city's premier high (...) school for talented youths, and he won a scholarship to attend Harvard College in 1934. Because the collegiate life of Harvard's house system was inaccessible to him, Ben commuted daily from home and ate his sack lunches with the other "townies" on the steps outside the buildings in Harvard Yard. The nationalizing experiences of being Jewish and poor surely enhanced his sensitivity to tensions within cultures and sharpened the critical edge of his reflections on elites and their ideologies. Moreover, his own experiences enabled an empathy with economically and culturally disadvantaged students, for he generously extended himself especially to such students during his long teaching career at Harvard, from 1950 through 1987. Indeed, his office door was always open to students, and no one needed an appointment to come to discuss ideas with him. Furthermore, his critical concerns about contemporary trends in society and polity continued to be central to his life as an engaged intellectual even after he had retired from formal teaching duties.After graduating magna cum laude from Harvard College in 1938 with a major in Romance Languages and Literatures, he went on to earn a master's degree from the Harvard Graduate School of Education in 1940. Unable to find a regular teaching position, he worked as a substitute teacher. Blessed with an enduring and profound spirituality, he considered becoming a rabbi. World War II intervened to change his life. Serving as a cryptanalyst from 1942 to 1946 in the Signal Corps, he decoded Japanese military cables; and he worked in 1946-1947 as a censor of the Japanese press during the beginning phase of the American Occupation. He rose to the rank of captain. With the educational benefits extended to veterans, he returned to Harvard, where he initially sought to focus on Buddhism, but his professors discouraged him on the grounds that the field required too many Asian languages for someone to begin in his thirties. He was admonished to focus on modern China, for that field required only that he supplement the Japanese language, which he had gained during his military service, with a reading knowledge of Chinese. He threw himself enthusiastically into reading both modern Chinese and what he referred to as "outbidding classical Chinese" because he loved to read texts to explore cultures and encounter peoples. Within less than three years, he not only earned a master's [End Page 183] in East Asian Studies and a Ph.D. in History and Far Eastern Languages but also became, in 1950, a Harvard instructor in history and government. Rising quickly through the ranks, he was promoted to assistant professor in 1951, associate professor in 1956, and professor in 1960. Moreover, he became widely regarded as "the scholar's scholar" at Harvard's East Asian Research Center.His first book, Chinese Communism and the Rise of Mao (Harvard University Press, 1951), was a revised version of his doctoral dissertation. Modern China scholars have in later years hailed this pioneering work for going against the tide of American political assumptions about Soviet Russian control of the communist movement in China. He demonstrated that Mao had defied Soviet orders and deviated from Soviet plans in struggling to gain power in China; furthermore, Ben also suggested that communism was devolving through expansion. Establishing an intellectual orientation that informed his later work, Ben was also using texts from a movement to explore the conscious life of leading figures and their personalities in the context of concrete historical circumstances and contingencies in order to determine how ideas related to actions. Providing translated texts for others to join the exploration of the interaction between ideology and behavior, he was one of three compilers of A Documentary History of Chinese Communism (Harvard, 1952). He... (shrink)

This is one of the best written and most comprehensive studies of the development of Sartre’s thought yet to appear in English, which is not to say that it covers every facet of his variegated career. Written by the former editor of Yale French Studies and current chairman of the Department of Romance Languages at Wesleyan University, Connecticut, it emphasizes Sartre’s literary works and thus belongs most properly in the category of literary criticism or the history of ideas. (...) Still, McMahon does not ignore Sartre’s philosophical writings. Indeed, he gives particular attention to The Critique of Dialectical Reason, a volume often avoided by authors who approach Sartre from a literary tradition. But the philosophic sources are usually consulted to explain or illustrate the literary, which provide the object of the author’s prime concern. McMahon underscores three concepts which measure Sartre’s intellectual growth, viz., freedom, love, and history. Regarding freedom, Sartre has "completed" the unfinished analyses of Being and Nothingness with their excessive individualism by his growing awareness that freedom is more than the ability to say "No" to the Other; it has a positive content and requires collective action to be maintained. Likewise, love is now conceived as a bond of promises which envisages the achievement of common projects. McMahon labels this rather cold-blooded concept "pragmatic love." Finally, history, which emerges as Sartre’s absolute, is now understood as a force conditioning men and limiting the availability of their choices. Sartre has come under the sway of Engels’ dictum: "Men make their history themselves, but they make it within a given milieu which conditions them." Sartre relies heavily upon the power of dialectic to keep individual choice afloat in a sea of historical forces. Whether or not he succeeds is a current question. McMahon believes that he does not. Because what he calls the "shift of emphasis" in Sartre’s thought from the individual to the social involves a growing interest in the sciences humaines, McMahon’s failure to consider Sartre’s political writings at any length is the chief disappointment of this excellent study. And then there is that stepchild of Sartriana, Existentialism is a Humanism. Following Cumming and others, McMahon chooses to ignore this essay, probably because Sartre himself has repudiated it. But if anyone is to portray Sartre "warts and all," and McMahon does not hesitate to expose the blemishes, then the reckless and inconsistent statements of this short lecture are most revealing. They indicate the freewheeling motions of a "shift" underway. Each chapter is followed by a short but helpful discussion of related themes and works. To capture the world of Jean-Paul Sartre is a most ambitious project. McMahon has met this challenge with insight and style.—T. R. F. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Political Economy of the Libro De AlexandreSimone Pinet (bio)The carefully composed and craftily pronounced stanzas of the thirteenth-century Libro de Alexandre, if mostly a (free) translation of Gautier de Châtillon’s Alexandreis, provide readers with glimpses of northern Iberia in descriptions and comparisons, but especially through curious formulations and eloquent rewritings.1 These incite the reader to reflect upon the emergence of the vernacular regime of literary composition by (...) clerics that developed in the thirteenth century, a corpus known to us as the mester de clerecía. In this corpus, the use of the vernacular, in particular, brings with it an unproblematized sense of transparency of the context in which the works of mester de clerecía were produced, a genre of which the Libro de Alexandre is a key poetic point of origin. Next to an emphasis on a Latinate syntax and recitation techniques that underline the corpus’s clerical production, the irruption of quotidian phrases, vocabulary, figures of medievalization, and especially of Iberization, make these texts a privileged site to study the articulation of the varied phenomena that from economics to the grammatical, from Aristotle to technology, come to revolutionize medieval culture from the twelfth century onward. Of the many peculiar uses of the vernacular in the Libro de Alexandre, references that connote a sense of worthlessness through the repeated structure “not worth an X, ” especially those that express the comparison with minted coinage of little value: dinero, meaja, pepión, or sueldo, as in “not worth a penny,”2 will serve here as a point of entry. These hyperbolic [End Page 44] expressions, common to Romance languages, underline not only the moral and economic ambivalence of terms such as preçio, valor, honor, pagar(se), dar crédito, and so forth, but also the incorporation of a monetary economy within this ambivalence. These types of expressions, moreover, produce a linguistic marker for such ambiguity, as Louis F. Sas noted when he underlined the “affect” which marks, at the level of speech, the reference to abstract terms such as infinity, nothing, and zero in these types of constructions [469, 471].3Sas notes that the vast majority of the occurrences of these phrases in the Libro de Alexandre happen “in combination with the word valer, with its synonyms, or with dar por, that is, in contexts of exchange” [475]. Many years before Sas exhaustively documented these expressions, Alois Richard Nykl had interpreted their presence as related to barter and a supposed clerical contact with local markets, which to some extent could explain their frequent use in the poem, and he especially mentioned the use of fruits and vegetables in these expressions. Nykl also suggested these were “rustic” similes, favored by men of the clergy such as Berceo, Juan Ruiz, and the authors of the Alexandre and the Fernán González, showing, in his opinion, these men’s contact with a certain world in which fruits and vegetables could serve as payment for the church or diezmo, bringing in through this curious interpretation not only a historical economic context but also its [End Page 45] qualification as something “rustic” or at least foreign to the cleric [311].4In 1929, a couple of years after Nykl’s article appeared, George Irving Dale would correct his affirmations, noting that the expressions called “rustic” by Nykl belonged to a well-studied figure called figurative negation. Dale remarked that figurative negation appeared already in the Poema de mio Cid, and he directed the reader to the bibliography offered by Menéndez Pidal in his edition of the Poema under the title of “Refuerzo de la Negación” [Cantar de Mio Cid 1: 376 and glossary]. In his article, Dale wrote in passing that the type of adjectives used with these expressions “increases the insignificance or lack of value” [324]. Later, agreeing with Dale, Sas wrote that the emphasis added to these phrases through the use of adjectives such as vile or rotten did not point to any medieval particular practice beyond that of a peculiar affect, which has been interpreted in terms of “simplicity.” In the next pages I want to suggest some lines of... (shrink)

In recent years, the category of evidentiality has also come into use for the description of Romance languages and of German. This has been contingent on a change in its interpretation from a typological category to a semantic-pragmatic category, which allows an application to languages lacking specialised morphemes for the expression of evidentiality. We consider evidentiality to be a structural dimension of grammar, the values of which are expressed by types of constructions that code the source of (...) information which a speaker imparts. If we look at the situation in Romance languages and in German, drawing a boundary between epistemic modality and evidentiality presents problems that are difficult to solve. Adding markers of the source of the speaker’s knowledge often limits the degree of responsibility of the speaker for the content of the utterance. Evidential adverbs are a frequently used means of marking the source of the speaker’s knowledge. The evidential meaning is generalised to marking any source of knowledge, what can be regarded as a result of a process of pragmaticalisation. The use of certain means which also carry out evidential markings can even contribute to the blurring of the different kinds of evidentiality. German also has modal verbs which in conjunction with the perfect tense of the verb have a predominantly evidential use. But even here the evidential marking is not without influence on the modality of the utterance. The Romance languages, however, do not have such specialised verbs for expressing evidentiality in certain contexts. To do this, they mark evidentiality – often context bound – by verb forms such as the conditional and the imperfect tense. This article shall contrast the different architectures used in expressing evidentiality in German and in the Romance languages. (shrink)

This paper investigates the semantics of tense and aspect in Romance languages. Its goal is to develop a compositional, model-theoretic semantics for tense and temporal adverbs which is sensitive to aspectual distinctions. I will consider durative adverbial distributions and aspectual contrasts across different morphological tense forms. I will examine tense selection under habitual meanings, generic meanings and state of result constructions. In order to account for these facts I will argue that temporal homogeneity plays a fundamental role in (...) tense selection in Romance languages. (shrink)

Echo phonology was originally proposed to account for obligatory coordination of manual and mouth articulations observed in several sign languages. However, previous research into the phenomenon lacks clear criteria for which components of movement can or must be copied when the articulators are so different. Nor is there discussion of which nonmanual articulators can echo manual movement. Given the prosodic properties of echoes (coordination of onset/offset and of dynamics such as speed) as well as general motoric coordination of various (...) articulators in the human body, we expect that the mouth is not the only nonmanual articulator involved in echo phonology. In this study, we look at a fixed set of lexical items across 36 sign languages and establish that the head can echo manual movement with respect to timing and to the axis/axes of manual movement. We propose that what matters in echo phonology is the visual percept of temporally coordinated movement that repeats a salient movement property in such a way as to give the visual impression of a copy. Our findings suggest that echoes are not obligatory motor couplings of two or more articulators but may enhance phonological distinctions that are otherwise difficult to see. (shrink)

This essay adopts a semiotic perspective focused on practices of communication, movement, and translation to examine the global impact of A. J. Greimas and his oeuvre. The linguist and semiotician’s lecture trips abroad, the number and provenance of international students in his Paris seminar, and the chronology and linguistic geography of translations of his work help describe, gauge, and explain the dissemination and development of his ideas throughout the world. His project has engendered distinctive appropriations and at times productive institutional (...) structures in a number of cultural and linguistic contexts, notably Romance, Anglo-American, Germanic, Russian, Lithuanian, and Chinese. The broader historical relations between France and other lands, and the extent of each society’s use of the French language have conditioned, fostered, or impeded responses to his proposals. The conclusion’s discussion of the relative importance of personal contacts, socio-historical context, and the sociolinguistic and pedagogical status of French for his international reception aims to contribute to general methodological debates in the history of science and ideas and in transnational history. (shrink)

The volume offers an assorted collection of studies showcasing digitalization methods. The focus on Romance languages (e.g. Latin, Italian, Romanian, Spanish) provides an entry point in digital humanities, at large, exemplified by a tripartite division of the collection: resources and digitalization, tools and interfaces, and computational methods.

There is a form of intellectual controversy, exhibited throughout the nineteenth century and into our own, which is less accessible because of a radically different order than certain controversies it appears to resemble, namely those which sprang up dramatically between science and religion in this era. Those latter controversies developed chiefly because it was at first supposed that religion was in possession of factual truths which entailed answers incompatible with those offered by science, to just the same factual questions: the (...) age of the universe, the mutability of species, the community of men and beasts or, for the matter, the historicity of sacred writ itself. On the basis of criteria supposed appropriate to the resolution of scientific controversies as such, the factual claims of religion were one by one infirmed, and it seemed then a reasonable projection that more or less the same would happen in any future such collisions. This left certain options open for religionists. They could, like adherents of any infirmed theory, simply give them up like good scientists are supposed to do. Or they could attempt to shun refutation by regarding religious statements as mere mythic paraphrases of recoverable literal scientific statements which were in fact true. Or religion could constitute itself a specialized science, concerned with an area of reality the "other" sciences did not touch upon, purging itself of any statements which then could conflict with those of the "other" sciences. Or finally, it could radically redefine its own scope and office by foreswearing any claim at all to factuality, so that questions of truth or falsity simply no longer would apply, and controversies between it and any discipline to which such questions did apply would be as inconceivable as a truth-contest between chemistry and opera. The Wittgensteinian suggestion that it is not the purpose of religious language to state facts may be seen as a late response to a dilemma which is then resolved by assigning religious utterance to one language game and physics to another. Were this a suitable disposition of the matter, religionists might be grateful for the suffering undergone, for though in the light of it the dilemma need never have arisen, still, had it not done so, religion might never have arrived at a proper consciousness of its own deep character. So the recent history of religion recapitulates its own favorite episodes of trial and purified renascence. (shrink)

1. Introduction -- 2. Different views on grammaticalisation and its relation to word-order -- 3. Historical overview of oblique subjects in Germanic and Romance -- 4. Historical overview of stylistic fronting in Germanic and Romance -- 5. Accounting for the differences and similarities between the languages under investigation -- 6. Explaining the changes: minimalism meets von Humboldt and Meillet -- References.

SUMMARYHistorians of historiography have recently adopted the language of ‘epistemic virtues’ to refer to character traits believed to be conducive to good historical scholarship. While ‘epistemic virtues’ is a modern philosophical concept, virtues such as ‘objectivity’, ‘meticulousness’ and ‘carefulness’ historically also served as actors' categories. Especially in the late nineteenth and early twentieth centuries, historians frequently used virtue language to describe what it took to be a ‘good’, ‘reliable’ or ‘professional’ scholar. Based on three European case studies—the German historian (...) Georg Waitz, his French pupil Gabriel Monod and the Belgian historian Henri Pirenne —this article argues that such virtues cannot neatly be classified as ‘epistemic’ ones. For what is characteristic about virtue language in historical scholarship around 1900 is an overlap or entanglement of epistemic, moral and political connotations. The virtues embodied by, or attributed to, Waitz, Monod and Pirenne were almost invariably aimed at epistemic, moral and political goods at once, though not always to the same degrees. Consequently, if ‘epistemic virtues’ is going to be a helpful category, it must not be interpreted in a strong sense, but in a weak one. (shrink)

Children learning to read in two different orthographic systems are exposed to cross-linguistic interferences. We explored the effects of school and grade on phonological activation during a visual word recognition task. Elementary school children from Spain completed a lexical decision task in English. The task included real words and pseudohomophones following Spanish or English phonological rules. Using the mouse-tracking paradigm, we analyzed errors, reaction times, and computer mouse movements. Children in the bilingual school performed better than children in the monolingual (...) school. Children in higher grades performed better than children in lower grades. The interference effect of Spanish phonology was weak and became weaker in higher grades. Spanish children differentiate between first and second language grapheme-to-phoneme correspondences since early on in the educational process. In 6th grade, children from the bilingual school responded better to words and Spanish pseudohomophones, while children from the monolingual school were less distracted by the English pseudohomophones. Children in the bilingual school had stronger inhibition of Spanish phonology and stronger activation of English phonology. Instructional method plays an important role on the processing strategies Spanish children rely on when reading in English. School and grade influence the link between orthographic and phonological representations. (shrink)

This book explores the semantic and pragmatic mechanisms underlying grammaticalization. Regine Eckardt argues that language change frequently involves a structural reorganization at the phonological, morphological, and syntactic levels. Speakers not only master the structural aspect of such reanalyses, they also-as the author argues-keep a detailed mental record of what has happened to meaning. The author develops semantic reanalysis as the semantic correlate and tracks its effects in meaning change. Several case studies offer new insights in the architecture of conceptual thinking (...) that is part of the human language faculty. Professor Eckardt develops her approach in terms of formal semantic theory. She shows how neatly tailored analyses in truth-conditional compositional semantics can elucidate the structural mechanisms of meaning change. Her exposition is advanced in the context of several in-depth case studies containing data new to historical linguistics. This book will be of central interest to scholars and advanced students of historical and comparative linguistics and of formal semantics in departments of linguistics and philosophy. (shrink)

Productivity—the hallmark of linguistic competence—is typically attributed to algebraic rules that support broad generalizations. Past research on spoken language has documented such generalizations in both adults and infants. But whether algebraic rules form part of the linguistic competence of signers remains unknown. To address this question, here we gauge the generalization afforded by American Sign Language (ASL). As a case study, we examine reduplication (X→XX)—a rule that, inter alia, generates ASL nouns from verbs. If signers encode this rule, then they (...) should freely extend it to novel syllables, including ones with features that are unattested in ASL. And since reduplicated disyllables are preferred in ASL, such rule should favor novel reduplicated signs. Novel reduplicated signs should thus be preferred to nonreduplicative controls (in rating), and consequently, such stimuli should also be harder to classify as nonsigns (in the lexical decision task). The results of four experiments support this prediction. These findings suggest that the phonological knowledge of signers includes powerful algebraic rules. The convergence between these conclusions and previous evidence for phonological rules in spoken language suggests that the architecture of the phonological mind is partly amodal. (shrink)

This article analyzes sororities as gender strategy. The author argues that young women use sororities as a strategy for dealing with the complexities of gender relations—both among women and between women and men. Based on a case study of a nationally affiliated historically white sorority, the article focuses primarily on how sororities structure relationships among women and between women and men, helping them to navigate campus life, particularly what Holland and Eisenhart have identified as a male-dominated culture of romance. (...) Employing a language of sisterhood, sororities encourage strong bonds between members; still, they fail to resolve tensions between the collective interests of the sororities and the individualistic strategies of members in the romantic marketplace. It is argued that, while sororities can be seen as a collective response to male domination, they are not a challenge to it. (shrink)

Part II Central and Eastern Europe -- Mikhail Bakhtin: Direct and Indirect Reception of Kierkegaard in Works of the Russian Thinker -- Péter Esterházy: Semi-Serious -- Witold Gombrowicz: The Struggle for the Authentic Self -- Ivan Klíma: "To Save My Inner World"--Péter Nádas: Books and Memories -- Pinhas Sadeh: The Poet as "the Single Individual" -- Index of Persons -- Index of Subjects.

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

The undisputed master of stylistic criticism, Leo Spitzer combined phenomenal learning in historical and comparative linguistics with brilliant and original critical insight. He was born in Vienna in 1887. He studied Romance Philology at the Universities of Vienna and Paris and then taught at Vienna, Bonn, Marburg and Cologne. After escaping from Germany in 1933, he taught briefly at Istanbul and then at The Johns Hopkins University in Baltimore. He died in 1960. He was the author of over (...) 800 books, articles, reviews and notes on the language and literatures of France, Spain, Italy, Portugal, Romania, Germany, England and America from the Middle Ages to the twentieth century. This translation brings together for the first time in any language all of Spitzer's work on the literature of seventeenth-century France, including 'Racine's classical piano' and 'Saint-Simon's portrait of Louis XIV'. Each of the essays demonstrates in practical rather than theoretical terms the essential unity of literary and linguistic study. David Bellos's introduction sets Spitzer's method of textual and stylistic interpretation in its historical context and sketches out the career of this supremely knowledgeable reader for whom knowledge was less important than understanding. (shrink)

Resumen: El corpus, siendo una herramienta eficaz, se está empleando en múltiples ámbitos, entre los que se encuentran los estudios de traducción. Sin embargo, dicho recurso no se utiliza con mucha frecuencia en las investigaciones traductológicas cuando una de las lenguas en cuestión es chino clásico (la lengua escrita empleada antiguamente en China), y autores que sí hacen estas investigaciones suelen no mencionar los pasos a seguir cuando se trata un corpus paralelo ad hoc. El objetivo del presente artículo es (...) presentar cómo se elabora un corpus paralelo chino clásico-español tomando como ejemplo la novela histórica Romance de los Tres Reinos y sus traducciones al español. Para ello, hemos descrito la problemática de creación y explotación de este tipo de corpus, siguiendo el orden de las fases del proceso. Resulta que algunas fases del proceso son universales, mientras que otras son propias de lenguas clásicas y de la combinación lingüística chino-otra lengua, en cuyo caso sí faltan aplicaciones eficaces. Con el trabajo, esperamos deparar información a los estudiosos que quieran realizar y profundizar las investigaciones basadas en corpus paralelo y en las obras clásicas de China. Abstract: The corpus, being an effective tool, is utilized in multiple fields. One of them is the Translation. However, this resource isn´t used frequently in translation studies when one of the languages in question is classical chinese (written language used anciently in China). And when it comes to an ad hoc parallel corpus, the steps of how to create it are usually omitted by researchers who make such investigations. The objective of this article is to present how to elaborate a classic Chinese-Spanish parallel corpus taking as example the historic novel Romance of the Three Kingdoms and its two translations into Spanish. To reach the objective, we have described the problem of creation and exploitation of this type of corpus, following the order of the phases of the process. We’ve found that some of the phases are universal while other phases are unique for old languages and for the linguistic combination Chinese-other language. And in this latter case, there’s a lack of effective applications. With the current work, we hope to offer useful information to those scholars who are willing to carry out their own investigations based on self-built parallel corpus and at the same time related to the classic Chinese works. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Resumen: El corpus, siendo una herramienta eficaz, se está empleando en múltiples ámbitos, entre los que se encuentran los estudios de traducción. Sin embargo, dicho recurso no se utiliza con mucha frecuencia en las investigaciones traductológicas cuando una de las lenguas en cuestión es chino clásico (la lengua escrita empleada antiguamente en China), y autores que sí hacen estas investigaciones suelen no mencionar los pasos a seguir cuando se trata un corpus paralelo ad hoc. El objetivo del presente artículo es (...) presentar cómo se elabora un corpus paralelo chino clásico-español tomando como ejemplo la novela histórica Romance de los Tres Reinos y sus traducciones al español. Para ello, hemos descrito la problemática de creación y explotación de este tipo de corpus, siguiendo el orden de las fases del proceso. Resulta que algunas fases del proceso son universales, mientras que otras son propias de lenguas clásicas y de la combinación lingüística chino-otra lengua, en cuyo caso sí faltan aplicaciones eficaces. Con el trabajo, esperamos deparar información a los estudiosos que quieran realizar y profundizar las investigaciones basadas en corpus paralelo y en las obras clásicas de China. Abstract: The corpus, being an effective tool, is utilized in multiple fields. One of them is the Translation. However, this resource isn´t used frequently in translation studies when one of the languages in question is classical chinese (written language used anciently in China). And when it comes to an ad hoc parallel corpus, the steps of how to create it are usually omitted by researchers who make such investigations. The objective of this article is to present how to elaborate a classic Chinese-Spanish parallel corpus taking as example the historic novel Romance of the Three Kingdoms and its two translations into Spanish. To reach the objective, we have described the problem of creation and exploitation of this type of corpus, following the order of the phases of the process. We’ve found that some of the phases are universal while other phases are unique for old languages and for the linguistic combination Chinese-other language. And in this latter case, there’s a lack of effective applications. With the current work, we hope to offer useful information to those scholars who are willing to carry out their own investigations based on self-built parallel corpus and at the same time related to the classic Chinese works. (shrink)

This paper analyzes and evaluates the linguistic ideas of the British Protestant missionary Joseph Edkins, as well as the linguistic trends of his time, in order to recognize the merits and the achievements in the field of historical Chinese phonology. Furthermore, this paper seeks to demonstrate that many ideas about the sound system of Old Chinese were posited or at least presaged by Edkins in his philological works, where the earliest attempt to reconstruct the old language of the ancient (...) Chinese classics took place for the first time. (shrink)