This paper is a critical examination of Vendler's well-known aspectual classes (states, activities, accomplishments, achievements). It is argued that it not classes that play a role in the explanation of aspectual phenomena but rather some specific semantic factors from which aspectual classes can be constructed, in particular factors inherent to the (lexical) verb and to the determiners of noun phrases.

Plagiarism detection is the process of finding similarities on electronic based documents. Recently, this process is highly required because of the large number of available documents on the internet and the ability to copy and paste the text of relevant documents with simply Control+C and Control+V commands. The proposed solution is to investigate and develop an easy, fast, and multi-language support plagiarism detector with the easy of one click to detect the document plagiarism. This process will be done with the (...) support of intelligent system that can learn, change and adapt to the input document and make a cross-fast search for the content on the local repository and the online repository and link the content of the file with the matching content everywhere found. Furthermore, the supported document type that we will use is word, text and in some cases, the pdf files –where is the text can be extracting from them- and this made possible by using the DLL file from Word application that Microsoft provided on OS. The using of DLL will let us to not constrain on how to get the text from files; and will help us to apply the file on our Delphi project and walk throw our methodology and read the file word by word to grantee the best working scenarios for the calculation. In the result, this process will help in the uprising the documents quality and enhance the writer experience related to his work and will save the copyrights for the official writer of the documents by providing a new alternative tool for plagiarism detection problem for easy and fast use to the concerned Institutions for free. (shrink)

In spite of the seeming heterogeneity of topics in its title - Revolutions, Systems, and Theories - this volume purports to be something more than a random collection of Essays in Political Philosophy. The Colloquium of the Philosophy Department of the University of Western Ontario (29-31 Octo­ ber, 1971) at which initial versions of the first eight papers were delivered was entitled 'Political Theory'; and while the organizers anticipated and indeed welcomed topicality in the issues accorded priority arid in the (...) empirical evidence invoked, they were also hoping for a reasonably comprehensive explorat ion of some of the central issues of political philosophy. For this reason it was quickly decided that in such a field a philosophical focus on clarification of ordering concepts required the suppIement - and test - of researches into more particular subject maUers by social scientists. Thus, to speak in general terms (where the specializatlons and their taxonomies multi­ ply fissiparously!), contributors include political scientists, economists and sociologists (Barnard, Baston, Tullock, Rapoport) as well as philosophers (Scriven, Morgenbesser, Braybrooke, TayIor), and juxtaposed as proponents and commentators ·to generate exchanges across disciplinary frontiers. While the five additional invited papers are alI by professional philosophers, they extend the original Colloquium either by continuing controversy on its funda­ mental issues (e. g., Rubinoff, Nielsen, Roy) or by their continued explorations in what are acknowledged to be boundary areas (e. g., Schick, Wartofsky). The greatest topical emphasis is that on revolution. (shrink)

The degree of justification for a judgment of artistic value is normally directly proportional to the size of the comparison class that is brought to bear in making that judgment. If that comparison class is very small or nonexistent, justified judgments are unlikely or impossible. So which artworks, if any, are comparable? The claim that evaluative comparisons can be made among artworks within a fine-grained category—abstract expressionist paintings, for example—is relatively uncontroversial. But is there any way that we can compare (...) artworks that have only a very coarse-grained category in common (such as two works of visual art), or that are in completely different coarse-grained categories (such as a symphony and a sculpture)? I argue that both very similar and very different artworks can be compared evaluatively. Comparisons within fine-grained categories are common, and reflection on critical practices shows us that they depend crucially on qualitative assessments of artistically valuable properties. Once qualitative assessment is recognized as underwriting artistic criticism, it follows that even rough-grained categorization provides no essential barrier to comparison, securing the possibility of well-justified evaluations of disparate artworks. (shrink)