The purpose of this article is twofold. First, on the basis of a re-examination of the sources and with new arguments, it discusses the meaning of a verse-fragment quoted anonymously by Servius ad Aen. 4.638 (Enn. Ann. Dub. Fr. V Sk. = Inc. 31 blänsdorf, p. 434 courtney), and supports the attribution of this fragment to Ennius’ “Annales”. Second, it demonstrates that this attribution is not undermined by the presence, in the fragment, of a parenthetical phrase that is (...) “in apposition”, a stylistic feature which, though commonly believed to date back to Virgil’s time, may, in fact, be also attested in another Ennian fragment from the “Annales” (Enn. Ann. 22 Sk.). (shrink)

Appositive relative clauses differ from restrictive relative clauses in a number of ways. The fundamental distinction is semantically based: an appositive relative like that in (1a) conveys an independent assertion about the referent of its associated head; the reference of the head is established independently of the appositive relative. In contrast, a restrictive relative like that in (1b) is interpreted as an intersective predicate modifier, restricting the reference of its head.

Analyses of quotation have assumed that quotations are referring expressions while disagreeing over details. That assumption is unnecessary and unacceptable in its implications. It entails a quasi-Parmenidean impossibility of meaningfully denying the meaningfulness or referential function of anything uttered, for it implies that: 'Kqxf' is not a meaningful expression 'The' is not a referring expression are, if meaningful, false. It also implies that ill formed constructions like: 'The' is 'the' are well formed tautologies. Such sentences make apparent the need for (...) what is commonly explicit, a genuine referring expression, a noun phrase, usually a description, to which the quotation is appositional. A quotation is not itself a word, though it may contain such. The markers signal that the enquoted material is like a sentence-embedded color patch, material displayed to facilitate reference to something identifiable by/with it specified by the noun phrase it subserves. (shrink)

This paper discusses three potential varieties of update: updates to the common ground, structuring updates, and updates that introduce discourse referents. These different types of update are used to model different aspects of natural language phenomena. Not-at-issue information directly updates the common ground. The illocutionary mood of a sentence structures the context. Other updates introduce discourse referents of various types, including propositional discourse referents for at-issue information. Distinguishing these types of update allows a unified treatment of a broad range of (...) phenomena, including the grammatical evidentials found in Cheyenne (Algonquian) as well as English evidential parentheticals, appositives, and mood marking. An update semantics that can formalize all of these varieties of update is given, integrating the different kinds of semantic contributions into a single representation of meaning. (shrink)

Mamluks reigned in Egypt a long time is an era of Kipchak Turks that have influence management, and Kipchak Turks has been influential in a period in the administration there. During this period, that Turkish rulers do not know Arabic language well, Turkish language is spoken in the palace and also idea of being closer to Turkish manager screated an interest in learning. One of the famous scholars realizing that interest is Abū Ḥayyān al-Andalusī. Abū Ḥayyān by learning Turkish language (...) especially from Fakhr al-dīn Divrigi and analysing written previously works, wrote Kitāb al-Idrāk li-lisān al-Atrāk. This book has consisted of introduction, vocabulary and grammar section. We also aimed in our study to examine Kitāb al-Idrāk in terms of content and than in terms of lexicography of the linguistic branch. -/- SUMMARY Mamluks reigned in Egypt a long time and in its reign Kipchak Turks had influence in management. Because of the Turkish rulers who have military background did not know Arabic language well, Turkish language was spoken in the palace and also idea of being closer of scholars and notable people to Turkish rulers got brought an interest in learning Turkish. One of the famous scholars realizing that interest is Abū Ḥayyān al-Andalusī (d. 745/ 1344). The true name of Abū Ḥayyān is Muḥammed b. Yūsuf b. Ali b. Ḥayyān al-Tawḥīdī and he is an Andalusian linguist and exegete. Abū Ḥayyān who came from a Berber family born in the Matahsharesh village of Granada in 654/1256 and died in Cairo in 28th time 745 (11 July 1344). There is not much information about his family in the sources, but it is mentioned that he has a daughter whose name is Nada, a son named Hayyân in his name, and some grandchildren which are named Muḥammad and Ummu Ḥayyān. Abū Ḥayyān became a famous as Ethīr al-dīn and at the same time, he is also known as Naḥvī, Ghirnātī (Granadian), Ceyyānī, and Nafzī. He took lessons in Granada from great scholars such as Abd al-ḥaķ b. Ali al-Anṣarī, Abū Ḥasan al-Ubbezī, Abū Cafer Aḥmed b. Ibrahīm b. Zubair, Ibn Abū al-Ahvas and became a proficient scholar and teacher in matters such as morphology, syntax, language, commentary, hadith, methodology of Fiqh and Kalām. He wrote about 18 works in different sciences and if we mention some of that are al-Baḥr al-muhīt, al-Nahr al-mād, Tuhfat al-arīb bimā fī al-Qur'ān min al-gharīb and some of his works have reached to our time and some of those did not. Abū Ḥayyān left Andalus for various reasons and visited many centers of science and eventually continued his scientific activities in Cairo. Abū Hayyān, who is a great interest in learning languages, has learned Turkish language with the other popular languages ​​such as Persian, Amharic and Himyarite language and written books about these languages. His mainly works about Turkish language are the Kitāb al-Idrāk li-lisān al-Atrāk, Zehv al-mulk fi naḥv al-Turk, al-Af'al fi lisān al-Turk and al-Durret al-mudiyye fi lughat al-Turkiyye. These works did not reach to our days except Kitāb al-Idrak. Kitāb al-Idrāk consists of three sections, namely introduction, dictionary which includes 2200 words, and grammar that is composed of morphology and syntax and this book which is known as al-Idrāk is written in the Turkish which is spoken in XIV-XVI century tongue and named as Middle Turkish Period-Mamluk Kipchak Turkish. The first chapter begins with basmala and continues with detailed his genealogy, personal record, praise to Allah and salawat and salaam to Prophet Muhammad. After this introduction, it is explained the intention of writing this work. The second chapter is a dictionary which the words are explained in alphabetical order. Although Abū Ḥayyān speaks about 23 letters in the Kipchak alphabet, he does not explain the words related to all, but examines 19 items. In this dictionary, it does not take part some letters, that is letters sā, zāl, zā (letters of lips which is written in English th); letters dâd, ayn, fa (letters of throat) which Arabs use. In the third chapter, there is a part of the tasrif (knowledge of morphology) which is generally called knowledge of morphology today. In this section, it is dealt with about the types of words namely, name of diminutive, name of belonging name, plural, agent name, passive name, exaggerated factor name, infinitive, name indicating the location, name of device, arbitrary name, and idâd (which adds are derivation of noun from name like lık, lik at the end of the word) and then it comes to the end with shadda. Section of syntax which is called by the author as consisted of compound and is prepared according to systematic of Arabic grammar begins with the sentence structure in Kipchak language. After that it continues with definite-ambiguous names, verb (orders, past, imperfect verbs), subject-predicate in nominal sentence, nevāsiḫ (additional actions helped change the meaning of the noun phrase), Arabic leyte which express by the actual wish mold and the like, such as two mef'ūl area of ​​the heart of verbs in Arabic told (I think) were deaf ( Turkmen thinks he), acts like it yet scientists (verb phrase in), acts offender (verb-subject), the abutment of the verb nefiy prepositions, prepositions, the nehiy (ban), passive verbs and naib-i fail (so-called subject); other elements of the sentence, called the act müteallakat are: cognate accusativ, direct object, time period (time complement), the envelope space (located complement), state (envelope), causative object, the exception, the specification, conflict of laws, the annexation, the oat, the dependencies: adjective, conjunction, confirm, the apposition; conditional structure. After these, he mentions to letters of meanings (huruf al-maani), and concludes this chapter with information about the date, place, and name of the author of the book. Abū Hayyān used induction method in the book. Since he gave the forms of the words in double, then the triple, quadruple, quintet and other forms. He tried to teach the pronunciation of words by explaining the etymology of word sand the changes of the voices. He examined the words which are synonyms/ contrasted, synonym voice, singular/plural, and words that are passed by foreign languages into Turkish dialects then they are turned into Turkish word structure; brought out witnesses from proverbs and poetries. As a result, in this work, which consists of dictionary and grammar sections, it can be said that it is used predominantly in linguistic information - translation method . (shrink)

The lines come from the messenger's speech describing the attack of the Delphians on Neoptolemus, a passage which I have discussed elsewhere in connexion with the tradition of Neoptolemus as inventor of the armed Pyrrhic dance. LSJ seem to be in several minds about the meaning and connexion of some of the words describing the missiles used by the Delphians. S.v. ‘σφαγεύς’, they give ‘sacrificial knife, spit’ uniquely of a word elsewhere meaning ‘slayer, murderer’, etc.. S.v. ‘βουπόρος’, they cite ἀμφωβόλοι (...) σφαγῆς … βουπόροι ‘spitst fit to pierce an ox's throat’—i.e. taking σφαγῆς as gen. sing., rather oddly dependent on βουπόροι. S.v. ‘ἔκλυτος’, they quote this passage, again uniquely, in the sense ‘easy to let go, light, buoyant, of missiles’. This last seems even less likely than Wecklein's ohne Riemen or the Budé's doubles dards sans poignée, which presumably invoke a rather frigid contrast of the true javelins fitted with thongs and the spits, sharp at both ends, which were pressed into service of a similar sort, but of course had to be thrown without this attachment: but these implements could hardly be described as ἔκλυτοι of thongs which they never had at all in the first place!With Murray's punctuation, since a combination of a, b, c τε, d is scarcely credible, σφαγῆς βουπόροι is presumably not to be taken as the description of a separate type of weapon, but as an explanatory appositional phrase with ἀμφώβολοι. This interpretation is found in the schol, ὀβελίσκοι σφάττειν δυνάμενοι and followed by Hermann and Paley. (shrink)

When one considers the protracted and continuing struggle of the citizens of Oregon to include physician-assisted suicide among the panoply of measures available to dying patients and the physicians who care for them, the depth and breadth of the issue becomes inescapable. The potential intractability of the dispute is illustrated by the very fact, noted in the preceding parenthetical phrase, that consensus eludes us on even the most basic of semantic points—how we are to most aptly characterize the (...) conduct in question? The case featured in this issue's The Caduceus in Court must be examined as the latest battle in a long war of attrition waged by opponents of physician-assisted suicide against the Oregon Death with Dignity Act. After briefly reviewing that history, I will then consider the details of Oregon v. Ashcroft and the implications of the litigation not only for the care of dying patients but also for the regulation of medical practice in the United States and, more broadly still, the search for resolution of serious medical disputes in a democratic society. (shrink)

A fine new translation, in which clarity and ease of reading have been the principal aims. Mr. Warrington has re-arranged the traditional text in an effort to make of its often disparate parts a unified and well-ordered whole. Book Δ is printed first, for example, and Ι and Λ last, with α and parts of Κ and Μ as Appendices. Long sentences have been broken up, subtitles inserted, points and paragraphs numbered for ready reference, and parenthetical phrases printed as (...) footnotes. Further footnotes explain difficult passages and provide cross-references. The result is perhaps the easiest Metaphysics possible, though even it, of course, is far from easy going.--V. C. C. (shrink)

A surge in post-publication activity related to editing, including by technical editors and copyeditors, is worthy of some discussion. One of these issues involves the issue of 'tortured phrases', which are bizarre terms and phrases in academic papers that replace standard English expressions or jargon. This phenomenon may reveal an attempt to avoid the detection of textual similarity or to masquerade plagiarism, and yet remain undetected by editors, peer reviewers and text editors. Potentially thousands of cases have already been discovered (...) and reported publicly on the post-publication platform PubPeer. In this opinion paper, 35 cases from ranked scholarly journals are presented, mainly the fields of materials, computer and engineering sciences. This collation serves to expand discussion about this integrity-related phenomenon and to increase educational awareness of the topic. (shrink)

Medical practitioners and healthcare workers rely on information accuracy in academic journals. Some Covid-19 papers contain “tortured phrases”, nonstandard English expressions, or imprecise or erroneous terms, that give the impression of jargon but are not. Most post-publication attention paid to Covid-19 literature has focused on the accuracy of biomedical aspects, the validity of claims, or the robustness of data, but little has been published on linguistic specificity. This paper highlights the existence of “tortured phrases” in select Covid-19 literature, arguing that (...) they could serve as a class of epistemic marker when evaluating the integrity of the scientific and biomedical literature. (shrink)

In The Differend, Lyotard subjects to scrutiny- from the particular perspective of his notion of 'differend' - the turn of all Western philosophies toward language; the decline of metaphysics; the present intellectual retreat of Marxism; the hopes raised and mostly dashed, by theory; and the growing political despair. Taking his point of departure in an analysis of what Auschwitz meant philosophically, Lyotard attempts to sketch out modes of thought for our present.

In lieu of an abstract, here is a brief excerpt of the content:diacritics 33.2 (2005) 42-70 [Access article in PDF] "O Happy Living Things" Frankenfoods and the Bounds of Wordsworthian Natural Piety Anne-Lise François With all the flowers Fancy e'er could feignWho breeding flowers will never breed the same. —John Keats, "Ode to Psyche" And I could wish my days to beBound each to each in natural piety. —William Wordsworth, "My heart leaps up" O happy living things! no tongue Their (...) beauty might declare:A spring of love gusht from my heart, And I bless'd them unaware!Sure my kind saint took pity on me, And I bless'd them unaware. —Samuel Taylor Coleridge, "The Rime of the Ancient Mariner" "O happy living things!"—vitamin-enriched grains; potatoes equipped to kill their predators; silk-producing goats; fast-growing salmon that hardly require feeding. Is it possible to predicate the breathless exclamation that escapes Coleridge's mariner, unaware not of water snakes but of the fantastic array of genetically modified creatures—animals and plants—currently under design or production by biotech industries? Already in May 2000 a New York Times article was announcing the imminent arrival of "fast-growing trout and catfish, oysters that can withstand viruses, and an 'Enviropig,' whose feces are less harmful to the environment because they contain less phosphorus." An article inset describes the emergent production of "pharm-animals":These domesticated beasts—cows, pigs, goats, sheep, and chickens—have been given the ability to produce pharmaceuticals and other valuable substances in their milk, eggs or semen. Endowed by scientists with foreign genes, often taken from humans, these animals, or bioreactors, as they are also known, earn their keep as living chemical factories. Two companies, the Genzyme Corporation of Cambridge, Mass., and PPL Therapeutics, a Scottish company, already have products from pharm animals being tested in clinical trials supervised by the Food and Drug Administration. Many other animals are [End Page 42] still in the development stage. For example, Nexia Biotechnologies in Canada is working on a goat that carries a gene from spiders allowing it to produce spider silk in its milk. When the spider silk, which consists of extremely strong, light proteins, is extracted from the goat's milk, the substance, potentially, can be used in applications like bulletproof vests. [Yoon] This last sentence is intriguing. The genetic revolution often bills itself as a second green revolution that will prevent starvation and alleviate disease, promising to feed the world's growing population in terms that tend to essentialize poverty and hunger as inevitable symptoms of a human condition, rather than understand them through the lens of specific colonial and postcolonial histories. But bulletproof vests? The indignant leftist response here would be to deride the collusion between biotechnology and the military-industrial complex—bulletproof vests leaving little doubt as to whose desires count as universal, timeless needs. Yet such a response is perhaps too quick to attribute reason to these genetic experiments in cross-species breeding, and too quick to accept the terms in which biotechnicians present themselves—as the instruments of reason, whether of global capitalism or universal human progress. Part of what this essay wishes to suggest is that to dream up such things and to think of wanting to do them—make a goat produce spider silk in its milk—involve particular fantasies, fantasies not simply about recreating the world in one's image, but about learning to desire the world again, to be excited by it or "surprised" by its existence, to borrow a phrase from Stanley Cavell. The journalist's parenthetical "potentially" indicates that no use has yet been determined, no burning need fuels such experiments, and hints at the boredom behind them—what William Wordsworth might have called the "state of almost savage torpor" in which desire itself has to be invented.As the New York Times writer's double metaphor of animal as laborer- and factory-in-one suggests—"these animals, or bioreactors, as they are also known, earn their keep as living chemical factories"—the binaries animal-human, machine-animal... (shrink)

If all dependent expressions were adjacent some variety of immediate constituent analysis would suffice for grammar, but syntactic and semantic mismatches are characteristic of natural language; indeed this is a, or the, central problem in grammar. Logical categorial grammar reduces grammar to logic: an expression is well-formed if and only if an associated sequent is a theorem of a categorial logic. The paradigmatic categorial logic is the Lambek calculus, but being a logic of concatenation the Lambek calculus can only capture (...) discontinuous dependencies when they are peripheral. In this paper we present the displacement calculus, which is a logic of intercalation as well as concatenation and which subsumes the Lambek calculus. On the empirical side, we apply the new calculus to discontinuous idioms, quantification, VP ellipsis, medial extraction, pied-piping, appositive relativisation, parentheticals, gapping, comparative subdeletion, cross-serial dependencies, reflexivization, anaphora, dative alternation, and particle shift. On the technical side, we prove that the calculus enjoys Cut-elimination. (shrink)

This paper investigates the semantics of measure phrases in Japanese. Based on new data, we argue that the interpretation of measure phrases in Japanese is sensitive to scale structure such that (i) measure phrases are introduced by a degree morpheme that selects only for gradable predicates whose scale contains a minimal element (i.e., a lower closed scale) and (ii) violations to this restriction are repaired via coercion, which forces a comparative interpretation with a contextually determined standard and hence a minimal (...) element. We compare the Japanese facts to data in other languages and argue that the requirement of having a minimal element is not specific to Japanese, but universal. We show that languages may vary in how they deal with potential violations of this universal constraint, including coercion of a contextually recoverable derived minimal element (Japanese), ungrammaticality (e.g., Spanish, Korean, Russian), and a hybrid system of ungrammaticality for some adjectives and allowed constraint violation for others (e.g., English, German, Italian). (shrink)

Speech acts have sometimes been considered as unembeddable, for principled reasons. In this paper, I argue that speech acts can be embedded under certain circumstances. In particular, I consider denegation and conjunction of speech acts, quantification into speech acts, conditionalization of speech acts, the embedding of speech acts by verbs like say and wonder, speechact-modifying adverbials like frankly, clauses commenting on speech acts, like certain uses of because-clauses, parentheticals, and appositive relative clauses. A crucial distinction is made between speech acts (...) and speech act potentials, linguistic objects that can be used to perform speech acts when applied in a specific communicative situation. I develop a semantic theory in which speech act potentials are captured as semantic functions that change a world-time index, reflecting the nature of speech acts as events that happen in the world. As index changers, speech act potentials become nearly regular semantic objects, with a proper semantic type on which other semantic objects can operate on. In this way, speech acts (or rather, speech-act potentials) become part of the recursive structure of language. (shrink)

ABSTRACT The term “applied science,” as it came to be popularly used in the 1870s, was a hybrid of three earlier concepts. The phrase “applied science” itself had been coined by Samuel Taylor Coleridge in 1817, translating the German Kantian term “angewandte Wissenschaft.” It was popularized through the Encyclopaedia Metropolitana, which was structured on principles inherited from Coleridge and edited by men with sympathetic views. Their concept of empirical as opposed to a priori science was hybridized with an earlier (...) English concept of “practical science” and with “science applied to the arts,” adopted from the French. Charles Dupin had favored the latter concept and promoted it in the reconstruction of the Conservatoire Nationale des Arts et Métiers. The process of hybridization took place from the 1850s, in the wake of the Great Exhibition, as a new technocratic government favored scientific education. “Applied science” subsequently was used as the epistemic basis for technical education and the formation of new colleges in the 1870s. (shrink)

This article argues that language provides instructions for the interpretive work of the addressee. The result of this interpretive process is the establishment of linguistic meaning. On this assumption, the article aims at explaining how meaning is established on the basis of the category of mood in Spanish. It is often assumed that the meaning of mood in Spanish is explainable in terms of assertion vs. non-assertion. Contrary to this, we shall claim that assertion belongs to the level of subordination. (...) Instead of the assertion theory, it is suggested that mood may be explained with reference to the notion of factuality. This claim is tested by means of an analysis of mood in complementizer phrases. (shrink)

This article presents evidence that individual words and phrases can contribute multiple independent pieces of meaning simultaneously. Such multidimensionality is a unifying theme of the literature on conventional implicatures and expressives. I use phenomena from discourse, semantic composition, and morphosyntax to detect and explore various dimensions of meaning. I also argue that, while the meanings involved are semantically independent, they interact pragmatically to reduce underspecification and fuel pragmatic enrichment. In this article, the central case studies are appositives like Falk, the (...) CEO, and the taboo intensive damn, though discourse particles and connectives like but, even, and still play supporting roles. The primary evidence, both quantitative and qualitative, is drawn from large interview and product-review corpora, which harbor a wealth of information about the importance of these items to discourse. (shrink)

Vergil's plagiarism has been a theme for critics ever since Perellius Faustus made an anthology of his ‘furta’ and Quintus Octavius Avitus com-piled eight volumes of Оμоιóτησ, giving both the original passages and Vergil's adaptations of them . Much of this literature has survived in the commentary of Servius and in Book VI. of the Saturnalia of Macrobius. The study of his imitations and plagiarisms throws much light on Vergil's methods and aims of composition, and has frequently been attempted in (...) editions of his works. But one class of his plagiarisms differs considerably from the rest. Often in the Aenèid he incorporates phrases, either intact or slightly altered, from the Annales of Ennius. These differ from where he imitates Homer, because in them he does not have to translate from Greek into Latin and so remake the original into something new, and they differ, too, from his adaptations of some other earlier Latin poets, because Ennius was his only important forerunner who had written on the same heroic themes of war and the growth of Rome. (shrink)

The aim of this research paper is to examine Latin in the context of legal translation between the Polish, English and French languages. Latin ap- pears in contemporary legal discourse in the form of maxims, short phrases and terms. Even though it constitutes an integral element of legal drafting, Latin often attracts little attention from legal translators. It is falsely assumed that Latin elements of the text do not require translation due to several miscon- ceptions related to the Latin language. (...) Firstly, Latin is generally perceived as a global language with no local variations in form. Secondly, Latin is believed to be the universal point of reference in international communication. Thirdly, Latin legal phrases or maxims are thought to originate solely from Roman law, thus they express only Roman legal thought. In the first part of the paper we will address the above issues. To this end, we will briefly discuss the historical presence of Latin in the European lin- guistic context. We will then present the results of our research into the use of Latinisms in the Polish, French and English legal systems. The subject of our research was a set of twenty Latin maxims and phrases that frequently appear in the decisions of the Polish courts. During the first stage of the analysis, the items in question were verified in Legalis. The second stage of the research involved the consultation of monolingual dictionaries of French and English legal language to verify the universal charac- ter of the analyzed Latinisms. During the third stage of the analysis, we looked at the practical use of Latinisms in online databases of legal texts. The paper concludes with some comments on Latinisms in lexicographical publications and online sources. (shrink)

In the article the basic procedures for finding of connective elements and resolving conflicts of references is analyzed. On the basis of this, a generalized algorithm is proposed that combines advantages of existing procedures for search for connective elements between phrases. The advantages of the selected procedures and their sequence are described, the formal description of input data and the results of the algorithm are presented. To optimize the procedure for scanning the text, the algorithm is performed as an iterative (...) reduction of the candidates for communication elements. This is achieved through the confirmation of non-conflict links and the gradual resolution of conflicts. (shrink)

Paul A. Vatter, Lawrence E. Fouraker Professor of Business Administration, Harvard University, writing of Global Disasters: Inquiries into Management Ethics, ‘In my view one of the most important things that can be done to improve ethics in management is, through cases, to sensitize managers to ethical issues in situations in which they did not perceive themselves as being involved. His well-documented and detailed cases stimulate great interest. His diagnosis of the process through which ethical behavior could have prevented each disaster (...) is provocative and sensitising.’ -/- A. L. Minkes, Fellow, Royal Society of Arts, Emeritus Professor of Business Organization, University of Birmingham, in writing of Global Disasters: Inquiries into Management Ethics, ‘Dr. Allinson has very substantially enlarged the whole nature of the discussion of crisis, disaster and safety. The powerful and highly apposite phrase that he has coined, ‘The Buck Stops Here and It Stops Everywhere Else As Well’, illustrates the significant contribution of his philosophical analyses to a wide range of applied managerial problems in organizations. -/- S. Prakash Sethi, Director, Center for Management Development and Organization Research, Baruch College, City University of New York, writing of Global Disasters: Inquiries into Management Ethics, ‘Global Disasters is a thought-provoking book and provides excellent insights into how management systems can be built that would prevent hitherto “unpreventable” disasters. Professor Allinson makes a convincing argument and an intriguing suggestion that, notwithstanding commonly held beliefs, most industrial crises are preventable through sound management structures and decision-making processes only when they are rooted in ethical values and beliefs on the part of top management.’ This book, by a professor of philosophy at Soka University of America, former professor of philosophy at The Chinese University of Hong Kong and former Visiting Fellow of Business Ethics at the University of Oxford argues that major disasters can be prevented. He shows how corporate management must accept its moral responsibility to create a corporate ethos that recognizes the basic principle that people matter most. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

A recent popular analysis of English indefinites isthat they involve a choice function mechanism in their semantic interpretation. However,there are diversified views regarding how intermediate scope readings should be dealt withand which level(s) existential closure should apply to. This paper attempts to make acontribution to this debate by examining existential polarity wh-phrases in Chinese. I showthat unlike the behaviors of polarity indefinites in St''át''imcets reported by Matthewson(1999), intermediate scope readings are possible for polarity wh-phrases in Chinese but aresubject to some (...) locality conditions. I suggest that implicit arguments of choice functionsmight have a parametric value the choice of which affects availability of intermediate readings.The findings in this paper thus revive the possibility, rejected by Matthewson (1999), that thechoice function mechanism may vary from language to language or from indefinite NPs in onelanguage to indefinite NPs in another language or even from one type of indefiniteNP to another type of indefinite NP within the same language. (shrink)

εἰ δέ τιϲ ὄλβον ἔχων μορφᾷ παραμεύϲεται ἄλλουϲ,ἔν τ᾽ ἀέθλοιϲιν ἀριϲτεύων ἐπέδειξεν βίαν,θνατὰ μεμνάϲθω περιϲτέλλων μέλη, 15καὶ τελευτὰν ἁπάντων γᾶν ἐπιεϲϲόμενοϲ.ἐν λόγοιϲ δ᾽ ἀϲτῶν ἀγαθοῖϲί νιν αἰνεῖϲθαι χρεὼνκαὶ μελιγδούποιϲι δαιδαλθέντα μελίζεν ἀοιδαῖϲ.The Loeb translates lines 15–16 ʻlet him remember that mortal are the limbs he clothes and that earth is the last garment of all he will wear'. It is debatable whether τελευτάν is an adverbial accusative with ἁπάντων added as a qualifying genitive, as it seems more natural to take (...) the phrase as a simple apposition to γᾶν. But there is a real difficulty in that τελευτὰν ἁπάντων could be taken to indicate that death is ‘the end of everything’ (or ʻof all men') and that contradicts indications elsewhere in Pindar that death is not, or at least not quite, the end. (shrink)

Generic noun phrases (e.g. 'bats live in caves') provide a window onto human concepts. They refer to categories as 'kinds rather than as sets of individuals. Although kind concepts are often assumed to be universal, generic expression varies considerably across languages. For example, marking of generics is less obligatory and overt in Mandarin than in English. How do universal conceptual biases interact with language-specific differences in how generics are conveyed? In three studies, we examined adults' generics in English and Mandarin (...) Chinese. The data include child-directed speech from caregivers interacting with their 19-23-month-old children. Examples of generics include: 'baby birds eat worms' (English) and da4 lao3shu3 yao3 bu4 yao3 ren2 ('do big rats bite people or not?') (Mandarin). Generic noun phrases were reliably identified in both languages, although they occurred more than twice as frequently in English as in Mandarin. In both languages, generic usage was domain-specific, with generic noun phrases used most frequently to refer to animals. This domain effect was specific to generics, as non-generic noun phrases were used most frequently for artifacts in both languages. In sum, we argue for universal properties of 'kind' concepts that are expressed with linguistically different constructions. However, the frequency of expression may be influenced by the manner in which generics are expressed in the language. (shrink)

In this paper I provide a decompositional analysis of three kinds of plural indefinites in two related languages, European Spanish and Brazilian Portuguese. The three indefinites studied are bare plurals, the unos (Spanish)/uns (Portuguese) type, and the algunos (Spanish)/alguns (Portuguese) type. The paper concentrates on four properties: semantic plurality, positive polarity, partitivity, and event distribution. The logic underlying the analysis is that of compositionality, applied at the subword level: as items become bigger in form (with the addition of morphemes), they (...) also acquire more semantic properties. The paper proposes the “indefinite hierarchy", which establishes a set of components for languages to build their indefinites with, in a particular order. (shrink)

We tested the hypothesis that more frequent exposure to multiword phrases results in deeper entrenchment of their representations, by examining the performance of subjects of different religiosity in the recognition of briefly presented liturgical and secular phrases drawn from several frequency classes. Three of the sources were prayer texts that religious Jews are required to recite on a daily, weekly, and annual basis, respectively; two others were common and rare expressions encountered in the general secular Israeli culture. As expected, linear (...) dependence of recognition score on frequency was found for the religious subjects (being most pronounced for men, who are usually more observant than women); both religious and secular subjects performed better on common than on rare general culture items. Our results support the notion of graded entrenchment introduced by Langacker and shared by several cognitive linguistic theories of language comprehension and production. (shrink)

This study aims at investigating vagueness in Security Council Resolutions by focussing on a selection of nouns and phrases used as the main casus belli for the Second Gulf War. Analysing a corpus of Security Council Resolutions relating to the conflict, the study leads a qualitative and quantitative analysis drawing upon Mellinkoff’s theories on “weasel words”, which are “words and expressions with a very flexible meaning, strictly dependent on context and interpretation”. Special attention is devoted to the historical/political consequences of (...) such vague and indeterminate expressions. The findings indicate that excessive vagueness might have led to biased or even strategically-motivated interpretations of the Resolutions, triggering the Iraqi conflict instead of a diplomatic solution. The analysis of the “weasel words” used in the Resolutions suggests the double-faced strength of such expressions: though they can guaranteed a wide degree of applicability of the Resolutions, their subjective interpretability might become a source of manipulation and elusiveness, with the overall legislative intent of using intentional vagueness as a political strategy. (shrink)