Living in Words: Literature, Autobiographical Language, and the Composition of Selfhood pursues three main questions: What role does literature play in the constitution of a human being? What is the connection between the language we see at work in imaginative fiction and the language we develop to describe ourselves? And is something more powerful than just description at work -- that is, does self-descriptive or autobiographical language itself play an active role in shaping and solidifying our identities? This adventurous (...) book suggests that interdisciplinary work interweaving philosophy and literature can answer these questions. Main sections investigate the relational model of the self derived from American pragmatism, the sense of rightness that can attach to descriptions of ourselves and our actions, the analogy between interpreting works of art and the interpretation of persons, the special power of literature as a self-compositional tool and the "architecture" of self-narratives and the corresponding growth of self-understanding, what we can learn from cautionary tales concerning the tragic lack of self-knowledge, the possibility of "rewriting" and "rereading" the self, and overall, the assembly of real-life structures of self-definition through our reflective engagement with literature. Throughout, the book develops a model of active, self-constitutive literary reading that provides language for, and sharpens, self-individuation and sensibility. Conjoining a relational conception of selfhood to a narrative conception of self-understanding, Living in Words makes a powerful claim that aesthetic experience and our engagement with the arts is a far more serious matter in human life and society than it in some quarters is taken to be. (shrink)

“The forms of thought are first set out and stored in human language,” we read in the preface to the second edition of Hegel’s Science of Logic. Man thinks through language, and everything he “transforms into language and expresses in it contains a category, whether concealed, mixed, or well defined”. Language, then, harbors thought categories. There is a philosophy of language, but there is also a philosophy implied in language. How is this supposed to work? More specifically, how is this (...) supposed to work in Hegel’s own use of language?This paper is an attempt to give a simple answer to this question. There have been scholarly attempts to tie Hegel’s philosophy to his use of language.1 This paper... (shrink)

Vector-based models of word meaning have become increasingly popular in cognitive science. The appeal of these models lies in their ability to represent meaning simply by using distributional information under the assumption that words occurring within similar contexts are semantically similar. Despite their widespread use, vector-based models are typically directed at representing words in isolation, and methods for constructing representations for phrases or sentences have received little attention in the literature. This is in marked contrast to experimental evidence (e.g., (...) in sentential priming) suggesting that semantic similarity is more complex than simply a relation between isolated words. This article proposes a framework for representing the meaning of word combinations in vector space. Central to our approach is vector composition, which we operationalize in terms of additive and multiplicative functions. Under this framework, we introduce a wide range of composition models that we evaluate empirically on a phrase similarity task. (shrink)

COMPOSITIONAL approaches to mobile accentuation of the Indo-European type derive the accent of words from the lexically specified accentual features of their constituent morphemes, together with the BASIC ACCENTUATION PRINCIPLE (BAP), which erases all accents but the leftmost one, and assigns an accent to the left edge of an unaccented domain.1 I propose here a compositional analysis in which BAP is a phrase-level process and stems default to the right by the OXYTONE RULE. I argue that zero grade ablaut is (...) sensitive to the accents erased by the BAP, and therefore applies before it. In agreement with most compositional analyses, I distinguish between DOMINANT and RECESSIVE derivational suffixes. 2 COMPOSITIONAL approaches to mobile accentuation of the Indo-European type derive the accent of words from the lexically specified accentual features of their constituent morphemes, together with the BASIC ACCENTUATION PRINCIPLE (BAP), which erases all accents but the leftmost one, and assigns an accent to the left edge of an unaccented domain.3 I propose here a compositional analysis in which BAP is a phrase-level process and stems default to the right by the OXYTONE RULE. I argue that zero grade ablaut is sensitive to the accents erased by the BAP, and therefore applies before it. In agreement.. (shrink)

Despite the incremental nature of Dynamic Syntax, the semantic grounding of it remains that of predicate logic, itself grounded in set theory, so is poorly suited to expressing the rampantly context-relative nature of word meaning, and related phenomena such as incremental judgements of similarity needed for the modelling of disambiguation. Here, we show how DS can be assigned a compositional distributional semantics which enables such judgements and makes it possible to incrementally disambiguate language constructs using vector space semantics. Building (...) on a proposal in our previous work, we implement and evaluate our model on real data, showing that it outperforms a commonly used additive baseline. In conclusion, we argue that these results set the ground for an account of the non-determinism of lexical content, in which the nature of word meaning is its dependence on surrounding context for its construal. (shrink)

Contextuality is a particular quantum phenomenon that has no analogue in classical probability theory. Given two independent systems, a natural question is how to represent such a situation as a single test space. In other words, how separate contextuality scenarios combine into a joint scenario. Under the premise that the the allowed probabilistic models satisfy the No Signalling principle, Foulis and Randall defined the unique possible way to compose two contextuality scenarios. When composing strictly-more than two test spaces, however, a (...) variety of possible composition methods have been conceived. Nevertheless, all these formally-distinct composition methods appear to give rise to observationally equivalent scenarios, in the sense that the different compositions all allow precisely the same sets of classical and quantum probabilistic models. This raises the question of whether this property of invariance-under-composition-method is special to classical and quantum probabilistic models, or if it generalizes to other probabilistic models as well, our particular focus being \ models. \ models are physically important since, when applied to scenarios constructed by a particular composition rule, coincide with the well-defined “Almost Quantum Correlations”. In this work we see that some composition rules, however, give rise to scenarios with inequivalent allowed sets of \ models. We find that the non-trivial dependence of \ models on the choice of composition method is apparently an artifact of failure of those composition rules to capture the orthogonality relations given by the Local Orthogonality principle. We prove that \ models satisfy invariance-under-composition-method for all the constructive compositions protocols which do capture this notion of Local Orthogonality. (shrink)

Natural languages are compositional in that the meaning of complex expressions depends on those of the parts and how they are put together. Here, I ask the following question: why are languages compositional? I answer this question by extending Lewis–Skyrms signaling games with a rudimentary form of compositional signaling and exploring simple reinforcement learning therein. As it turns out: in complex worlds, having compositional signaling helps simple agents learn to communicate. I am also able to show that learning the meaning (...) of a function word, once meanings of atomic words are known, presents no difficulty. (shrink)

I propose that constitution is a case of composition in which, for example, the lump of clay composes the statue. In other words, we can reduce constitution to composition. Composition does all of the work that we want from an account of constitution, and we do not need two separate relations. Along the way, I offer reasons to reject weak supplementation. Acknowledgments (which by my mistake were not included in the journal publication): Many people have given me (...) feedback over the years on this paper or an ancestor of it, and I apologize for oversights in my acknowledgments here. Special thanks to Trenton Merricks for comments on several drafts of this paper. Thanks also for helpful comments and discussions to Eugene Mills, Donald Smith, Peter Sutton, David Liebesman, Charlie Tanksley, Amanda Hicks, Kristl Laux, and to an audience at the University at Buffalo conference in honor of E. J. Lowe, an audience at Amherst College, and an audience at the 2017 APA Eastern Division Meeting. Thank you also to multiple anonymous referees along the way. (shrink)

This paper discusses Aristotle's references to a ζῷον in his Poetics (1450b34–51a4 and 1459a20) and evaluates their implications. The usual interpretation, ‘living creature’ or ‘animal’, is one-sided, because the word ζῷον is Aristotle's paradigm of homonymy, applying as it does to both the human being and the drawing (Cat. 1a1–6). After an examination of the two passages containing such references and their contexts, other passages by Aristotle and earlier writers (Plato, Alcidamas and Gorgias) that may shed light on the (...) issue are analysed. The conclusion reflects on the relevance of the interpretation as ‘figure’ for the premises and purpose of the Poetics. (shrink)

Most Chinese words are compounds formed through the combination of meaningful characters. Yet, due to compositional complexity, it is poorly understood how this combinatorial process affects the access to the whole‐word meaning. In the present study, we turned to the recent development in compositional distributional semantics, and employed a deep neural network to learn the less‐than‐systematic relationship between the constituent characters and the compound words. Based on the compositional representations derived from the computational model, we investigated the combinatorial process (...) in terms of the degree of overlap between the compositional and the lexicalized representations as well as the degree of distinctness of the compositional representation. Analyses of lexical decision and eye‐tracking data revealed the effects of both compositional attributes over and above the effects of constituent character features and compound features, indicating an active engagement of the combinatorial process in compound processing. Moreover, with the increase of compound frequency, and thus the increased likelihood that the holistic route prevails, these compositional effects appeared to be dampened. These findings, therefore, provided a computational characterization for the dual‐route framework, which sheds light on the universal process of compound comprehension across different languages. (shrink)

The idea that an utterance of a basic (nondeviant) declarative sentence expresses a single true-or-false proposition has dominated philosophical discussions of meaning in this century. Refinements aside, this idea is less of a substantive theses than it is a background assumption against which particular theories of meaning are evaluated. But there are phenomena (noted by Frege, Strawson, and Grice) that threaten at least the completeness of classical theories of meaning, which associate with an utterance of a simple sentence a truth-condition, (...) a Russellian proposition, or a Fregean thought. And it may well be the case that a framework within which utterances express sequences of propositions provides much of what is needed to account for the relevant phenomena, a better overall picture of the way language works, and an enticingly uniform perspective on a variety of semantic problems. I do not myself take to theories that multiply propositions by appealing to propositions “presupposed” or to pairs of Fregean and Russellian propositions, or theories that show no respect for a distinction between semantics and pragmatics— where the former is the study of propositions whose general form and character is determined by word meaning and syntax—or for theories that blithely abandon general principles of composition and semantic innocence. I would like to sketch a package based on four interconnected ideas: (i) the meaning of an individual word is a sequence of instructions for generating a sequence of propositions (in conjunction with compositional instructions (syntax) and elements of context); (ii) utterances themselves are not bearers of truth or falsity; (iii) judgements of truth, falsity, commitment, and conflict are shaped, in part, by the weights attached to individual 1 propositions that occur in sequences expressed by utterances, weights that may be set (and reset) by contextual considerations; (iv) Fregean senses are superfluous; propositions might as well be Russellian (Mont Blanc and all its snow fields will do as well as any mode of presentation).. (shrink)

The writer starts with vision and ends with words. The reader, however, starts with the writer’s words and ends with vision.Reading comprehension is like an eye. It requires focus and concentration on how a mode is interpreted. Eyes are shaped by cultures; a Western norm considers it polite to hold one’s gaze and maintain eye contact when dialoguing, while other cultures find it aggressive or confrontational. Similarly, reading is culturally shaped through the lens of the reader, as interpretation is correlated (...) to context. Reading is also temporal and perpetually shifting, just like the processes of a human eye. You can never look at the same thing twice. Reading allows the reader to frame an object’s color, shape... (shrink)

Let me start with an example. Presumably our understanding of the sentence ‘dogs bark’ arises somehow from our understanding of its components and our appreciation of how they are combined. That is to say, ‘dogs bark’ somehow gets its meaning from the meanings of the two words ‘dog’ and ‘bark’, from the meaning of the generalization schema ‘ns v’, and from the fact that the sentence results from placing those words in that schema in a certain order. However, as Davidson (...) was the first to emphasize, it is not possible to produce a strict logical deduction of what ‘dogs bark’ means from these more basic facts alone. So a question arises as to which further premises are required. What assumptions about the character of meaning should be added in order to obtain an explanation of the meaning of the sentence on the basis of the meanings of its words? (shrink)

Most substantive (content-bearing) words are polysemous, but polysemy is cross-categorial; for instance, the lexical forms ‘stone’ and ‘front’ are associated with families of interrelated senses and these senses are spread across their manifestations as three words, noun, verb and adjective. So, the ultimate unit underpinning polysemy is not a word but the categoryless root of the related words, which must, in some sense, track the interrelated families of senses. The main topic of this paper is the vexed question of (...) the meaning of roots and the backdrop is a view of words as delineated syntactic domains which allow assignment of atomic content (non-compositional meaning), and whose actual meanings are, in the first instance, pragmatically inferred in the throes of communication, some of them subsequently becoming established, so stored in a lexicon and directly retrieved in comprehension. Three different positions on the meanings of roots are outlined, and their merits and shortcomings are discussed: (a) inherent underspecified meanings; (b) meanings conditioned by grammatical context (allosemy); (c) meaninglessness. I argue that, overall, the current state of the evidence favours the third position: roots are categoryless, meaningless (perhaps phonological) indices. (shrink)

Sayyid Sadr al-din Mohammad Dashtaki Shirazi is the inventor of the division of composition into unified composition and composition by join. With this division, Dashtaki has expressed a new theory about the composition of the material object from first matter and form, as well as the composition of man from soul and body, and considers these compositions as an alliance and unification, not simply the parts joining to each other. In this paper, we will present (...) Dashtaki’s arguments on the theory of unified composition. We will also examine three objections to this theory and responses to them. Finally, we will examine the background of this theory in Bahmanyar's phrases. Dashtaki believes that when the components in the compound have a real plurality, i.e. each one exists separately from the other, a composition by join is created, such as the composition of a house from numerous clays. But if the components in the compound are united and none of them are separate from the others and exists actually, the resulting composition will be an alliance and union. He believes that in the unified composition, every component is identical to any other component and is identical to the whole. Accordingly, Reza is a unique being, both human and writer. In order to achieve a composition, a plurality is needed and in order to form a single composition, there must be plural components related to each other. An important question is that, principally how is a composition possible, if unified composition comes to existence only when the components are made united with each other and with the whole? In other words, unified composition is not possible, because the first condition of the acquisition of the composition, i.e., the plurality of the constituent components, is not satisfied. Dashtaki strives to express a difference between the components in the union compound. He believes that the conditions of the realization and the survival of the components are different, and that is enough for them to be different. In Dashtaki's point of view, in the unified composition the components are analytical, not being separate and plural, in reality. In other words, the components do not have actual and "in-the-world" plurality, which means that it is our intellect that separates them and looks at them as independent objects. Therefore, unity and identity are in-the-world and plurality and discernibility are analytical and in the mind. Dashtaki's first argument for his theory in general is as follows: the three major material objects (solid, plant and animal) are undoubtedly real compounds. But in these compositions, components exist potentially, and in a unified composition, components do not exist actually. Therefore, these objects are unified compounds. The second argument is that the accuracy of predication implies unity. In the unified composition, the components are identical with the whole, and therefore, the components can be predicated to the composition. In Dashtaki's view, if A is predicated to B, then it could be concluded that they are identical and unified. The first objection to this theory is that the unity is incompatible with causality. From the perspective of the Peripatetics, form is the cause of the matter, and this is incompatible with the union of the two. Dashtaki states that in case of causality, there is no need for cause and effect to be two different and discernible entities, but a single entity may be from one aspect the cause and, from another, the effect. In other words, the foresaid causality is analytical causality. When mind analyses something, and then finds analytical components, it can see between those analytical and intellectual components, causality, and find some of them as the cause of the others. The second objection is the incorrectness of the unity in compounds with components not being similar. only in the compounds having similar parts, one can accept the unity of matter and form. For example, in compounds such as horses, it is not possible to accept the union of matter and form, because in horses, there are components with different natures, such as bones, flesh and nerves. Unity of These parts with each other and with the whole is not plausible. Dashtaki’s respond is that the horse is also a natural unit and has no actual plurality. Components having similar or different natures does not make any difference. According to the theory of unified composition, the horse's components are united with the horse's form and have only analytical plurality. Horse’s components are just analytical components, not actual, independent ones. The third objection is the incompatibility of the actual existence of components with their unity. But Dashtaki maintains that a unique actual personal entity cannot have actual plural components. He states that compounds such as horses exist objectively, but objective and real existing is divided into two kinds: dependent existence, and independent existence as a single real thing. Therefore, the two characteristics of "being a component" and "being independent" are incompatible and do not come together in a real being. Dashtaki has also quoted phrases from Bahmanyar to confirm his point of view. Bahmanyar says that the properties of an animal belong to the whole and compound, not to each component. For example, it is a horse that feels, not its bone or brain, as the eye is also a compound, but seeing is the work of the eye, not the work of any of its components. Therefore, the animal, which is something compound, has characteristics that none of its components have. So the animal is something over and above its components. Bahmanyar thinks the components in the animal are potential. Then he states a general rule: any compound in which unity is real, its components do potentially exist. Therefore, Bahmanyar considers the body parts of the living organism as a potential being and generally believes that the components of any compound that have true unity are potential. The potentiality of the components in a real compound does not that mean that the components are destroyed and a new thing is produced. The components are also available, but they do not have the effects they had separately before the composition comes into existence. In other words, the components have found a unique identity together and therefore have a new effect.. It seems that Bahmanyar has expressed the same idea that Dashtaki is looking for in the theory of unified composition. Therefore, it can be said that before Dashtaki, Bahmanyar has come up with the thought of a unity. Of course, Bahmanyar has not explained much about this, and Dashtaki is the first who has organized and completed this idea as a philosophical theory. (shrink)

He then proposes two levels of analysis: a "deep-structure" level, which describes the associations of words and ideas before they take metrical form, and a "surface-structure" level, which describes the words as they are employed on any particular occasion. Out of Line combines formulaic and metrical analysis, expanding the study of Homeric meter both in practice, by taking into account larger compositional structures such as entire scenes, and in theory, by using the result to test models of formulaic composition.

The ‘standard picture of meaning’ suggests that natural languages are composed of two different kinds of words: concrete words whose meaning rely on observable properties of external objects and abstract words which are essentially linguistic constructs. In this study, we challenge this picture and support a new view of the nature and composition of abstract concepts suggesting that they also rely to a greater or lesser degree on body-related information. Specifically, we support a version of this new view which (...) we call “x-ception theory” maintaining that abstract concepts are based on internal information of a proprioceptive, interoceptive and affective kind. Secondly, we address a methodological issue concerning the so-called concreteness and imageability measures, two tools that are widely used in (mainly psycholinguistic) empirical research to assess the degree of concreteness of specific words. On the basis of this analysis we argue that—even though the classical concreteness and imageability measures were developed in relation to the standard picture of meaning—they can also be used in the new framework of x-ception theory. In particular, we suggest that the discrepancy between these two measures provides a clue as to whether a word relies on internal information. By contrast, we argue that a new measure for concreteness recently proposed in order to address some problems with the old measure is completely inappropriate for this aim. (shrink)

ABSTRACT Speakers may argue in ways that facilitate cooperation, without really establishing unity. If emphasis is put on the word “composite” in composite audience, then the complementary act of addressing such an audience can be understood as an orchestration of different people, who may cooperate toward a conclusion. This brings attention to the multidimensionality of issues in pluralistic communities and the range of consequences proposals may have. Following Perelman’s and Olbrechts-Tyteca’s New Rhetoric, I discuss how the compositeness of such (...) argumentation can be fruitfully approached pluralistically. I argue that proposals on practical issues imply concomitant situations, wherein audiences are assigned different roles to play toward the ends of argumentation. This means that rhetorical argumentation performs implicit diplomacy, with implications for different audiences and the relationships between them. I conclude this article by discussing what this pluralistic and interactional account means for the analysis and evaluation of arguments and their rhetoric. (shrink)

Each sentence derives its meaning from what its component words mean and from its syntactic structure. And the thesis of this chapter is that this is so because the meaning‐property of a sentence is nothing over and above the property of being constructed in a certain way from primitives with certain meanings. In this explanation of how sentence meanings are ’composed’, absolutely nothing is presupposed about the source of word meaning. Thus the possibility of compositionality imposes no constraint on (...) how the meanings of words are engendered. In particular, we see that compositionality gives us no reason to accept Davidson's explication of meaning in terms of truth conditions. (shrink)

The meaning of most words in language depends on their context. Understanding how the human brain extracts contextualized meaning, and identifying where in the brain this takes place, remain important scientific challenges. But technological and computational advances in neuroscience and artificial intelligence now provide unprecedented opportunities to study the human brain in action as language is read and understood. Recent contextualized language models seem to be able to capture homonymic meaning variation (“bat”, in a baseball vs. a vampire context), as (...) well as more nuanced differences of meaning—for example, polysemous words such as “book”, which can be interpreted in distinct but related senses (“explain a book”, information, vs. “open a book”, object) whose differences are fine‐grained. We study these subtle differences in lexical meaning along the concrete/abstract dimension, as they are triggered by verb‐noun semantic composition. We analyze functional magnetic resonance imaging (fMRI) activations elicited by Italian verb phrases containing nouns whose interpretation is affected by the verb to different degrees. By using a contextualized language model and human concreteness ratings, we shed light on where in the brain such fine‐grained meaning variation takes place and how it is coded. Our results show that phrase concreteness judgments and the contextualized model can predict BOLD activation associated with semantic composition within the language network. Importantly, representations derived from a complex, nonlinear composition process consistently outperform simpler composition approaches. This is compatible with a holistic view of semantic composition in the brain, where semantic representations are modified by the process of composition itself. When looking at individual brain areas, we find that encoding performance is statistically significant, although with differing patterns of results, suggesting differential involvement, in the posterior superior temporal sulcus, inferior frontal gyrus and anterior temporal lobe, and in motor areas previously associated with processing of concreteness/abstractness. (shrink)

Natural language expressions fall into two categories: content and function words. While function words are essential to compositional semantics, surprisingly little has been said about their emergence. In this paper, I will show that most extant approaches to the emergence of compositional signaling fail to account for the emergence of functional vocabulary. After providing a result that explains why this is so,, I will present a model and simulation results exhibiting conditions under which such vocabulary can emerge from simple learning (...) dynamics. This model captures the intuition that function words help aid communication with a limited vocabulary in the presence of contextual variability. (shrink)

This paper presents the first compositional semantics for if then conditionals. The semantics of each element are first examined separately. The meaning of if is modeled according to a possible worlds semantics. The particle then is analyzed as an anaphoric word that places its focused element inside the context settled by a previous element. Their meanings are subsequently combined in order to provide a formal semantics of if A then C conditionals, which differs from the simple if A, C (...) form. This semantics has the particularity of validating contraposition for the first type but invalidating it for the second type. Finally, a detailed examination of the sentences presented in the literature opposing this schema of reasoning shows that these counterexamples do not generally concern if then conditionals but, rather, even if conditionals and that contraposition is therefore a valid means of reasoning with regard to if then conditionals in natural language, as this system predicts. (shrink)

Recent work in supersemantics and in the semantic interpretation of prosody has showed that non-words (gestural, prosodic an iconic elements) can make truth conditional contributions. This paper contends that the way that they make their contributions—the way that they are integrated into semantic representations—calls into question foundational assumptions about how semantics works. I explore the case of a prosodic contour that can act as an intensifier (a word like ‘very’ or ‘really’) and argue that its compositional behaviour indicates that (...) it is integrated into sentence meaning in a secondary, dependent way and that this reveals a novel form of layering in semantic interpretation. (shrink)

An Introduction to Lexical Semantics provides a comprehensive theoretical overview of lexical semantics, analysing the major lexical categories in English: verbs, nouns, adjectives, adverbs, and prepositions. The book illustrates step-by-step how to use formal semantic tools.

The paper presents a system for construction classification representing multiple levels of specification, such as grammatical functions, grammatically reflected actants, and lexical semantics, aligned with a compositional system of sign combination mediating between a construction perspective and a valence perspective. The system uses a feature structure formalism based on Head-Driven Phrase Structure Grammar but with essential elements from Lexical Functional Grammar, and has as implementation background large scale HPSG grammars. While on the one extreme being able to encode word (...) level selection in multi-word patterns, the system on the other provides a compact format for construction specification, allowing for cross-language comparison both in construction and valence frame inventories. Pivotal in these capacities as well as in sign formalization in general are the grammatical functions. The paper motivates the usefulness of the various functionalities and illustrates the way in which they work together in a formally uniform system. (shrink)

Julian of Norwich's Revelation of Love is an exploratory account of supernatural events she experienced in May 1373, when she was thirty years old. Lying ill in bed, apparently near death, she suddenly began to see, reflected in a crucifix being held before her face, a series of details from Christ's Passion: his blood, flowing down from under the crown of thorns ; his body, buffeted by unseen agencies ; the drying of his facial skin as he hung on the (...) cross ; and the “chawngynge of his chere” as, at the moment of death, he returned to joyous life. These “bodylye syght[s]” were gradually succeeded by other, less easily identifiable “gastelye syght[s],” and laconic “worde[s] formede in [her] vndyrstandynge” , spoken by Christ in explanation of elements of the vision, as this moved away from the Passion narrative into deeper theological waters, ending with a “gastelye syght” of Jesus sitting, God and human, in the city of Julian's soul . After first being doubtful of the validity of this experience, which was of great complexity and lasted for many hours , Julian came to view it as a single and theologically integrated revelation sent by God not only to her but to all Christians. (shrink)

A common approach to drawing boundary between fiction and non-fiction is by appeal to the kinds of speech acts performed by authors of works of the respective categories. Searle, for example, takes fiction to be the product of illocutionary pretense of various kinds on the part of authors and non-fiction to be the product of genuine illocutionary action.1 Currie, in contrast, takes fiction to be the product of sui generis fictional illocutionary action on the part of authors and non-fiction to (...) be the product of assertion and other familiar kinds of illocutionary action.2 The central thesis of this paper is that the speech act approach to fictionality is simply a non-starter. Now it is, of course, commonplace to note that approaches of this kind run into difficulty accommodating nonliterary fictions3 and uncomposed or authorless fictions. What will be argued here, however, is that speech acts analyses are inadequate even understood narrowly as accounts of composed literary fiction. And the reason is that they fail to adequately attend to the distinction between composition and storytelling. (shrink)

This paper revisits two fundamental issues in question semantics—what does a question mean, and how is this meaning compositionally derived? Drawing on observations with the distribution of wh-words in questions and free relatives as well as quantificational variability effects in question-embeddings, I argue that the nominal meanings of short answers must be derivable from question denotations, which therefore calls for a categorial approach to defining questions, including embedded questions. I provide a novel hybrid categorial approach to compose questions. This approach (...) overcomes the problems with traditional categorial approaches in defining bare wh-indefinites, composing multi-wh questions, and accounting for coordinations of questions. (shrink)

The central claim of this paper is that surface-faithful word-by-word update is feasible and desirable, even in languages where word order is supposedly free. As a first step, in sections 1 and 2, I review an argument from Bittner 2001a that semantic composition is not a static process, as in PTQ, but rather a species of anaphoric bridging. But in that case the context-setting role of word order should extend from cross-sentential discourse anaphora to sentence-internal (...) anaphoric composition. This can be spelled out as a two-part hypothesis. First, in all languages anaphoric composition derives incremental updates based on the topological order rather than the syntactic hierarchy. And secondly, rigid vs. free word order is simply rigid vs. free mapping from syntax to topology. To formalize this hypothesis, I first present, in section 3, Sevensorted Logic of Change with Centering. This makes it possible, in section 4, to articulate a system of constraints on basic meanings in Kalaallisut — a polysynthetic language with free word order, ideally suited to test the hypothesis of incremental update. The key assumptions about topology as the input to anaphoric composition are spelled out in section 5, which concludes the development of a general formal framework. This formal framework then serves, in sections 6 through 8, t o explicate topologically based incremental updates for increasingly more complex samples of an actual Kalaallisut text. This reveals ubiquitous patterns of prominence-guided anaphora, in all semantic domains, t o increasingly more complex types of discourse referents. These anaphoric patterns show that the context-setting role of word order indeed does extend from discourse to word-to-word anaphora. And this, in turn, strongly supports the hypothesis of topologically based anaphoric composition. Finally, in section 9 I adduce evidence from English that this hypothesis also holds for languages with rigid word order, albeit the fixed mapping keeps the topology close to the syntax. I conclude that both free and rigid word orders receive a natural account if semantic composition is viewed as topologically based anaphoric bridging.. (shrink)

I argue in this paper that the debate over composition is factually empty; in other words, I argue that there’s no fact of the matter whether there are any composite objects like tables and rocks and cats. Moreover, at the end of the paper, I explain how my argument is suggestive of a much more general conclusion, namely, that there’s no fact of the matter whether there are any material objects at all. Roughly speaking, the paper proceeds by arguing (...) that if there were a fact of the matter about whether composite objects exist, then it would be either a necessary fact or a contingent fact, and both of these alternatives are implausible. (shrink)

One of the central issues in the recent discussion of rule-following has been the apparent gap between the finitude of any facts about the rule-follower and the infinitude of possible applications of rules. In this paper the author argues that the combination of the rule-follower's disposition and explicit directions can fill this gap with respect to the interpretation of individual words, but that the problem of finitude remains a serious threat to compositional semantics for natural language because there are no (...) explicit directions we can rely on in learning its rules. (shrink)

This article aims to throw light on a recurrent structural feature of Heraclitus' style that, it will be argued, serves as a tool to enrich interpretation of his fragments. Named after the bow image used by the philosopher in B51, the ‘bow composition’ will be presented as a narrative technique developed by Heraclitus to reveal his conception of the world. In B51 we read: οὐ ξυνιᾶσιν ὅκως διαϕερόμενον ἑωυτῶι ὁμολογέει· παλίντροπος ἁρμονίη ὅκωσπερ τόξου καὶ λύρης (‘They don't understand how (...) what is in variance agrees with itself, a reciprocal stretching harmony as in the bow and the lyre’). Following an assumption that will be defended later, I argue that Heraclitus attempts through his text to demonstrate how ‘what is in variance agrees with itself’. One of his strategies to this end would be the bow composition, a way to structure his statements in which its first and last terms share the same root but have subtle suffix or prefix differences in order to depict that while being related (ὁμολογέει) they still maintain some difference (διαϕερόμενον). By means of employing such structure to describe reality Heraclitus would imitate the world order in his word order by providing his audience with an analogy that once perceived in the text would teach them how to correctly interpret nature itself. (shrink)

The central theme of this book is the relationship between the reflections about and the realization of a musical composition. In his essay "Words about Music, or Analysis versus Performance," Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical conception and performance that are more challenging than those in general currency. Peter Johnson's essay, "Performance and the Listening Experience: Bach's 'Erbarme dich'" (...) shows that a performance is an element within the intentionality of the work itself. He looks for scientific methods capable of proving the artisticity of a performance. And the composer Hans Zender, in his "A Road Map for Orpheus?," states that a composer must be capable of questioning obvious basic principles (such as equal temperament) and finding creative solutions. (shrink)

The topic of my dissertation is the treatment of the fallacies of composition and division during the scholastic period , the compounded/divided sense distinction which grew out of that treatment, and the philosophical use to which the distinction was put. For instance, a recognition of these fallacies during the twelfth and thirteenth centuries helped theologians deal with certain problems having to do with foreknowledge and human freedom. In addition, a recognition of the distinction between the compounded and divided senses (...) of propositions allowed medieval logicians after the first quarter of the fourteenth century to get clearer about what might broadly be described as the logic of propositional attitudes. ;In Chapter 1, I briefly summarize and compare theories of composition and division from Peter Abelard to Paul of Pergula . And in Chapters 2 and 3, I examine the treatments of composition and division presented by Lambert of Auxerra , Roger Bacon , and William Ockham . In these treatments, composition and division are viewed in terms of ambiguity. ;By the second quarter of the fourteenth century, one sees the discussion of composition and division move from a concern with ambiguous expressions to a concern with arguments comprised of unambiguous sentences having either the compounded sense or the divided sense in virtue of the sentence's word-order. "Infinitely fast does Socrates run; therefore, Socrates runs infinitely fast" is, according to William Heytesbury , invalid: the premise has the divided sense, and is possibly true; the conclusion has the compounded sense, and is impossible. With Heytesbury there is an increasing emphasis on the compounded/divided sense distinction in connection with verbs signifying mental acts or acts of will: 'know,' 'believe,' 'desire,' 'understand,' etc. In Chapter 4 I explain why these shifts may have occurred in the medieval treatment of composition and division. And in Chapter 5, I consider the effect of Heytesbury's treatment of composition and division on logicians and commentators who come after him. I focus in particular on the work of four fifteenth- through sixteenth-century Italian logicians and their views on epistemic logic. (shrink)

The purpose of this article is to assess the nature and proper context of Grotius's imitation of Tacitus. It starts by establishing how the Tacitean style is characterised in the literary criticism around 1600. It then explores the qualities of Grotius's imitation from both the seventeenth-century and the modern perspective. It concludes that Grotius's imitation shows Tacitus's style in a characteristically seventeenth-century mirror, in that it emphasises Tacitean syntax, brevity and choice of words , as well as political edge and (...) iudicium, but overlooks the narrative and structural qualities of the longer lines of composition in Tacitus's works, that are recognised in modern interpretations. (shrink)

Since language provides the most typical paradigm of meaning, when we ask what meanings music may communicate, it will certainly be illuminative to compare these meanings with those conveyed by language. In particular we would want to ask an even more specific question: how, in general, the respective meanings of music and words are related in a vocal composition.

This issue of Ukrainian Religious Studies is the first in 2019 to open a new page in the history of our professional publication. The complete digitization of all the UR numbers from 1996, which were published on the website of the National Library of Ukraine named after VI Khmelnytsky, was carried out. Vernadsky, located the journal on the new platform OpenJournalSestem, entered several scientometric databases responsible for global indexing of scientific publications. We have updated the composition of the editorial (...) board, which introduced world-renowned religious scholars. Changed our editorial policy, which is clearly written on their page. Now it has become more transparent and open: all articles to the SD will be submitted via the Internet and will be double-blind reviewed. In this way we are approaching the world standards for writing and publishing scientific articles. (shrink)

Group 3 as Sc–Y–La, rather than Sc–Y–Lu, dominates the literature. The history of this situation, including involvement by the IUPAC, is summarised. I step back from the minutiae of physical, chemical, and electronic properties and explore considerations of regularity and symmetry, natural kinds, and quantum mechanics, finding these to be inconclusive. Continuing the theme, a series of ten interlocking arguments, in the context of a chemistry-based periodic table, are presented in support of lanthanum in Group 3. In so doing, I (...) seek to demonstrate a new way of thinking about this matter. The last of my ten arguments is recast as a twenty-word categorical philosophical (viewpoint-based) statement. (shrink)

In the modular design of generative theory the syntax-semantics interface has accounted all along for meanings at the level of Logical Form. The syntax-pragmatics interface, on the other hand, is the result of what one may call the 'pragmatic turn' in the linguistic theory, where content is partitioned into given and new information. In other words, the structural division of the clause has been subjected to criteria of information, or discourse structure. Both interfaces require a structurally descriptive inventory whose specific (...) shapes can be motivated on theory-internal grounds only. The present collection of original articles develops the concept of these interfaces further. The papers in the first section focus on the syntax-semantics interface, those in the second section on the syntax-pragmatics interface. (shrink)

RESUMEN El siguiente artículo aborda la critica que manifiesta que John Stuart Mill incurrió en la falacia naturalista y en la falacia de composición. Esta temática se puede abordar de dos formas: una consistiría en analizar si Mill realmente desconoce la distinción entre lo deseado y lo deseable; otra sobre si su concepción de hedonismo, felicidad, conlleva la comisión de las falacias mencionadas. Esta última forma es el tema principal que se aborda; en otras palabras, se mencionará brevemente lo relativo (...) a si Mill confunde deseado/deseable, es/debe, y se puntualiza en cómo el hedonismo y la idea de felicidad millianos no llevan a caer en la falacia naturalista ni en la falacia de composición. En todo esto la educación jugará un papel valioso. ABSTRACT The following article will address the criticism that states that John Stuart Mill committed the naturalistic fallacy and the fallacy of composition. This theme can be approached in two ways, one would consist of analyzing whether Mill really does not know the distinction between what is desired and what is desirable, another, if his conception of hedonism, happiness leads to the commission of the aforementioned fallacies. This last form is the main topic that will be addressed, in other words, it will briefly mention whether Mill confuses desired/desirable, is/ought, and it will be pointed out how Mill's idea of hedonism and happiness do not lead to falling into the naturalistic fallacy nor in the fallacy of composition. In all this, education will play a valuable role. (shrink)

My purpose here is to point out a use of the Greek word κλῖμαξ, lit. ladder, which has not been recorded in the lexica of ancient and medieval Greek. To be specific, the term is found twice in the Therapeutics, a work by the sixth-century a.d. author and practising physician Alexander of Tralles, in reference to a particular kind of composite drug. In the first case, the author refers to the so-called ‘ladder of Hermes’ without providing any recipe. According (...) to him, this is an antidote for the treatment of epilepsy and similar in action to the well-known theriac. However, in the second case referring to an antidote for the treatment of gout, the ‘so-called ladder’, he provides the following recipe : ἀντίδοτος ποδαγρικὴ ἡ καλουμένη κλῖμαξ.ἀγαρικοῦοὐγ. α´φοῦοὐγγ. β´πετροσελίνουοὐγγ. γ´μαίουοὐγγ. δ´ὑπερίκουοὐγγ. ε´γεντιανῆςοὐγγ. ς´ἀριστολοχίαςοὐγγ. ζ´κενταυρίουοὐγγ. η´χαμαίδρυοςοὐγγ. θ´μέλιτος τὸ ἀρκοῦν. As evidenced, the term denotes a unique category of composite drugs in which the quantity of each subsequent ingredient is increased by one unit, thus metaphorically alluding to an ascending scale. (shrink)

This textbook introduces undergraduate students of language and linguistics to the basic ideas, insights, and techniques of contemporary semantic theory. The book starts with everyday observations about word meaning and use and then gradually zooms in on the question of how speakers manage to meaningfully communicate with phrases, sentences, and texts they have never come across before. Extensive English examples provide ample illustration.