Long description: Präsenz - definiert als zeitliche und räumliche Gegenwart und Unmittelbarkeit - steht in einem Begründungszusammenhang mit implizitem Wissen. Innerhalb der Forschungsdiskussion um Präsenz etabliert der Band einen neuartigen Ansatz, indem er verschiedene Diskursivierungen von Präsenz in Religion, Kunst, Politik, Medien sowie Populärkultur aus dieser Interdependenz heraus zugänglich macht. Die Beiträge verfolgen dabei eine kulturvergleichende Perspektive, die speziell auf die Klärung der Kulturspezifik von Präsenzkonzepten abzielt und neue Möglichkeiten zur Analyse eines bisher wenig beachteten Themas eröffnet.

Panegyric IV , 24, 2: diducta acie inreuocabilem impetum hostis effundis, dein quos ludificandos receperas reductis agminibus includis. Acidalius' correction ludificando is accepted in both the Teubner editions. The addition of the s would, of course, be an easy error, and quite characteristic of the MSS, of these authors. But there is no need for the correction, in view of the frequency; in the Panegyrici Latini, of the Gerundive as a Future Participle Passive, an unquestionable example of which occurs, in (...) fact, in the last sentence of the chapter in question. ‘Quos ludificandos receperas’ means ‘whom you had admitted with the intention that they should be tricked,’ is equivalent in sense to ‘quos ludificaturus receperas.’ The Gerundive used as Future Participle Passive gives an appropriate picture of the purpose with which the manoeuvre described by receperas was carried out. (shrink)

Some recent theories of gerunds account for their hybrid properties by saying that the gerund is both a noun and a verb simultaneously. Such theories are inconsistent with the Reference-Predication Constraint (RPC), a cornerstone of Baker’s (2003) theory of lexical categories. In contrast, I defend the traditional idea that gerunds are fusions of a true verb and a syntactically distinct nominal Infl. Moreover, I give new evidence in favor of the RPC, showing how it explains the fact that nominal gerunds (...) never show subject agreement in Mapudungun, and the fact that gerunds with verb-final word order have surprising agreement properties in Lokaa. Keywords: gerunds, lexical categories, nouns, verbs, Mapudungun, Lokaa.. (shrink)

ABSTRACT Marcia Sá Cavalcante Schuback’s Time in Exile illuminates being in “gerundive time.” The gerundive tense (which is similar to the infinitive tense in English) captures how our being is always already “suspended” between worlds and meanings—how our being is a “non-final verb.” Schuback considers such existence in the work of Martin Heidegger, Maurice Blanchot, and Clarice Lispector. Of the three thinkers, Lispector’s writing best reveals how existence (especially existence in exile) is an “immense struggle for presence.” Schuback’s hope is (...) that we may find a home in our homelessness. (shrink)

This study investigates the extent to which there is individuality in how structural variation is conditioned over time. Earlier research already classified the diachronically unstable gerund variation as involving a high fraction of mixed-usage speakers throughout the change, whereby the proportion of the conservative variant versus the progressive variant as observable in the linguistic output of individual language users superficially resembles the mean proportion as observable at the population level. However, this study sets out to show that there can still (...) be heterogeneity within such a centralized population in terms of how each individual conditions the observed variation. A random forest and conditional inference tree analysis of over 14,000 gerunds uttered by nineteen seventeenth-century authors is presented to show that, while the most important language-internal factors conditioning the gerund variation are adopted by (and shared between) all authors, we can still attest inter-individual variation (i) at lower levels of variable importance, and (ii) in the breadth of the range of contexts individual authors employ to condition the attested variation. (shrink)

Name der Zeitschrift: Cognitive Linguistics Jahrgang: 26 Heft: 4 Seiten: 583-612.

Journal Name: Cognitive Linguistics Issue: Ahead of print.

This article presents Clarice Lispector’s view on writing, showing that for her literature is the writing of the act of writing itself. In question is the writing of the act while acting, the is-being of existence. In this sense, Lispector described her writing as the writing of a screaming object, as abstract writing, almost a painting. Following some central passages of different works, the article is an attempt to seize the main traits of what could be called the gerundive act (...) of literature of Clarice Lispector. (shrink)

How questions are understudied in philosophy and linguistics. They can be answered in very different ways, some of which are poorly understood. Jaworski identifies several types: ‘manner’, ‘method, means or mechanism’, ‘cognitive resolution’, and develops a logic designed to enable us to distinguish among them. Some key questions remain open, however, in particular, whether these distinctions derive from an ambiguity in how, from differences in the logical structure of the question or from contextual underspecification. Arguing from two classes of responses, (...) adverbs and by gerunds, I give the answer that the logical structure of the question is indeed relevant: loosely, manners are adjuncts but methods are arguments. (shrink)

According to one view of english nominals, imperfect nominals designate facts, and perfect nominals, events. it is argued here that this is mistaken. of imperfect nominals only "that"-clauses are fact designators; imperfect gerundive nominals are to be classed with perfect nominals as event designators. there are, however, two conceptions of events, arising from two different conceptions of time. the events designated by imperfect gerundives are to be conceived as spread out in time, divisible into parts, and such that the (...) same event may receive multiple descriptions. the events named by perfect nominals differ. they persist through time, rather than being extended in it, they do not divide into temporal parts, and obey strict conditions of identity. this position is argued for on the basis of linguistic evidence, as well as analysis of the conceptions of time involved. implications of the view for a number of philosophical problems are pointed out and briefly explored. (shrink)

In this article I argue not only for the value of hermeneutics today but also, and especially, how the crucial gesture of hermeneutics is that of changing the subject for the sake of our today. Surveying briefly the main lines of hermeneutical positions along its history and critiques, and connecting these critiques to the discrepancy between theory and practice, between interpretation and the need to change the world, the article proposes that our reality today, reshaped through globalization and the virtual, (...) is performed as a hermeneutics of history. The challenge for today’s hermeneutics is to work out categories for understanding the present as on-going in a world that tends to capture and distort more and more the meaning of freedom of thought. In the final section, I propose a hermeneutics of the on-going, of gerundive time, partially under the inspiration of Paul Celan, as a response that develops the meaning of the freedom of thought. A defense of nearness and how to think in narrow nearness to the on-going is discussed. (shrink)

We started from the fact that type theory, in the way it was implemented in IL, makes it costly to deal with nominalization processes. We have also argued that the type hierarchy as such doesn't play any real role in a grammar; the classification it provides for different semantic objects is already contained, in some sense, in the categorial structure of the grammar itself. So, on the basis of a theory of properties (Cocchiarella's HST*) we have tried to build a (...) language (IL*) whose syntax does not contain any explicit typing of expressions. Some of the consequences that this move brings about in the overall organization of the grammar can be summarized as follows:it allows for a simple treatment of infinitives, gerunds, factives and, in general, all those phenomena which might be analyzed as cases of nominalization;it provides a simpler and more constrained semantics than IL, since IL* doesn't go beyond second order, and its non-modal basis is axiomatizable;it suggests that the role of logical form in a theory of grammar could be that of a family of theories of semantic objects;it eliminates the extrinsic limitations of a type hierarchy on the choice of the system of syntactic categories.I think that it is interesting to notice how having an explicit semantic framework helps to provide a sense in which it is legitimate to regard the syntax of a language as ‘autonomous’. (shrink)

The class of true modal verbs in English is usually understood to include auxiliary verbs conveying possibility and necessity (including predictive future) that lack non-finite morphological forms; from a syntactic perspective, these verbs occur only in finite clauses (as opposed to infinitives or gerunds). Nevertheless the true modals do not inflect for third-person singular agreement, unlike normal present-tense verbs. When they are negated, true modals always precede the negative particle not, regardless of their understood scope relative to negation, and never (...) give rise to do-support. (shrink)

Revised and reprinted in Handbook of Philosophical Logic, volume 10, Dov Gabbay and Frans Guenthner (eds.), Dordrecht: Kluwer, (2003). -- Two sorts of property theory are distinguished, those dealing with intensional contexts property abstracts (infinitive and gerundive phrases) and proposition abstracts (‘that’-clauses) and those dealing with predication (or instantiation) relations. The first is deemed to be epistemologically more primary, for “the argument from intensional logic” is perhaps the best argument for the existence of properties. This argument is presented in the (...) course of discussing generality, quantifying-in, learnability, referential semantics, nominalism, conceptualism, realism, type-freedom, the first-order/higher-order controversy, names, indexicals, descriptions, Mates’ puzzle, and the paradox of analysis. Two first-order intensional logics are then formulated. Finally, fixed-point type-free theories of predication are discussed, especially their relation to the question whether properties may be identified with propositional functions. (shrink)

Revised and reprinted; originally in Dov Gabbay & Franz Guenthner (eds.), Handbook of Philosophical Logic, Volume IV. Kluwer 133-251. -- Two sorts of property theory are distinguished, those dealing with intensional contexts property abstracts (infinitive and gerundive phrases) and proposition abstracts (‘that’-clauses) and those dealing with predication (or instantiation) relations. The first is deemed to be epistemologically more primary, for “the argument from intensional logic” is perhaps the best argument for the existence of properties. This argument is presented in the (...) course of discussing generality, quantifying-in, learnability, referential semantics, nominalism, conceptualism, realism, type-freedom, the first-order/higher-order controversy, names, indexicals, descriptions, Mates’ puzzle, and the paradox of analysis. Two first-order intensional logics are then formulated. Finally, fixed-point type-free theories of predication are discussed, especially their relation to the question whether properties may be identified with propositional functions. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

This paper consists principally of selections from a much longer work on the semantics of English. It discusses some problems concerning how to represent grammatical modifiers (e.g. slowly in x drives slowly) in a logically perspicuous notation. A proposal of Reichenbach's is given and criticized; then a new theory (apparently discovered independently by myself, Romain Clark, and Richard Montague and Hans Kamp) is given, in which grammatical modifiers are represented by operators added to a first-order predicate calculus. Finally some problems (...) concerning applications of adjectives to that-clauses and gerundive-clauses are discussed. (shrink)

For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, we are (...) exposed to the insight that “there is also nothingness.” The paper offers a series of transpositions, a series of ways of experiencing visibility and vision found in looking at specific images and paintings. The transpositions expose us to blindness, emptying, gaps, and loss in the happening of the visible, which, in displacing the certainty of rational subjective seeing/consciousness, lead to the quickening of vision and the visible anew. (shrink)

The paper argues that the assumption that there are property designators, together with two theoretically innocent claims, leads to a puzzle, whose solution requires us to reject the position that all (canonical) property designators are rigid. But if we deny that all (canonical) property designators are rigid, then the natural next step is to reject an abundant conception of properties and with it the suggestion that properties are the semantic values of predicates.

In this paper, I intend to introduce what I think is a novel proposal in the metaphysics of action: one-particularism. In order to do so, I must first explain two ideas: a concept in the semantics of English that many philosophers of action take to be of great importance in action theory, causative alternation; and the idea of an intrinsic event. By attempting to understand the role that intrinsic events are meant to play in action theory, I then introduce my (...) proposal. Getting clear on what is an intrinsic event is a key, I think, to producing a viable theory of action, or, to be more precise, part of such a general theory, since it is limited to actions whose descriptions employ gerunds or perfect nominals formed from ergative verbs. I conclude by replying to two arguments that would be advanced against my proposal, both found in Alvin Goldman’s A Theory of Action. (shrink)

Fifty years of debate have strengthened Germain Grisez’s 1965 interpretation of St. Thomas Aquinas’s famous article on the natural law in Summa theologiae I-II.94.2. Revisiting Grisez’s argument in light of these developments reveals that his “gerundive interpretation” of the first principle of practical reason is not only Thomistic, but essentially Aquinas’s interpretation.

This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as (...) a "gerundive" mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To investigate this, the book establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile but enters in conversation with them in relation to this question. Attempting to think and express this difficult sense of time from within exile, the book engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, it opens new philosophical and theoretical modes through which to understand what it means to be present in times of exile. (shrink)

In the article, the phenomenon of deviation, which is one of the important subjects of stylistics and rhetoric is discussed. The deviation is divided into three categories in terms of phonetic, word and grammar. The study was limited to morphological deviation defined as a transition from form to another. The morphological deviations and their relation with meaning reveal the importance of changes in word level. The linguistic and contextual elements are considered as two complementary parties in contextual linguistics. From phonetic (...) level to text consitency many linguistic elements play an important role in expression. Apart from the linguistic phenomenons that affect the meaning, non-linguistic elements should also be considered. In the research also word selection, meaning transfer and context are indicated. The deviation has expanded the use of Arabic words as well as the rich word derivation potential. In terms of Qur'ānic verses, it is an important criterion relationship of the word formula in the meaning for the Arabic language. The subtleties of this language phenomenon which is detected in Qur'ānic verses and fascinates the reader are explained by examples. Summary: Semantics, that is one of the most important areas of linguistics, initially focused on identifying the meanings of words; however, today it goes beyond that and tries to clarify the other elements of the language field. Linguists emphasize that the main goal of language studies is theme and the efforts made in this context are aimed at capturing the meaning. Metaphor and the ways of other extension of meaning should be considered in this context. As Ibn Jinnī (d. 392/1002) stated, language is generally composed of metaphor. This situation points to the necessity of examining the language with a wider perspective than the formal understanding in the field of linguistics research.In the writings of linguists such as Sībawayhi (d.180/796), Ibn Jinnī and al-Suyūṭī (d. 911/1505) and the works that focus on the superiority of wording of Qur'ān, it is seen that there is no distinction between the structure and function of language. Each sentence style is shaped for a purpose. What directs them to such a method is the thinking of first person, interlocutor and context together. It is possible to find this understanding in linguistic and religious sources such as qirā’āt, rhetoric and exegesis. Today, this relationship between grammar and meaning is one of the basic subjects of linguistics.Besides the grammatical structure, word selection is also significant. It is easy to determine a sentence with a grammatical error. While the use of a word is correct in a sentence, it may not be appropriate elsewhere. The degree of accuracy of the sentence is affected by the word selection, which is also a matter of grammatical tasks. This is the expression of the meaning in the appropriate language structure. Depending on the context of the statement, the appropriate word and phrase style should be chosen. The word choice has a great influence on the superiority of the style of the Qur'ān. When the Qur'ānicverses are examined, it is seen how well the chosen words are used.One of the main factors determining the accuracy of the word is context. The same word can be assumed to be true or false due to the context. In addition to linguistic elements, non-linguistic factors such as psychological status, socio-cultural factors and educational background are a measure of value in language.The factor that determines the function of word is the position of word in the phrase. Missing sentence structures gain new meanings as a result of a number of transformations. In Arabic sentence structures it is possible to see how the language structures affect the meaning. The expression tools should be enriched through sorting, increasing, decreasing and changing which are the factors contributing to the understanding of the superficial and deep structure of the language. In this context, the flexibility in the grammatical rules and the issue of deviation, which provides richness to phrases, are important in terms of revealing the place and value of meaning in the language.The deviation phenomenon is called as language deviation in Turkish sources. Due to a semantic and communicative concern deviation is a new way of expressing by leaving the built-in style in the language in order to strengthen the language, draw attention to the text, give a holistic effect, remove the word out of the ordinary and make the indicators more effective in terms of sound and meaning. The deviation is an important part of the stylistics, which goes beyond the path expressions and increases effect of the word. The development of the stylistics, which was accepted as an extension of the rhetoric in the modern period, raised interest rates for deviation. The deviation is divided into three categories in terms of voice, word and grammar.Morphological deviation, which is defined as the transition from one mold to another, is a phenomenon that gives the power of persuasion, influence and subtlety to the word that is appears in the mold and context of phrase. The context is the most important determinant of the deviationthrough which the literary meanings are gained that is the aim of the rhetoric. The effect of morphological deviationon meaning changes is an important subject of language researches. From this point the meanings which were added to the Qur'ānicwords by morphological deviationwas analyzed in detail in this article. Besides this, numerous verses have been handled with the idea that such a method will contribute to understanding of the subtlety meanings of the verses and transferring of their meanings to non-Arabic languages in the best way.Linguists have pointed to the meaning differences between Arabic patterns by taking into consideration the meaning potential of word molds. The language researches, which reveal the role of the word molds in determining the meanings, reflect that there are no two patterns of which meanings are exactly overlapping in Arabic language that is the views of the linguists. It is seen that the patterns such as active and passive participle, resembling participle, hyperbolic participle and gerund are used interchangeably because of their meaning relationship between each other. Similar uses of the verb should be added to this since time change in verbs is one of the linguistic phenomena in which deviationhas occurred. Types of deviationare the significant stylistic features of theQur'ānand have effects on meaning and expression. The fact that the Qur'ānpossesses an unusual style, but such a quality prevents its addressing from becoming ordinary. It is important to determine these kinds of uses, which are called as morphological deviation, to grasp the meaning of the word. When the language structures related to deviationare examined, it is understood that there is a deeply relationship between deviationand meaning. It is important to solve deviationthat enriches the meaning in the word, as well as other linguistic structures to comprehend the gnomic structure of the style of the Qur'ān. (shrink)

It has limitations to understand “fidelity” of the Analects of Confucius in the thinking pattern of subject-object. The interpretation patterns of self-other and private-public ethics can’t also completely explain the philosophical meaning of “fidelity” in the Analects of Confucius. “Fidelity”, in Confucian theory and practice, has important place, therefore, the paper will try to explore the philosophical meaning of “fidelity” of Confucius from the following suppositions in order to find a new way of philosophical explanation. The suppositions are as the (...) following: First of all, “fidelity” can’t be understood, in Chinese, as a verb which means “faithful to sb”. It is a noun or a gerund. Basing on the distinction of “material world” and “meaning world”, the paper holds that the connotation of “fidelity” has its inner regulation and its meaning is, first of all, regulated not by the material world but by the other contextual logic categories, in this way, it has the characteristic of independence and transcendence. The core meaning of “fidelity” is “center”, the paper calls it as “the centric wisdom” from the epistemological perspective. Wesuppose that Confucius has presupposed that every life has enough wisdom to know what the affirmative value is. For Confucius, his philosophical thinking on “fidelity” has both traditional heritage and personal innovation. We should pay attention to the latter. Basing on the understanding that takes “fidelity ”as “the centric wisdom”, the paper holds that one of the meanings of “fidelity”, as an ethical concept, in the Analects of Confucius, is personal ethics which includes thereorganization of individual values. One part of the individual value is to recognize and practice the value which is independent of social value. Another part of the value is to practice and exhibit the wisdom of “fidelity” in personal speech and behavior including the spiritual activities. The “fidelity” of the Analects of Confucius, as an ethical concept, has another meaning, i.e. the inter-personal relationship which shows the affirmative value under the guidance of wisdom. The inter-personal relationship under the guidance of wisdom can exhibit the affirmative value and can be called as the “ethical” relation. The main requirements are as the following: we have to bring the reflective factor of “wisdom” into inter-personal relation and, under the guidance of wisdom, try to take our social responsibilities required by the social role, or to abide by the public or the professional ethics. We have to maintain positive value direction in the verticalinter-personal relation which means supervision so as to realize the political affirmation. In the horizontal interpersonal relationship, basing on the individual wisdom, we have to keep the keen feeling of morality so as to realize our affirmative values. The understanding of these meanings concerning the word of “fidelity” is naturally resulted from our concern for the inner logic relation in the Analects of Confucius and for the form of idea-expressing of Confucius. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 45, no. 1. © 2019 by Hannah Baker Saltmarsh Hannah Baker Saltmarsh This Girl I Lost Touch With This girl, who was afraid to enter a room— a girl born in the woods, on moss, whose family dreamt under quilts, who wore dresses that matched anything fabric in the house, even the dresses without loneliness— I held her hand in the corridor-dark until the speaking-in-tongues at (...) the community college dispersed into prayers with too many gerunds and too much fervor that wouldn’t adjust if you got a thousand dollars in the mail or jury duty, faith subtle as a crucifix the size of God on the highway. I waited with her until it was over, although the prayer group was never really over. Over rooms of crowded, faith-based humidity, she loved corridors of woods, the rushes of running away. This girl and I, we were cult-lured, but then the leader stepped down—was it porn, alcohol? He drove us around in a red jeep without doors— the first time I drove in a man’s car, I was eighteen so I fell in love: looking straight ahead together, arm hair touching, the cathedral of autumn anticipating a shape to hold you, the wind that you sometimes hollered over. What happened I can’t see, but when he left the group, I left: the death of visions. Hannah Baker Saltmarsh 95 This girl could long for a man in her fingernails, and, without talking, take a man from his pregnant wife’s side, have his even newer children, this girl who wouldn’t go in a room all alone, walked right in, somewhere we’ve not been, and never left. Monostich in Praise of Four Missed Foul Shots in a Row, Ending with a Line by Shaquille O’Neal —Orlando Magic vs. Houston Rockets, Game 1, NBA Final, 1995 Each mistake at the foul line longs to be its own distinct trip-up, divorced from the tragic-comic failure automatic-reflex of a protagonist on a shame-rampage; each delicate flaw of glass, net, rim wants to be denied once at the charity line, once and only once of red-lipsticked points, the naive purity of one aberrant error in calculation—not bring bleacher-crowds to their feet, posterless hands in the vaulted air before tallying Nick Anderson up as Brick Anderson, most hated NBA player of all time, and by his own fans not believing their own eyes as a series of empty arcs toward scoring dovetails into quadruple humiliations and a goofy smile of gutted hopes and boyish fear-tangled awe that any brain so practiced (for this and what else?) could fail so many times in a row, each fail better and Beckett-harder until the last exit out of obliterating loss is part of the abyss too, unless you are quick on your feet for sports broadcasting... but there is no end to swindled championships if you are a man who’s never had to face the extinction of his early twenties or suck the aftertaste of multi-millionaire juice cocktails poured with a legend’s touch, but in the soapy-sweet glass of your Dixie cup liquor, however close to the sound of Shaq’s name spoken in every language, stares your same lovesick reflection in the welt of that shot-glass mirror, mouthing the bitters of paranoid distraction, unripe manhood, aged ingratitude, and a starless Orlando Magic blue diamond broomed over by nursery-rhyme witches brushing out the cobweb-haze because the crowd is always the same crowd calling you swept... each fumbling error of pressure you let get to you, if only it could be a plotless, lyric monostich without arc, not driven to the plot that is your grave, where the unfaithful, the murderers, liars, and cheaters are defined by threads, no, snapped pieces, of seconds and, as Dante would have it, sorted in hell by a singular thought or deed so 96 Hannah Baker Saltmarsh transformative as to name you; the blue and white jersey on the floor, fists and feet, knees and elbows vacuumed in tantrum, hyped up in the court glare and... (shrink)

This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present as (...) a "gerundive" mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To explore this, she establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile, but presents a conversation with them in relation to this question that reflects new aspects in their work. Attempting to think and express this difficult sense of time from within exile, Time in Exile engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, Sá Cavalcante Schuback reveals new philosophical and theoretical modes to understand what it means to be present in times of exile. (shrink)

Verb phrases seems to be head initial in affirmative sentences in Lokaa (a Niger-Congo language of the Cross River area of Nigeria) but head final in negative clauses and gerunds. This article aspires to give a comprehensive description of this phenomenon, together with a theoretical analysis. It considers how a full range of grammatical elements are ordered in both kinds of clauses—including direct objects, second objects, particles, weak pronouns, complement clauses, serial verbs, adverbs, prepositional phrases, tense/mood particles, and auxiliary verbs. (...) The pattern that emerges is a bit different from the one found in some superficially similar languages, such as Vata, Bambara, Nupe, and Nweh. I argue that the details are correctly explained by a “remnant movement” theory in which the Lokaa verb first moves out of the verb phrase to combine with tense/agreement inflection, and then the rest of the verb phrase moves as a unit into a specifier position at the top of the clause. This position is available because the notional subject undergoes dislocation in Lokaa, as has been claimed for many of its Bantu kin. (shrink)

At Abhidharmakośa VI .3, Vasubandhu analyses the phrase sandhāya ... bha $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ ita $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ as used in the sūtras. Here bhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ ita $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ mentions an utterance, to which a figurative sense is ascribed by the gerundive (not noun) sandhāya. The audience is split: some are intended to understand the literal, others the figurative sense. Vasubandhu's analysis works well for sandhābhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ a etc. in the Saddharmapu $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{d}$$ arīka and the Guhyasamājatantra. (The Hevajratantra is (...) different and we consider it separately). Poussin's “arrière-pensée”, Edgerton's “real meaning” and “esoteric meaning”, and Wayman's “twilight language” are attractive in some cases but not all. Vasubandhu's analysis combined with Edgerton's “specially intended” (for ābhiprāyika) is much better; compare V. S. Bhattacharya's old paraphrase of this word “intended to imply or suggest something different from what is expressed by the words”. But Bhattacharya's widely accepted translation “intentional” for ābhiprāyika is misleading and misrepresents Vasubandhu, and we suggest ways of improving it in the light of the need for coherent translation, with the help of some considerations from Pā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ ini and from Montague semantics. (shrink)

Adopting an ontology of full concreteness , one has to distinguish between human action in the internal view of the actor himself and human action in the external view of a fellow human being, or spectator. As seen from the latter point of view, human action is nothing but observable behavior. As such, it belongs in the objective realm of natural necessity, as does any other macrophysical event . As seen from the former point of view, human action may be (...) characterized as a system of non-indicative subjective traits of the actor's intentional objects, appealing to him, in the light of his motives, in a 'gerundive' way. As such, it does not belong in the objective realm of natural necessity, and is free, moreover, in the positive sense that the actor could have acted otherwise. If these perspectives are commingled - as there is a strong tendency to do by arguing, or construing, from analogy -, the result is confusion. But if they are seen as disjunct alternatives, the result is complementarity in the sense of Bohr. However, we must not misconstrue such complementarity as a dual-aspect-conception, for there seems to be no good sense in saying that action as a system of non-indicative subjective traits and action as objective behavior are but two aspects of one and the same human action 'in itself', i.e., irrespective of the modes of subjective givenness. Auf dem Boden einer Ontologie der vollen Konkretion muß man zwischen dem menschlichen Handeln in der Innensicht des Handelnden selbst und dem menschlichen Handeln in der Außensicht eines Mitmenschen unterscheiden. Vom Standpunkt eines mitmenschlichen Zuschauers aus ist menschliches Handeln nichts anderes als beobachtbares Verhalten; als solches gehört es, genau wie jedes andere makrophysikalische Ereignis, ungeachtet mikrophysikalischer Indeterminismen in den objektiven Bereich der Naturnotwendigkeit. Vom Standpunkt des Handelnden selbst aus läßt sich menschliches Handeln dagegen als ein System motivbedingter 'gerundiver' Charaktere der subjektiven Bezugsgegenstände des jeweils Handelnden kennzeichnen; als solches gehört es nicht in den objektiven Bereich der Naturnotwendigkeit und ist überdies auch in dem positiven Sinne frei, daß der Handelnde auch anders hätte handeln können. Wenn man beide Perspektiven vermengt - und es gibt eine starke Tendenz, dies aufgrund von Analogieschlüssen oder analogisierenden Auffassungen zu tun -, entsteht Konfusion; aber wenn man die beiden Perspektiven als disjunkte Alternativen sieht, ergibt sich Komplementarität im Sinne Bohrs. Wir dürfen solche Komplementarität freilich nicht als eine Zwei-Aspekte-Konzeption mißdeuten; denn man scheint nicht wirklich sinnvoll sagen zu können, Handeln als ein System von gerundiven subjektiven Charakteren und Handeln als objektives Verhalten seien nur zwei Aspekte einer und derselben menschlichen Handlung 'an sich', nämlich ohne Rücksicht auf ihre subjektiven Gegebenheitsweisen. (shrink)

At Abhidharmakośa VI .3, Vasubandhu analyses the phrase sandhāya ... bha $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ ita $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ as used in the sūtras. Here bhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ ita $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{m} $$ mentions an utterance, to which a figurative sense is ascribed by the gerundive (not noun) sandhāya. The audience is split: some are intended to understand the literal, others the figurative sense. Vasubandhu's analysis works well for sandhābhā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s} $$ a etc. in the Saddharmapu $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{d}$$ arīka and the Guhyasamājatantra. (The Hevajratantra is (...) different and we consider it separately). Poussin's “arrière-pensée”, Edgerton's “real meaning” and “esoteric meaning”, and Wayman's “twilight language” are attractive in some cases but not all. Vasubandhu's analysis combined with Edgerton's “specially intended” (for ābhiprāyika) is much better; compare V. S. Bhattacharya's old paraphrase of this word “intended to imply or suggest something different from what is expressed by the words”. But Bhattacharya's widely accepted translation “intentional” for ābhiprāyika is misleading and misrepresents Vasubandhu, and we suggest ways of improving it in the light of the need for coherent translation, with the help of some considerations from Pā $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{n}$$ ini and from Montague semantics. (shrink)