Fisher, Jin, and Scott push a central assumption of syntactic bootstrapping: that learners have a universal bias to map each noun in a sentence onto a participant role (i.e., argument of the verb). They propose two enrichments: First, that children use both semantic and syntactic information in representing nouns that accompany a verb; second, that children expect continuity across a discourse. They provide evidence for both learning mechanisms among young children, further spelling out the precise mechanisms underlying syntactic bootstrapping.

Speech disfluencies can signal that a speaker is about to refer to something difficult to name. In two experiments, we found evidence that 4-year-olds, like adults, flexibly interpret a particular partner’s disfluency based on their estimate of that partner’s knowledge, derived from the preceding conversation. In entrainment trials, children established partner-specific shared knowledge of names for tangram pictures with one or two adult interlocutors. In each test trial, an adult named one of two visible tangrams either fluently or disfluently while (...) children’s eye-movements were monitored. We manipulated speaker knowledge in the test trials. In Experiment 1, the test-trial speaker was the same speaker from entrainment or a naïve experimenter; in Experiment 2, the test-trial speaker had been one of the child’s partners in entrainment and had seen half of the tangrams. When hearing disfluent expressions, children looked more at a tangram that was unfamiliar from the speaker’s perspective; this systematic disfluency effect disappeared in Experiment 1 when the speaker was entirely naïve, and depended on each speaker’s entrainment experience in Experiment 2. These findings show that 4-year-olds can keep track of two different partners’ knowledge states, and use this information to determine what should be difficult for a particular partner to name, doing so efficiently enough to guide online interpretation of disfluent speech. (shrink)

독일제국과 현대물리학의 출현, 원자핵이 깨어지다 등 과학사적인 성과 및 20세기 과학의 쟁점사항 14 가지를 풀어쓴 현직 교수의 저서.

독일제국과 현대물리학의 출현, 원자핵이 깨어지다 등 과학사적인 성과 및 20세기 과학의 쟁점사항 14 가지를 풀어쓴 현직 교수의 저서.

Die Idee des «Gesamtkunstwerks» war schon längst vor Wagner gegenwärtig. In zahlreichen Schriften der deutschen Frühromantiker wird das Auseinandergehen der einzelnen Künste betrachtet, aber ihr Zusammenwirken als Utopie ersehnt. Die Verfasserin versucht, ausgehend von der Stellung der Musik in der Frühromantik, die Möglichkeit im Blick zu behalten, die Sehnsucht nach der Einheit der Künste, die zunächst im literarischen sowie im philosophischen Bereich rein theoretisch, daneben jedoch auch praktisch in der Poesie und Malerei ihren Ausdruck fand, in die musikalische Romantik zu (...) übertragen, sowohl in kompositorischer als auch in wirkungsästhetischer Hinsicht. Dadurch erscheint der Zusammenhang zwischen Musik innerhalb der Idee des «Gesamtkunstwerks» in der Romantik in neuem Licht. (shrink)

Einleitung: zur Aktualität Natorps Daß an Tiefe und Scharfsinn die deutsche akademische Philosophie des späten 19. und frühen 20. Jahrhunderts der heutigen sprachanalytischen Philosophie nicht nachsteht, läßt sich sehr schön am Beispiel von Paul Natorp (1854–1924) zeigen, der neben seinem Lehrer, Freund und Förderer Hermann Cohen (1842–1918) Mitbegründer des Marburger Neukantianismus war. Nämlich sowohl auf die Frage, worin die intentionale Gerichtetheit von Bewußtseinszuständen und -erlebnissen besteht, wie auch auf die Frage, was es heißt, sich der eigenen Bewußtseinszustände und -erlebnisse bewußt (...) zu sein, gibt Natorp subtile Antworten, die auch heute noch vertreten werden. Ja, in einer Hinsicht zeigt sich Natorp den ihm nahestehenden zeitgenössischen Philosophen sogar überlegen. Denn aus einer Antwort auf die Frage nach der Intentionalität des Bewußtseins, die ihn u.a. mit Davidson, Dretske und Fodor verbindet, leitet er eine zunächst frappierende Antwort auf die Frage nach dem Selbstbewußtsein ab, eine Antwort, die etwa Davidson, Dretske und Fodor nicht geben würden, die sie aber angesichts ihrer Auffassung von Intentionalität geben sollten: Selbstbewußtsein im eigentlichen Sinne ist unmöglich. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christian Humanism in the Age of Critical Philology:Ralph Häfner's Gods in ExileMartin MulsowHäfner's book is a monumental study and a milestone of German-language research.1 He delineates, for the first time, a comprehensive picture of the Christian humanism of European philologists in the era of criticism. Recovering an immense wealth of forgotten sources, the book reveals the complex interaction and tension between pagan mythology and Christian culture in philological controversies. (...) Though authors might denounce the pagan histories of gods as fabulae, they were constitutive for the productive and emulative reception of ancient Greco-Roman patterns in Renaissance and Baroque culture. How could the peculiar logic of this paganizing be handled? Was it advisable to have faith in the integrative power of Christian truth, which was capable of finding precursors or even proofs of one's own truth in pagan patterns, or should the pagan be selectively separated from the Christian? And what was the role of philology in this process? Did the growing expertise in criticism advance the process of dissociation of paganism and Christianity? Did it further new possibilities of synthesis in the spirit of Apologetics? [End Page 659]The reconstruction of these processes involves much more than what the book's very specific title suggests. It is a large-scale history of scholarship written from the perspective of the most important tensions that Christian humanism had to overcome in its final stage. From an Anglo-American perspective, this book contributes to recent reconstructions of ideas of early modern men of learning, as well as the growing number of studies on antiquarianism and the history of religion.2 The final stage of Christian humanism, the period of time covered by the book, begins in the late sixteenth century and ends in the 1730s, a point in time which Häfner presents, with some justification, as the end of an era.Hymnology and PolymathyThe study consists of three basic parts. The first one is the "Persistence of Orphic-Platonic Hymnology in Christian Humanism" ("Fortleben der orphisch-platonischen Hymnologie im christlichen Humanismus"). This topic, apparently very specialized and marginal, proves to be a key arena of early modern scholarship, an arena traversed by the battle lines between pagan tradition and Christianity as well as between poetry and theology. Were hymns inspired poetry? What kind of inspiration could and should be conceded to hymns to Jupiter and the sun? Of course, those humanists who reappropriated Orphism and Neo-Platonism were interested in this genre. In the fifteenth and early sixteenth centuries, and even into the mid-sixteenth century, this was not yet a problem. However, the more philological consciousness (and confessionalization) evolved, the more the genre's scope was delimited. What scope remained? Häfner relates the problem to the revival of an "eclectic Platonism" in the wake of the Second Sophistic. This "eclectic Platonism," which was particularly influential from 1500 on, combined Platonism with rhetorics, and the claim of comprehensive polymathy with the joyful presentation of the findings of reading. In this respect, Apuleius and Aulus Gellius were two model authors for early modern polyhistors. We must include Martianus Capella as a continuation of the "Renaissance of the Second Sophistic into Early Christian Encyclopedism" [End Page 660] ("Renaissance der Zweiten Sophistik bis in die frühchristliche Enzyklopädie hinein," p. 18).Häfner's approach is starkly original and, in my opinion, highly productive for the current debates about early modern encyclopedism and "cultures of knowledge" that are sometimes deadlocked.3 Too frequently, polymathy is used synonymously for encyclopedism, which is often associated with modern concepts of systematic classification. Yet, according to Häfner, this is a misunderstanding. It neglects the playful elements and skillful rhetorical options of throwing questions out into the open rather than narrowing them dogmatically. Perhaps the only addition to Häfner's sources could have been Louis de Cressolles's Theatrum veterum Rhetorum, which, according to Marc Fumaroli in L'age de l'éloquence, marked the return of the Second Sophistic.4 The analysis of the work of Gerhard Johannes Vossius, a classical philologist who resided in Leyden and Amsterdam, is the first test for Häfner... (shrink)

Die offizielle Urteilstheorie Brentanos war eine nicht-propositionale Theorie. Die These, dass man, um die in einem Urteilsakt involvierten intentionalen Beziehungen zu erklären, keine propositionalen Entitäten einführen muss, war in der Tat eine seiner interessantesten Ideen. Brentano hat aber im Laufe seiner Lehrtätigkeit sehr viele neue Wege ausprobiert und so finden wir in seinen Vorlesungen aus den späten achtziger Jahren auch eine Urteilstheorie, die jedem Urteilsakt eine propositionale Entität zuordnet. Gerade diese Lehre war für Brentanos Studenten besonders inspirierend. Vor allem Anton (...) Marty und Carl Stumpf haben sehr interessante Theorien von solchen, wie sie es nannten, Inhalten entwickelt. 1888 hat Stumpf in seinen Vorle¬sun¬gen für der¬ar¬tige Entitäten den Ausdruck „Sachverhalt” ein¬geführt. Da sich vor allem diese Bezeichnung als terminus technicus durchgesetzt hat, werden wir sie in diesem Aufsatz auch in Bezug auf diejenigen Philosophen verwenden, die ihre propo¬sitionalen Entitäte anders nannten. Unter den treuen Brentanisten war es Anton Marty, der am konsequentesten an der Unentbehrlichkeit solcher Sachverhalte als Wahrmacher für richtige Urteile bestand. Seine Theorie hat jedoch einen etwas merkwürdigen Charakter. Die Sachverhalte werden einerseits als unverzichtbare Elemente des ontologischen Mobiliars angesehen, andererseits finden wir aber bei Marty eine deutliche Tendenz, sie als Strukturen zu interpretieren, die auf den Dingen (der nominalen Form), wie man es heutzutage gerne sagt, supervenieren. Der Sinn, in dem sie dann noch als unreduzierbar zu bezeichnen sind, ist nicht einfach zu eruieren. Der Philosoph, der sich von diesem, an sich sehr attraktiven, Supervenienz¬gedanken endgültig verabschiedet hat, war Alexius Meinong. Wir besprechen die Hauptpunkte seiner Kritik, untersuchen mögliche Auswege und versuchen die innere Spannung Martys Sachverhaltsbegriffs zwischen der Supervenienz und Unreduzierbarkeit ein wenig zu klären. (shrink)

Das Volksmärchen L’Arbre du Bœuf vom Typ ATU 511 [Ein-, Zwei-, Dreiäuglein] ist nach P. Delarue und M.-L. Tenèze das einzige französische Märchen, welches dem Subtyp AT 511 A [Kleiner Roter Ochse] angehört. L’Arbre du Bœuf ist darüber hinaus aufgrund einiger Motive besonders interessant, weil sie vermutlich aus archaischen Glaubensvorstellungen stammen: So ist die mystische „Reise zur Sonne“ ein bestimmendes Thema, welches seinen Ursprung im indoeuropäischen Mythos findet. Der Weltbaum als Axis Mundi und die Seelenbrücke sind Verbindungen zwischen dem Dies- (...) und Jenseits, die der Märchenheld ebenso wie der Schamane bei seiner ekstatischen Reise in die lichte Himmelswelt benutzt. Magische Tier- und Helferwesen treten im Zaubermärchen auf und sind integrale Bestandteile schamanistischer Glaubenswelten. Wenn im Märchen auf oder aus dem geopferten Ochsen als heiliges Tier der Weltbaum sprießt, so findet dieses Sujet Entsprechungen in urtümlichen Kosmogonien. Damit ideell verwandt ist vielleicht das Motiv vom „Tierhorn als Weltbaum“, welches sich in archaischen kosmologischen Vorstellungen findet und sich von da her womöglich ebenso in die Märchenwelten eingemischt hat. Le conte populaire L’Arbre du Bœuf du type ATU 511 [Un Œil, Deux Yeux, Trois Yeux] d’après P. Delarue et M.-L. Tenèze est le seul conte de fées français appartenant au sous-type AT 511 A [Petit Bœuf Rouge]. En outre, L’Arbre du Bœuf est particulièrement intéressant en raison de certains motifs probablement issus de croyances archaïques : Le « voyage mystique au soleil » est un thème déterminant qui tire son origine du mythe indo-européen. L’Arbre du Monde en tant qu’Axis Mundi et le pont d’autre monde sont des liens entre l’ici et l’au-delà, que le héros de conte et le chaman utilisent dans leur voyage extatique dans le ciel lumineux. Les animaux magiques et les êtres auxiliaires apparaissent dans le conte de fées et font partie intégrante du monde de croyances chamaniques. Tout comme dans le conte de fées, l’Arbre du Monde pousse sur ou bien du bœuf sacrifié et sacré, ce motif trouve des correspondances dans les anciennes cosmogonies. Le motif de la « corne animale en tant qu’Arbre du Monde » est peut-être associé à ce concept mythique. Il se trouve dans les conceptions cosmologiques archaïques et s’est mêlé de là au monde des contes de fées. The folk tale L’Arbre du Bœuf of the type ATU 511 [One Eye, Two Eyes, Three Eyes] is according to P. Delarue and M.-L. Tenèze the only French fairy tale that belongs to the subtype AT 511 A [Little Red Ox]. In addition, L’Arbre du Bœuf is particularly interesting due to some of the motifs that probably stem from archaic beliefs: The mystical “journey to the sun” is a determining theme, which finds its origin in the Indo-European myth. The World Tree as Axis Mundi and the Soul Bridge are connections between this world and the hereafter which are harnessed by the fairy tale hero as well as the shaman in his ecstatic journey into the bright world of heaven. Magical animals and helping entities appear in the fairy tale and are fundamental parts of shamanistic beliefs. The World Tree as it sprouts on or out of the sacrificed and sacred ox finds its equivalent in ancient cosmogonies. Perhaps ideally related to this is the motif of the “animal horn as the World Tree”, which is present in archaic cosmological conceptions and has possibly interfered with the fairytale worlds as well. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This article proposes a unified framework for understanding creative problem solving, namely, the explicit–implicit interaction theory. This new theory of creative problem solving constitutes an attempt at providing a more unified explanation of relevant phenomena (in part by reinterpreting/integrating various fragmentary existing theories of incubation and insight). The explicit–implicit interaction theory relies mainly on 5 basic principles, namely, (a) the coexistence of and the difference between explicit and implicit knowledge, (b) the simultaneous involvement of implicit and explicit processes in most (...) tasks, (c) the redundant representation of explicit and implicit knowledge, (d) the integration of the results of explicit and implicit processing, and (e) the iterative (and possibly bidirectional) processing. A computational implementation of the theory is developed based on the CLARION cognitive architecture and applied to the simulation of relevant human data. This work represents an initial step in the development of process-based theories of creativity encompassing incubation, insight, and various other related.. (shrink)

_role, especially in learning, and through devising hybrid neural network models that (in a qualitative manner) approxi-_ _mate characteristics of human consciousness. In doing so, the paper examines explicit and implicit learning in a variety_ _of psychological experiments and delineates the conscious/unconscious distinction in terms of the two types of learning_ _and their respective products. The distinctions are captured in a two-level action-based model C_larion_. Some funda-_ _mental theoretical issues are also clari?ed with the help of the model. Comparisons with (...) existing models of conscious-_. (shrink)

Emojis and stickers are becoming increasingly popular in computer mediated communications. The present study examined the associations between personality traits and people’s reasons and patterns for using both emojis and stickers. Participants (n= 312) completed three on-line questionnaires assessing shyness, the Big Five personality traits and why and how they used emojis and stickers. Results revealed that shyness, neuroticism, extraversion and agreeableness were correlated with different reasons of usage. Moreover, some participants exhibited a tendency to adjust frequency of usage depending (...) on who the target person was and whether they were in a private or group chat. People who showed such tendencies were found to differ in personality with those who did not. Some differences in usage patterns were also observed between emojis and stickers. Together, the present study sheds more insights into how emojis and stickers can help people with different personality traits to achieve different purposes in their daily communication. (shrink)

This paper addresses weighting and partitioning in complex reinforcement learning tasks, with the aim of facilitating learning. The paper presents some ideas regarding weighting of multiple agents and extends them into partitioning an input/state space into multiple regions with di erential weighting in these regions, to exploit di erential characteristics of regions and di erential characteristics of agents to reduce the learning complexity of agents (and their function approximators) and thus to facilitate the learning overall. It analyzes, in reinforcement learning (...) tasks, di erent ways of partitioning a task and using agents selectively based on partitioning. Based on the analysis, some heuristic methods are described and experimentally tested. We nd that some o -line heuristic methods performed the best, signi cantly better than single-agent models. (shrink)

This paper describes how meta-cognitive processes (i.e., the self monitoring and regulating of cognitive processes) may be captured within a cognitive architecture Clarion. Some currently popular cognitive architectures lack sufficiently complex built-in meta-cognitive mechanisms. However, a sufficiently complex meta-cognitive mechanism is important, in that it is an essential part of cognition and without it, human cognition may not function properly. We contend that such a meta-cognitive mechanism should be an integral part of a cognitive architecture. Thus such a mechanism has (...) been developed within the Clarion cognitive architecture. The paper demonstrates how human data of two meta-cognitive experiments are simulated using Clarion. The simulations show that the meta-cognitive processes represented by the experimental data (and beyond) can be adequately captured within the Clarion framework. (shrink)

With the development of the globalization of science and technology, innovation has become an important driving force for regional economic development. As a core element of regional innovation, financial R&D resources have also become a key element to enhance national innovation capabilities and national economic competitiveness. National and regional innovation capabilities have a direct impact. There are also many deep-seated problems behind the world-renowned achievements, such as irrational industrial structure, insufficient independent innovation capabilities, low resource utilization efficiency, and the service (...) quality and efficiency of financial institutions for the transformation of total factor productivity. These problems extremely restrict the efficiency upgrade and further development of our country’s total factor productivity. This study uses the DEA-Malmquist index model to measure the efficiency of fiscal R&D resource allocation in 28 provinces and regions in China in the past 10 years and uses Mapinfo12.0 software to analyze regional differences in the efficiency of fiscal R&D resource allocation in China from a spatial perspective. During the year, the overall R&D resource allocation efficiency of 28 provinces and autonomous regions in China has shown an upward trend. The efficiency of fiscal R&D resource allocation and the concentration of financial factors have had a positive impact on total factor productivity, transform and upgrade factors, increase total factor productivity, and provide empirical evidence for building a strong country. (shrink)

With the emergence of online communities, more and more people are participating in online technology communities to meet personalized learning needs. This study aims to investigate whether and how male and female users behave differently in online technology communities. Using text data from Python Technology Community, through LDA (Latent Dirichlet Allocation) model, sentiment analysis and regression analysis, this paper reveals the different topics of male and female users in the online technology community, their sentimental tendencies and activity under different topics, (...) and their correlation and their mutual influence. The results show that: (1) Male users tend to provide information help, while female users prefer to participate in the topic of making friends and advertising. (2) When communicating in the technology community, male and female users mostly express positive emotions, but female users express positive emotions more frequently. (3) Different emotional tendencies of male and female users under different topics have different effects on their activity in the community. The activity of female users is more susceptible to emotional orientation. (shrink)

The present issue is the beginning of a new journal from various sub-disciplines and paradigms in order – Cognitive Systems Research – which we have to construct a coherent picture of how the various developed in response to what we perceive to be an pieces fit together overall. Such a synthesis is unfilled niche in the current literature in the areas of essential to the discovery of designs for general Cognitive Science and Artificial Intelligence.

Co-learning of multiple agents has been studied in co-learning settings, and how do they help, or many different disciplines under various guises. For hamper, learning and cooperation? example, the issue has been tackled by distributed • How do we characterize the process and the artificial intelligence, parallel and distributed com- dynamics of co-learning, conceptually, mathe- puting, cognitive psychology, social psychology, matically, or computationally? game theory (and other areas of mathematical econ- • how do social structures and relations interact omics), sociology, (...) anthropology, and many other with co-learning of multiple agents? related disciplines. (shrink)

In this introduction, I provide a brief overview of the main arguments defended by Avia Pasternak in her book, ‘Responsible Citizens, Non-Responsible States’ and summarise the critics she will confront from four political and legal theorists who work in the area of individual citizens’ responsibility for state wrongdoings.

In this article, we investigate the resource-based mechanism underlying the relationship between political skill and salespersons’ work outcomes. Specifically, we propose that political skill influences salespersons’ sales performance and job satisfaction through organizational resources and salesperson–customer guanxi, which serve as their internal and external resources. To examine our model, we collected data from 203 salespersons working at a large financial services institution in China. The findings reveal that both access to resources and build-up of s–c guanxi mediate the effect of (...) political skill on salespersons’ work outcomes. Moreover, access to resources and build-up of s–c guanxi interact to predict salespersons’ sales performance and job satisfaction. Implications and future research directions are discussed. (shrink)

This study examines whether sanctions imposed by the China Securities Regulatory Commission against individual auditors result in greater auditor conservatism. Using a difference-in-differences research design, we find that clients of sanctioned individual auditors have lower discretionary accruals in the post-sanction period than in the pre-sanction period when compared to a matched control group of clients audited by individual auditors who were not sanctioned. Our findings suggest that sanctions imposed by the CSRC on individual auditors can lead to improvements in audit (...) quality by increasing the conservatism of the sanctioned auditors. That is, individual auditors are more likely to resist their clients’ income-increasing accounting manipulations after being sanctioned by the CSRC. (shrink)

Purpose: This study aimed to explore the relationship between mathematic achievement and programming self-efficacy, and adopt a mediation model to verify the mediating role of creativity on the relationship between mathematic achievement and programming self-efficacy.Methods: A total of 950 upper-secondary school students were surveyed using their math test scores, the Kirton Adaption-Innovation and the Programmed Self-Efficacy Scale. SPSS-26 was used for descriptive statistical analysis and correlation analysis of related variables. The PROCESS plugin was used to test the mediating effect of (...) creativity.Results: Mathematic achievement has a positive effect on programming self-efficacy, mathematic achievement is positively related to creativity, and creativity also has a positive influence on programming self-efficacy. Creativity has a mediating effect on the relationship between mathematic achievement and programming self-efficacy.Conclusion: The results revealed that mathematic achievement affected programming self-efficacy directly and also indirectly through creativity. This provided certain ideas for the development of programming education for teenagers. Since students’ mathematics learning and creativity are related to programming learning, it is necessary to pay attention to the integration of the disciplines of programming education and mathematics. Further, the cultivation of innovative thinking is also critical to facilitate programming learning. (shrink)

The issue of emotion contagion has been gaining attention. Humans can share emotions, for example, through gestures, through speech, or even through online text via social media. There have been computational models trying to capture emotion contagion. However, these models are limited as they tend to represent agents in a very simplified way. There exist also more complex models of agents and their emotions, but they are not yet addressing emotion contagion. We use a more psychologically realistic and better validated (...) model – the Clarion cognitive architecture – as the basis to model emotion and emotion contagion in a more psychologically realistic way. In particular, we use Clarion to capture and explain human data from typical human experiments on emotion contagion. This approach may open up avenues for more nuanced understanding of emotion contagion and more realistic capturing of its effects in different circumstances. (shrink)

ObjectiveTo elucidate the clinical, radiologic characteristics of Leber’s hereditary optic neuropathy (LHON) associated with the other diseases.Materials and methodsClinical data were retrospectively collected from hospitalized patients with LHON associated with the other diseases at the Neuro-Ophthalmology Department at the Chinese People’s Liberation Army General Hospital (PLAGH) from December 2014 to October 2018.ResultsA total of 13 patients, 24 eyes (10 men and 3 women; mean age, 30.69 ± 12.76 years) with LHON mitochondrial DNA (mtDNA) mutations, were included in the cohort. 14502(5)11778(4)11778 (...) &11696(1)12811(1)11696(1)3460(1). One patient was positive for aquaporin-4 antibody (AQP4-Ab), and two were positive for myelin oligodendrocyte glycoprotein antibody (MOG-Ab). Three patients were associated with idiopathic optic neuritis (ON). Two patients were with compression optic neuropathy. Three patients were with the central nervous system (CNS) diseases. One patient was with proliferative diabetic retinopathy (PDR) and one with idiopathic orbital inflammatory syndrome (IOIS). At the onset, visual acuity (VA) in eighteen eyes was below 0.1, one eye was 0.5, five eyes were above 0.5, while VA in sixteen eyes was below a 0.1 outcome, three eyes experienced moderate vision loss. MRI images showed T2 lesions and enhancement in nine patients who received corticosteroids treatment; additional immune modulators treatment was performed on two patients. None of the patients had relapse during the follow-up time.ConclusionLeber’s hereditary optic neuropathy can be accompanied with multiple-related diseases, especially different subtypes of ON, which were also exhibited with IOIS and compression optic neuropathy for the first time in this cohort. This condition may be a distinct entity with an unusual clinical and therapeutic profile. (shrink)

The goal of this research is to understand the interaction of implicit and explicit psychological processes in dealing with emotional distractions and meta-cognitive control of such distractions. The questions are how emotional and meta-cognitive processes can be separated into implicit and explicit components, and how such a separation can be utilized to improve self-regulation of emotion, which can have significant theoretical and practical implications.

By introducing Confucian relational ethics, this essay engages critically with Metz’s deontological relational moral theory from a comparative perspective. It first points out the similarities that Confucianism and Metz’s African ethics share in emphasizing relationality and harmony. Then, this essay reveals the theoretical deficiency in Metz’s relational moral theory compared to Confucianism; that is, the former lacks the concern for solitary cultivation which is essential for one’s cultivation and development. This essay is also less optimistic about a universal ethical system (...) as suggested by Metzian African harmony; instead, it proposes a method for the harmonious coexistence of multi-ethical systems inspired by the Chinese Confucian-Daoist complementarity model. (shrink)

本书通过对中国古代文化现象中的火与天文,《周易》,五行,丹道,中医,哲学方面联系的研究,阐述了"火"作为特殊哲学范畴所经历的漫长发展和演变过程.全书再现了中国人传统思维的特点,以及人类文明中独特的中国 智慧.

During the two days of the workshop, various presentations and discussions brought to light many new ideas, controv ersies, and syntheses. The fo cus was on learning and architecture s that feature hybrid representations and supp ort hybrid learning. It was a general consensus among the workshop participants that hybrid connectionist-symb olic mo dels constitute a promising aven ue toward developing more robust, more p owerful, and more versatile architecture s b oth for cognitive mo deling and for intelligen t (...) systems. The need for such mo dels has b een slowly but steadily growing over the past 5 years. Some new, imp ortant approaches have b een prop osed and develop ed, some of which were presented at the workshop. worthwhil e further pursuing In sum. (shrink)

The purpose of the current study was to explore how effectively journal author guides communicate with graduate students learning English as a foreign language (EFL) in Taiwan. A 10-item three-tier test was developed to explore the participants’ (1) confidence level in their reading comprehension of excerpts from author guides, (2) their actual comprehension, and (3) their understanding, if any. The test consisted of 10 excerpts from author guides that covered a variety of topics related to plagiarism. The test was administered (...) to 46 EFL graduate students. The findings revealed that the selected excerpts from the author guides caused confusion, which led to misunderstanding by the readers. Among the 10 types of plagiarism, citation issues and copying of methods sections were the the most understood, whereas self-plagiarism was the least understood type. (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)