In an article on ‘The Name of the Euxine Pontus’ in C.Q.xxxiv , pp. 123 ff., A. C. Moorhouse rejects the suggestion made by M. Vasmer and supported by Boisacq that the original Greek title ξενος was a popular rendering of the Avestan adjective αχṦαệνα, ‘of dark colour’. Moorhouse raises the following objections to this theory: i. There is no direct evidence of the Avestan adjective ever being applied to the Black Sea. ii. In historical times ‘Avestan is a long (...) way from Greek’ and in prehistorical times it is doubtful whether the speakers of Avestan had any close connexion with the Black Sea. iii. Assuming πόντος to denote ‘way’, ‘the dark way’ would be a fantastic name for any sea. iv. The early Greek form is ξενος, and only metri gratia ξεινος, whereas if the word is a loan from αχṧαēνα we should expect the phonetically closer form ξενος. (shrink)

Book Review. Jos de Mul. The Tragedy of Finitude . Dilthey’s Hermeneutics of Life . New Haven and London: Yale University Press. 2004.

(2008). Editorial Board/Publication Information. History of European Ideas: Vol. 34, No. 3, pp. IFC-IFC.

INTERNATIONAL STUDIES IN THE PHILOSOPHY OF SCIENCE Volume 26 Number 1 March 2012 ARTICLES An Inferential Model of Scientific Understanding Mark Newman 1 Evidence and the Assessment of Causal Rela...

This article is a report on ongoing field research and the exponential growth of the environment in which sex workers, prostitutes, call girls, and escorts operate. We look at the complexity of the conditions of such work and consider the socio-psychological and media vectors that make up the context from which its actors and stereotypes emerge. With the explosion of websites offering virtual or real sex, there is also a continuation of oppressive and violent male practices in this sector, restricting (...) the freedom of choice for women who work professionally in this field. These practices reproduce the power relations and the exclusion that has always been present in society, and are also now more diffuse as virtual reality has come to play an important role in social practice. (shrink)

Book Review. Jesús Conill-Sancho. Ética hermenéutica. Crítica desde la facticidad. [Hermeneutic Ethics. The Critique of Facticity]. Madrid: Tecnos, 2006.

[Book Review] Rudolf Makkreel and Frithjof Rodi, eds. Wilhelm Dilthey. Selected Works vol. III: The Formation of the Historical World in the Human Sciences. Princeton, N.J.: Princeton University Press, 2002.

In Emotions, Values & Agency, Christine Tappolet develops a sophisticated, perceptual theory of emotions and their role in wide range of issues in value theory and epistemology. In this paper, we raise three worries about Tappolet's proposal.

The syllogistic figures and moods can be taken to be argument schemata as can the rules of the Stoic propositional logic. Sentence schemata have been used in axiomatizations of logic only since the landmark 1927 von Neumann paper [31]. Modern philosophers know the role of schemata in explications of the semantic conception of truth through Tarski’s 1933 Convention T [42]. Mathematical logicians recognize the role of schemata in first-order number theory where Peano’s second-order Induction Axiom is approximated by Herbrand’s Induction-Axiom (...) Schema [23]. Similarly, in first-order set theory, Zermelo’s second-order Separation Axiom is approximated by Fraenkel’s first-order Separation Schema [17]. In some of several closely related senses, a schema is a complex system having multiple components one of which is a template-text or scheme-template, a syntactic string composed of one or more “blanks” and also possibly significant words and/or symbols. In accordance with a side condition the template-text of a schema is used as a “template” to specify a multitude, often infinite, of linguistic expressions such as phrases, sentences, or argument-texts, called instances of the schema. The side condition is a second component. The collection of instances may but need not be regarded as a third component. The instances are almost always considered to come from a previously identified language (whether formal or natural), which is often considered to be another component. This article reviews the often-conflicting uses of the expressions ‘schema’ and ‘scheme’ in the literature of logic. It discusses the different definitions presupposed by those uses. And it examines the ontological and epistemic presuppositions circumvented or mooted by the use of schemata, as well as the ontological and epistemic presuppositions engendered by their use. In short, this paper is an introduction to the history and philosophy of schemata. (shrink)

Preparing words in speech production is normally a fast and accurate process. We generate them two or three per second in fluent conversation; and overtly naming a clear picture of an object can easily be initiated within 600 msec after picture onset. The underlying process, however, is exceedingly complex. The theory reviewed in this target article analyzes this process as staged and feedforward. After a first stage of conceptual preparation, word generation proceeds through lexical selection, morphological and phonological encoding, (...) class='Hi'>phonetic encoding, and articulation itself. In addition, the speaker exerts some degree of output control, by monitoring of self-produced internal and overt speech. The core of the theory, ranging from lexical selection to the initiation of phonetic encoding, is captured in a computational model, called WEAVER++. Both the theory and the computational model have been developed in interaction with reaction time experiments, particularly in picture naming or related word production paradigms, with the aim of accounting for the real-time processing in normal word production. A comprehensive review of theory, model, and experiments is presented. The model can handle some of the main observations in the domain of speech errors (the major empirical domain for most other theories of lexical access), and the theory opens new ways of approaching the cerebral organization of speech production by way of high-temporal-resolution imaging. (shrink)

This paper will outline a novel semantics of verbs of saying and of quotation based on Austin’s (1962) distinction among levels of linguistic acts (illocutionary, locutionary, rhetic, phatic, and phonetic acts). It will propose a way of understanding the notion of a rhetic act and argue that it is well-reflected in the semantics of natural language. The paper will furthermore outline a novel, unified and compositional semantics of quotation which is guided by two ideas. First, quotations convey properties related (...) to lower-level (phonetic or phatic) linguistic acts; second, such meanings of quotations are strictly based on syntactic structure, namely a lower-level (phonetic, phonological or morpho-syntactic) structure as part of the syntactic structure that is input to semantic interpretation. Such lower-level linguistic structures will contribute properties of utterances, to the semantic composition of the sentence, in one way or another. (shrink)

Journal Name: Cognitive Linguistics Issue: Ahead of print.

Words associated with perceptually salient, highly imageable concepts are learned earlier in life, more accurately recalled, and more rapidly named than abstract words (R. W. Brown, 1976; Walker & Hulme, 1999). Theories accounting for this concreteness effect have focused exclusively on semantic properties of word referents. A novel possibility is that word structure may also contribute to the effect. We report a corpus-based analysis of the phonological and morphological structures of a large set of nouns with imageability ratings (N = (...) 2,023). High- and low-imageability nouns differed by length, etymology, prosody, affixation, phonological neighborhood density, and rates of consonant clustering. On average, nouns denoting abstract concepts were longer, more derivationally complex, and emerged in English from a different distribution of languages than did concrete nouns. We address implications for interactivity of word form and meaning as pertain to theories of word concreteness, lexical acquisition, and word processing. (shrink)

Since its inception, Shannon's information theory has attracted interest for the study of language and music. Recently, a wide range of converging studies have shown how efficient communication pervades language, from phonetics to syntax. Efficient principles imply that more resources should be assigned to highly informative items. For instance, average information content was shown to be a better predictor of word length than frequency, revisiting the famous Zipf's law. However, in spite of the success of the efficient communication framework in (...) the study of language and speech, very little work has investigated its relevance in the analysis of music. Here, we examine the organization of harmonic information in two large corpora of Western music, one made of MIDI files directly sequenced from scores, and the other made of MIDI recordings of live performances of highly skilled piano players. We show that there is a clear positive relationship between (contextual) information content of harmonic sequences and two essential musical properties, namely duration and loudness: the more unexpected a harmonic event is, the longer and the louder it is. (shrink)

Words associated with perceptually salient, highly imageable concepts are learned earlier in life, more accurately recalled, and more rapidly named than abstract words (R. W. Brown, 1976; Walker & Hulme, 1999). Theories accounting for this concreteness effect have focused exclusively on semantic properties of word referents. A novel possibility is that word structure may also contribute to the effect. We report a corpus-based analysis of the phonological and morphological structures of a large set of nouns with imageability ratings (N = (...) 2,023). High- and low-imageability nouns differed by length, etymology, prosody, affixation, phonological neighborhood density, and rates of consonant clustering. On average, nouns denoting abstract concepts were longer, more derivationally complex, and emerged in English from a different distribution of languages than did concrete nouns. We address implications for interactivity of word form and meaning as pertain to theories of word concreteness, lexical acquisition, and word processing. (shrink)

As in all languages, there are various structures in the syntax in Arabic. Some of these structures are about phonetic and some are about syntax. In this study, the subject of iṭba‘, which takes place in the syntax structure form in Arabic, is discussed. First of all, the phenomenon of iṭba‘, which consists of bringing a second word to reinforce the first word in terms of meter and rhyme, has been examined in terms of its use in Arabic. The (...) expression “Hasanun basanun” in Arabic can be given as an example of iṭba'. In this example, it can be said that the second word, basanun, was introduced to emphasize the word hasenun and also adds a phonetic form to the sentence. In this context, it is possible to say that the main benefit of iṭba‘ is decoration and reinforcement. This subject, which is discussed under the title of "reduplication" with various parts in Turkish, has not been mentioned in terms of Turkish language in the study. The classical period usages of iṭba‘ examples are mostly discussed. As a matter of fact, most of them are out of circulation in the modern period. However, it is possible to encounter this type of usage in literary texts. In Arabic, this subject has been handled with different titles such as iṭba‘, muhāzat, muzāwaja, izdiwāj. In this study, the subject was examined with the name iṭba‘. As a matter of fact, there are some differences between it and the others. For this reason, our study has been concluded by examining the semantic differences between the derivatives of iṭba‘ and determining the results. (shrink)

Language acquisition may be one of the most difficult tasks that children face during development. They have to segment words from fluent speech, figure out the meanings of these words, and discover the syntactic constraints for joining them together into meaningful sentences. Over the past couple of decades, computational modeling has emerged as a new paradigm for gaining insights into the mechanisms by which children may accomplish these feats. Unfortunately, many of these models assume a computational complexity and linguistic knowledge (...) likely to be beyond the abilities of developing young children. This article shows that, using simple statistical procedures, significant correlations exist between the beginnings and endings of a word and its lexical category in English, Dutch, French, and Japanese. Therefore, phonetic information can contribute to individuating higher level structural properties of these languages. This article also presents a simple 2‐layer connectionist model that, once trained with an initial small sample of words labeled for lexical category, can infer the lexical category of a large proportion of novel words using only word‐edge phonological information, namely the first and last phoneme of a word. The results suggest that simple procedures combined with phonetic information perceptually available to children provide solid scaffolding for emerging lexical categories in language development. (shrink)

In vowel discrimination, commonly found discrimination patterns are directional asymmetries where discrimination is faster if differing vowels are presented in a certain sequence compared to the reversed sequence. Different models of speech sound processing try to account for these asymmetries based on either phonetic or phonological properties. In this study, we tested and compared two of those often-discussed models, namely the Featurally Underspecified Lexicon model and the Natural Referent Vowel framework. While most studies presented isolated vowels, we investigated a (...) large stimulus set of German vowels in a more naturalistic setting within minimal pairs. We conducted an mismatch negativity study in a passive and a reaction time study in an active oddball paradigm. In both data sets, we found directional asymmetries that can be explained by either phonological or phonetic theories. While behaviorally, the vowel discrimination was based on phonological properties, both tested models failed to explain the found neural patterns comprehensively. Therefore, we additionally examined the influence of a variety of articulatory, acoustical, and lexical factors but also the influence of factors beyond the well-known in depth via multiple regression analyses. The analyses revealed that the perceptual factor of perceived loudness has a greater impact than considered in the literature and should be taken stronger into consideration when analyzing preattentive natural vowel processing. (shrink)

In his essay Thinking Colours and/or Machines Kittler hints at a key point in the emergence of modern European culture: the point at which ‘letters and numbers no longer coincide’. In this essay - first published in 2003 as Zahl und Ziffer - Kittler traces the split between numerals and numbers in sweeping historical detail. This is part of a much larger project, the aim of which is to think about technology, history and culture anew by considering the ways in (...) which ‘letters, numbers, images and tones’ have been differentiated and re-integrated by developing notation systems and media technologies. In this present essay, Kittler is concerned specifically with the question of number. His argument is that numbers and numerals have not always stood apart. In Old Hebrew and even nursery rhymes, for example, numbers are in fact words. This might seem like a banal observation, but for Kittler it is crucial as historically, mathematics proper only developed ‘in cultures in which numbers are present as numerals’, a development which entailed the transformation of numbers from signifiers into signifieds and which rested on the emergence of storage and transmission media that Kittler calls ‘the media of mathematics’. This connection between media and mathematics is explored through a wide range of philosophical sources: Plato, Philolaus, Aristotle and Aquinas, to name but a few. Kittler is fascinated by the inscription technologies that make mathematics possible, and which at the same time structure cultural forms as well as our bodily experience of them. As he puts it in a programmatic aside, ‘media studies only make sense’ if they focus on how ‘media make senses.’ Hence his focus on the Greek phonetic alphabet: for Kittler, its superiority has less to do with its ability to reproduce the spoken words of any language, than with the fact that at one point it was used to handle language, music, and mathematics - that is, one and the same set of signs was used to encode letters, tones and numbers. This, however, was not an abstract undertaking but developed in constant feedback with specific instruments or media, especially the lyre and the bow. It was here that fundamental concepts such as logoi were first developed that were subsequently distorted, misunderstood and deprived of their musico-technical origins by philosophers such as Aristotle. Kittler’s essay is thus also part of a larger cultural project, indebted in particular to Martin Heidegger, whose aim it is to ferret out the different, as yet unrevealed beginning of occidental culture. Moreover, while it was necessary for the evolution of modern mathematics that numbers receive a notation system of their own that will allow for ratios and decimals, among others, it is obvious that Kittler sees the computer as a return of universal alphabet that operates in constant feedback with a medium that shapes our senses: ‘In the Greek alphabet our senses were present - and thanks to Turing they are so once again.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Writing of Space:On French Critical Theory in 1973 and its AftermathTom Conley (bio)Je rempliz d'un beau nom ce grand espace vide(I fill with a handsome name this great empty space)—Joachim Du Bellay, Les regrets[...] l'unique mot ESPACE, indéfiniment répété, isolé, d'une ligne à l'autre; clos sur lui-même par la recurrence du e (espace), brisé pourtant par l'adjonction interne du s (espace), qui se réfléchit en trompe l'oeil phonétique (...) (espace); avec un centre immuable—espace—, où peut se lire l'amorce de la paix ou du tombeau—mais susceptible de faire cap de tout côté, comme on fait eau. L'espace est « découvert », « brisé » ou « vécu »—à droite, où poussent les épithètes ; l'espace est objet de « découverte », de « promenade » ou d' « odyssée », à gauche où s'alignent les substantifs qui commandent les clichés dont l'espace serait le complément obligé. Génitif d'un côté, ou pour le moin complétif, générateur de l'autre, ou en tout cas substance à qualités variables. Dans l'arbre à syntagmes ainsi érigé, l'espace est inventé par l'écriture qui fait alterner, sans jamais les combiner sur une même ligne, un espace donné comme objet stable d'exploration. [...]([...] the unique word ESPACE can be placed, indefinitely repeated, isolated, from one line to another ; closed upon itself by the recurrence of the e (espace), yet broken by the inner adjunction of the s (espace) reflected in a phonetic trompe-l'œil (espace) ; with an immutable center—espace—, in which can be read the first letters of peace or of tomb—but liable to go everywhere, like water in the sea. Space is « discovered, » « broken, » or « lived »—on the right where epithets come forward; space is the object of « discovery », of a « walk » or an « odyssey », on the left where are aligned the substantives that order the clichés for [End Page 189] which space would be the required object. Genitive on one side, or at least objective, generative of the other, or in every event a substance with variable traits. In the tree of syntagms erected above space is invented by writing that causes to alternate—without ever combining them on the same line—a given space as a stable object of exploration. [...]—Marie-Claire Ropars-Wuilleumier, Écrire l'espaceIn 1974 Henri Lefebvre published La production de l'espace (The Production of Space), a study said to have changed the course of critical reflection on the world around us. In his copious work Lefebvre locates the gaps and rifts between spatial practices or representational spaces and representations of space in order to mark the brute nature of social contradiction. Over history, he shows, those individuals who practice and represent space generally own control over those who do not or cannot. The very history of the reception of Lefebvre's work has been so rich that it cannot be disentangled from debates concerning the nature of the postmodern condition. It has brought forward an element, something akin to Lacan's "real," that cannot be contained or discerned by language, the arena of life itself. The impact of La production de l'espace cannot be underestimated.1 Yet, at the same time, the work remains a legacy or a point of reference for a concurrent labor born at the same moment and of a different texture than Lefebvre's: an activity that I would like to call a writing of space, a labor by which authors of different formation engage and invent alternative or other spaces within the texture of their own reflections on space. Like Lefebvre, they respond to a anxiety about the condition of space in which they live, but unlike him, they embody, in the gist of their own writing, spaces alternative to those in which they live. What follows is thus aimed at discerning why and how space emerged in the field of critical theory when it did and, in turn, at showing how the reflections remain crucial for critical practice here and now.The first of the two epigraphs above is... (shrink)

This research aims to show grammatical relations between the elements of the sentence based around the syntactic connection. The phenomenon of syntactic connection is one of the basic concepts for al-Jurjānī’s theory of nazm (construction). This view, which makes more understanding the structure of Arabic sentence, is studied in the light of the ideas of classic and modernists linguists. This attempt to facilitate Arabic grammar has continued routinely from relationships between grammar and meaning. The integration of grammar, which consists of (...) words, is an important property for native speakers and others. This field is open to new developments considering the successive developments in the field of linguistics. It is important to develop the principles that will help in understanding the grammatical structure of a language in which communication pathways are growing. Reinterpretation of prominent approaches appeared in classical sources and updating the concepts that explain the basic structures of language are needed to increase the effectiveness of Arabic.Summary: The linguists, who accept the language structures as a system of expressing thoughts, search out the relationship between meaning and grammar. The rules of grammar, which maintain its importance from the past to the present is one of the basic language areas. In the looking at the researches in the field of Arabic language, it is seen that the grammatical structures of this language is much emphasized. In this context, the grammatical markers theory, which is trying to explain the connection between the sentence elements in the light of different scientific disciplines, such as philosophy and logic is a theory, which the linguists put to explain the Arabic grammar. The grammatical discussions around the grammatical markers have continued for a long time. ‘Abd al-Qāhir al-Jurjānī (d. 471/1078) is one of the most prominent Arabic grammarians whose opinions are widely mentioned in this field. Al-Jurjānī, who found that the discipline of grammar area was limited, established a new method in language studying. In this context, the linguistic researches continue around the views of al-Jurjānī’s theory of construction. The term of construction, which describes the relationship between meaning and grammar, means composition and arrangement. The current linguistic studies have ensured the magnificence and accuracy of this theory. According to this theory, grammar meaning is arising from the choice of word and grammatical elements. The relation between words in the sentence is explained as a construction. According to al-Jurjānī, grammar is the result of various language skills beyond the distinction of truth and error. This comprehensive language understanding, which evaluates the grammar from a different point of view, has started as of Sībawayhi (d. 180/796). The Arabic linguistic studies from the early period are characterized by taking care of both form and meaning, in addition to semantic.Term of the syntactic connection is one of the basic concepts, which al-Jurjānī focuses on while explaining views on grammar. He gives much importance to the method of linking words and to the way they join each other to form sentences. The syntactic connection is an interaction between words and grammatical meanings. In this process, the mechanism of affixation and association occur between the elements of sentence. The term affixation refers to direct connection relations of the elements of sentence, while the term association refers to indirect relations. This term used to describe the grammar structures, is also closely related with the meanings of the words. The basic sentence in classical Arabic consists of the musnad and the musnad ilayhi. In the Arabic language, besides the basic elements of the sentence, other units are important as well. These units work together to express a central idea that may be further developed or refined by other elements. The factor, which determines the function of a word in the sentence, is the place of word. In this context, the linguistic studies carried out within the syntactic connection will make an important contribution to language teaching.The other thing in the context of the syntactic connection is the terms of “deep and surface structure”, which are the basic concepts of the transformational grammar theory developed by Chomsky. While the deep structure consists of simple sentence structures, the surface structure is composed of sentences. According to the transformational grammar theory, the deep structure is an important factor for determining the meaning. They draw attention to the mental side of the language. It is because the language is a phenomenon, which produces unlimited sentences with limited elements. In this form, the language cannot be explained by a mechanical interpretation. The language should be examined in the light of human dynamics. The competence and performance are the cause of the emergence of deep and surface structure terms. The purpose of the word is effective in determining the structure of speech. The target language is to express unlimited meanings with limited words. Classical Arabic grammarians have introduced the idea of transformation to Arabic grammar – though they may not know this term. The Arabic grammarians have talked about preposing, postposing, deletion, increase and interpretation, which used and developed by Chomsky. Transformational grammar theory has produced a new paradigm in grammar. This theory is widely discussed among modern linguists. The term grammatical coherence is a new terminology used by the modern linguists for definition of sentence structure. This term, which shows evidence and relation between both things, is divided into two namely: verbal and semantic coherence. When the definitions of grammatical terms in the classical grammar sources, it is possible to see the emphasis of the grammatical coherences. This language understanding, which tries to substitute the inflection theory, aims to bring innovations in sentence analysis. The linguists point to the importance of this theory, which bring a new perspective in understanding the Arabic grammar. Tammām Ḥassān (1918-2011) attempts to link the grammatical coherences with ‘Abd al-Qāhir al-Jurjānī’s theory of semantic formation and its relationship to linguistic analysis. Tammām Ḥassān, likened to Sībawayhi, is regarded as one of the most important representatives of the innovative language understanding with his theory. According to him, the system of language, which provides a framework to shape man's thinking, is constituted by three subsystems: phonetics, vocabulary and grammar. Grammar may be defined as a system of word changing and other means of expressing relations of words in the sentence. In this context, the concepts of syntagmatic and paradigmatic structure are important to understand the general structure of languages. According to linguistics, grammar should study both paradigmatic and syntagmatic relations of sentences. The syntagmatic structure refers to the relationship between language units depending on the language system in the language. The relationship network between words that belong to the same semantic field is called paradigmatic structure. The paradigmatic structure provides similar criteria for all languages. Such approaches that introduced by linguistics, provides significant contributions to language learning. The modern linguistic studies have made the sentence a starting point to clarify the linguistic structures and relations to achieve the sound linguistic communication. A sentence is the largest unit in a language described by grammar. (shrink)

Le nom du devin gallois Myrddin a reçu plusieurs étymologies qui satisfont plus ou moins : Myrddin viendrait de *moridunon « Forteresse de la mer », de *mŏrĭi̯īn- « celui de la Mer » ou mirzin / milzin « délicat ». Par ailleurs, le nom roman de Merlin serait celui d’un oiseau, français « merle » ou « Faucon ». Cette étude phonétique, lexicale et mythologique tente de montrer comment Myrddin et Merlin dérivent de la thématisation, bien attestée, du vieux (...) celtique *mero « fou » et que cette appellation a dû signifier « le Maître de la folie », c’est-à-dire « l’Inspiré ». The name of the welsh seer Myrddin has received many etymologies which are more or less satisfactory: Myrddin would come from *moridunon “Fortress of the sea”, from *mŏrĭi̯īn “One of the Sea” or from mirzin / milzin “delicate”. Moreover, Merlin’s roman name would be that of a bird, “Blackbird” or “Falcon”. This phonetical, lexical and mythological analysis try to show how Myrddin and Merlin are connected with the well attested old Celtic stem *mero “mad” and that this designation would have been “The Master of the madness”, which means “The Inspired”. (shrink)

As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music (...) became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Qur'an are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal (permissible) or haram (prohibited). Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf (Islamic Mysticism), also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music (also known as Tasawwuf Music). Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Qur’an recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Qur’an is recited according to the Maqam (Melodic modes of recitation) requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Qur'an and the scientific understanding of music. When a connection between the Qur’an and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name “Fem-i Muhsin”. Hafız (a title used for a person who has memorised the Qur’an in its entirety) Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Qur'an education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Qur'an education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Qur'an to a degree of perfection and was proud of being a Hafız, where he believed that the Qur'an harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Qur’an according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Qur’an recitation, Hafız Bekir was able to take the listeners on a spiritual journey. A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Qur’an recitation according to the Istanbul Maqam style. In this study, Hafız Bekir’s dual identity as both a musician and Qur’an Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Qur'an education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties. (shrink)

This dissertation work is premised upon the observation that semantic information is required in order to group phonetically distinct word-tokens into phonemically equivalent word-types. For philosophers, like W. V. Quine, who have a dim view of meaning, this claim regarding the semantic basis of natural language phonology, if true, is problematic. This is why in a series of publications, Quine has attempted to avoid any appeal to semantics in his efforts to reconstruct phonemic word-type equivalence. Consistent with his rejection of (...) meaning-based analytic equivalence, Quine rejects a meaning-based account of basic phonological equivalence. However, given the empirical failures to "reduce the phoneme" to acoustic, phonetic, and/or distributional data within phonology---combined with the philosophical short-comings of a behavioral reduction---a consistent disavowal of meaning prohibits Quine from acknowledging the legitimacy of basic phonological equivalence anymore than he wishes to acknowledge the legitimacy of analytic equivalence. In this way, a consistent Quinean rejection of meaning entails not only a skeptical dismissal of analytic equivalence, but also a dismissal of basic phonological equivalence. ;Yet the observation that semantic information is required in order to group word-tokens into phonemic word-types also has a Fregean application. This is because the semantic information required to reconstruct basic phonology is not entirely intensional in character. In addition to typing word-tokens of various predicates in terms of properties, word-tokens of names must also be phonologically typed. So whereas Quineans reject synonymous substitutions because they are based upon meaning, Fregeans claim reference is insufficient to guarantee the substitution of co-referring names salva veritate. But if basic phonological substitutions among word-tokens are premised upon co-reference , a consistent rejection of co-naming substitutions within belief contexts also threatens the substitution of allophonically related word-tokens in belief contexts. The semantic basis of natural language phonemic categorization has a number of implications vis-a-vis contemporary philosophy of language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Script RoseJoseph S. CatalanoLearning to read words, musical notes or numbers is a process by which we attach sounds, pictures and meanings to marks. Looked at in this way, the English script “rose” is a sign of a sound, a picture or a meaning. But when we read fluently is the word “rose” a sign? I think not; and I shall try to make a case that, to (...) the properly disposed reader, the script “rose” (hereafter written rose) is a rose.ITo have the perspective I require on reading, a quasi-Davidsonian distinction between causes and reasons may be useful. Early training in matching marks with sounds and pictures, surface irritations of light on the eye, stimulation and fixing of our entire neurological complex are all part of the causal network of our ability to read. But none of these causes are the reasons for our ability to be absorbed in reading a text.Of course, a distinction between causes and reasons does not, of itself, explain how the written page can be a world in which we find things such as roses. In order to see how the script rose got to be a rose, it is useful to suspend the usual questions that we ask about written language. Thus, we must not concern ourselves about the ambiguity that might arise because the word rose can be taken to mean a flower, a hue or a person, nor about what happens when we translate from one language to another, nor about the distinction between a sign, whether natural or artificial, and what is signified, nor whether written language [End Page 85] corresponds to something other than itself, nor the question of the meaning of meaning.IIWe created better than we knew, when we invented writing. We intended to represent the spoken word; but we made roses, dreams and lives exist as marks on a page. If this seems mysterious, it is a mystery that is present in every artifact, and what I seek is a perspective on written language precisely as an artifact.Of course, scripts are artifacts, but what I am after is the workmanship. The workmanship is both obvious and hidden. It is there for us to see; it is what we read. But we do not see it as forged over a long period of time just to serve its function as marks that are readable.In general, certain aspects of written language are similar to ordinary artifacts, others are not so. The difference is more obvious than the similarity: Scripts differ from ordinary artifacts, because we first approach them as signs of sounds, pictures or meanings: A child does not learn about sitting by looking at a chair as a sign of a chair; for example, the child does not squat on the floor, when it sees a chair. More importantly, the craftsmanship that gave us written language, especially alphabetic writing, was directed toward forging “arbitrary” marks, and a chair is certainly not an arbitrary representation of something to sit upon. In Quiddities, in the section “A” for “Alphabet,” W. V. Quine neatly summarizes the remarkable feat of discovering meaningless marks to represent sounds.... the full power of writing awaited the convergence of writing with speech, and this reached its early stages five thousand years ago. Depictions of visible objects came to be pressed into phonetic duty on the rebus principle, as if in English we were to write melancholy by depicting a melon and a collie. This expedient was rendered more flexible and powerful, if less picturesque, by devoting the phonetic representations to brief sounds—single consonants or syllables. The sound was represented by a hieroglyph depicting something whose name merely began with that sound. The rebus principle thus gave way to an acrophonic one.It was a notable step of abstraction. Finding a melon and collie in melancholy is a matter of punning with familiar words; extracting a meaningless me-, on the other hand, and meaningless lan-, and so on, calls for appreciating fugitive sounds that are not words and name nothing.(pp. 1–2)[End Page 86]Quine is right to follow the traditional claim that writing... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sacrificial "As-If" and Avuncular HilarityLiving by MéconnaissanceWiel Eggen (bio)INTRODUCTION: THE CURIOUS QUESTIONAt my departure for anthropological fieldwork in the Central African Republic (RCA), just after Girard's seminal work La Violence et le sacré had come to upset my structuralist tutors in Paris, I was given a list of penetrating questions to probe in the field, since my research was to be conducted in an area known for its a-cephalous (...) traditions with little or no political or religious centralization.1 The prime critique concerned Girard's apparent return to a bluntly utilitarian vision of myth and religion as the mental framework of society's ritual foundations, in line with Durkheim's functionalist analysis of archaic religion, which was finely reworded in Lord Raglan's recent preface to a cluster of Hocart's articles titled The Life-Giving Myth.2 The approach had come to dominate, as a way of unraveling outdated transcendentalist claims, and also underpinned Freudian and Marxist attacks on religion. After Kant's Critique of Pure Reason had given the lie to any claims of access to transcendent realms, the deontological view of religion as society's functionalist toolbox for orderly [End Page 69] conduct became dominant. But, inspired also by such "masters of suspicion" in human sciences, structuralism had set out even beyond that utilitarian perspective. In a decisive bolt of relativism, it took myths to be a mere mental ordering of daily observations into a logical frame, independent of any ritual or social utility. So, how could Girard once again declare social control via rituals to be religion's true aim, allot a prime role to sacrificial rites, and, most alarmingly, thereby raise the suspicion of aiming to rehabilitate Christian dogmas?I was urged to go and check this theory on sacrifices, scapegoating, social rivalry, and on the shaping of archaic society, its forms of authority, and even sacred kingship. Reflecting on the questions, though, I noted that they overlooked a critical point in Girard's hypothesis, which I read as reverse functionalism. In fact, Girard viewed religion's social function and the issuing cultural regulations as rooted in a radical "lie," or in what he labels méconnaissance. Worded in evolutionary terms, he hypothesized not so much a kind of Darwinian utilitarian adaptation, but rather the alternative of "exaptation," or what has been called an oblique functionalism.After I had learned enough of the Banda language to start my research, though, my schedules were thrown in disarray on my first evening in the village that was to be my starting point. It presented me with a curious quandary. The village of Wademi, some 25 km north of Ippy, in the sparsely populated wooded savannah, was home to two exogamous patrilineal clans that straddle a little river and sit on a dirt road constructed by the colonial power for the collection of cotton. To oversee this two-clan unit a chief had been appointed with the title of makonji, a loanword from the national Sango language. This gentle, friendly man had offered to host me in his own cemented house and organized a welcome for me in the customary way of staging a pleasant storytelling session, punctuated with joyous songs and dances, lasting well into the night. Most of the stories and songs figured Tere, the famous trickster figure, who resembles Ture in neighboring Azande-land, well documented by E. Evans-Pritchard.3 The enjoyable, moonlit session was shot through with outbursts of laughter. It brought the two clans together, including the women and children. Before turning in, the makonji's junior son, who had been assigned my assistant and interpreter, came to convey his father's sincere but puzzling query, whether Tere actually was the same as Jesus Christ. Actually, his French name in Banda phonetics implied so: Christ Jésu = Tre se te jesu; and "Jesu Christ = Jesu Tre."4 Taken by surprise and much in need of some rest after a rather demanding day, I politely asked to let the issue rest till the morning.This question was all the more disturbing, as Christians were wont to call Jesus the Lord, and relate this to chieftaincy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Meditations on the Letter A:The Hand as Nexus Between Music and LanguageEleanor V. StubleyThe image is that of a little girl. She stands alone, center-stage, her lips moving quietly as she rehearses the letters of the alphabet so that her forthcoming performance will be fresh and perfect. Her name is called. She takes a deep breath and begins, haltingly, doh,... doh, ray,... doh, ray, me,.... Her tongue catches at (...) the beginning of each sound as if it were a new found delight, but it is the sequence, the linear progression that is the focus of her concentration. And slowly, her recitation begins to take on its own rhythmic fluidity, each sound's name becoming stronger and more confident than the one before. Then just as quickly as it began, it is over, and she stands tall in the glory of the final doh's resonance, proud in her belief that having mastered the letters of the alphabet, she has at long last discovered the key to unlocking music's deepest and darkest mysteries.The alphabet—I begin its story with the hand behind the hieroglyphic markings of our ancient ancestors, the hand that discovered in the tracings of its own aimless movements across the sand a capacity to replicate the arc of the moon, the flowering branches of a shrub. It was a hand pre-occupied with the visual, its scratchings serving to extend the communicative power of its own reach by calling forth the image of a thing not immediately present. Meaning, as such, was typically a matter of a one-to-one correspondence inferred on the basis of shape and form, with concepts such as speed and light portrayed by animals and natural objects that one would associate with each (for instance, a running cougar, a stylized sun). But as language and the art of storytelling evolved, the emergence of concepts lacking precise visual associations required the development of a variety of phonetic strategies that, often working through pictographic puns (that is, belief, bee+leaf), used the visual to invoke the sound of the human voice.1 The effect, David Abrams suggests, was that of magic, the word having seemingly been "drawn" from the silence of thin air.2 And, like all tricks, the hand disappeared behind the magic. Where initially voice and hand had worked as extensions of one another, the voice serving to bring people together,3 the hand pointing to that which was voiced, the word as name now sounded alone.The story continues with the artistry of the storyteller. It was the artistry of a rhapsodist, one who used the voice to spin a tale of a "remembered present" from [End Page 42] the remnants of the hand's scratchings that had withstood the ravages of time.4 I say "remembered present" because the voice was valued for its expressive qualities and worked in and through a battery of memorized melodic embellishments that allowed it to stitch one image to the next on the basis of the storyteller's own experience and knowledge.5 It was a voice, consequently, that worked in the moment, a voice that drew energy and inspiration not only from the hand's scratchings but also from those that had gathered to listen. The first alphabets did little to change the dynamics of the event, they being nothing more than crudely assembled compilations of idiosyncratic phonograms (that is, z = buzzing bee) designed to define the possibilities of language as a vocabulary of names.6 Etched into bark, tree, stone, and parchment, however, they came to have a longevity that allowed the sounding codes they represented to be carried "word of mouth" from place to place. Where the spoken word had once been both fleeting and fluid, gone before it was fully sounded, it now had a repeatability that served to fix both its spellings and its meanings. And it was not long before the spinning of a tale had become a matter of second sight, the work of an extraordinary memory able to "recall" that which the storyteller had not been present to hear.7The gift worked through a self-conscious awareness of oneself as... (shrink)

The oldest record of the notion of “mercy”, raḥmān, in Aramaic is known from a bilingual text in which the word is the translation of the Akkadian rēmēnû. The latter is used in Mesopotamian onomastics, hymns and prayers, which delivered the oldest formulae of calls for the mercy of gods, especially in a recurrent expression: “the merciful god, that is good to pray,” translated verbatim in the Aramaic text of the statue of Tell Fekheryeh. Almost a thousand years later, the (...) same wording has been inherited unchanged in Palmyrene Aramaic. Nevertheless, the Palmyrene interest on the divine epithet raḥmān and its revival in Palmyrene epigraphy may be explained by the influence of the new Roman concept of clementia. Meanwhile, this contribution proposes to outline a chronology of the Aramaic inscriptions from Syria and Palestine, in which raḥmānāʾ is either the main substitute for the divine name, or a major divine epithet. As the Akkadian phonetic assimilates the consonant to the laryngeal but preserves the velar, the supposed East Semitic root was rḥm, not rḫm. On the contrary, in the Arabian Peninsula, the earliest attested root is rḫm, as evidenced by South Arabic onomastics or toponymy. A late use of rḥm in South Arabic as a verb or noun is the result of a loan from Aramaic and does not appear until the fifth century AD. The first South Arabian inscriptions naming the monotheistic god raḥmānn are preceded by the Palmyrene inscriptions by almost two centuries and are contemporary with the Jewish-Aramaic inscriptions in the Palestinian synagogues, which call the God Raḥmānāʾ. Late, the Aramaic epithet was transferred to the Arabic al-raḥmān, through South Arabian. (shrink)

Plato did not express any single and uniform theory of meaning. The paper presents different conceptions of meaning that can be attributed to Plato. The first presents meaning of names as imitating reality. Primary names are phonetic imitations of things, secondary names are built-up with the former ones. The second presents meaning as a representation in mind. There are two kinds of representations: individual and abstract. Individual representation is an imagination of empirical thing and the abstract (...) representation is a picture of idea - a property. The third conception describes the notion of meaning as a denotation. Denotations of general names are ideas. Plato treats names in an extensional manner. If two names about different forms refer to the same thing, they are the same name. The fourth is the association conception of meaning. It is connected with the theory of anamnesis. This theory says that humans remember ideas, which they observed in the time between death and birth. In the last conception the meaning is interpreted as connotation: the meaning of a name is the feature of the object that is referred to by this name. (shrink)

The present article deals with the translations of Hebrew and non Hebrew but presented as Hebrew anthroponyms and oikonyms in the work of Konstantin Konstenechki “Treatise of Letters” dating back to the first decade of the 15th century. Up to this moment excluding Jagić the researchers have not pay significant attention to this part of work and according to common opinion Konstantin did not know Hebrew language. However the careful language and textological analysis indicates that a big part of the (...) translations of names and words loaned from the Old and New Testaments are identical or stay close to the etymologies including in the modern dictionaries and other are result of phonetic comparison to Aramaic. There are also translations influenced by Midrashes and the works of Philo of Alexandria. (shrink)

Elicitation methods are known to influence second language speech production. For teachers and language assessors, awareness of such effects is essential to accurate interpretations of testing outcomes. For speech researchers, understanding why one method gives better performance than another may yield insights into how second-language phonological knowledge is acquired, stored, and retrieved. Given these concerns, this investigation compared L2 vowel intelligibility on two elicitation tasks and determined the degree to which differences generalized across vowels, vowels in context, lexical items, and (...) individual speakers. The dependent variable was the intelligibility of Cantonese speakers' productions of English /i I u ℧/ in varying phonetic environments. In a picture-naming task, the speakers produced responses without an auditory prompt. In a second task–interrupted repetition–they heard exemplars of the same targets without pictures, and repeated each one after counting aloud to 10, a step intended to disrupt their short-term auditory store and therefore prevent simple mimicry. For target words with scores below 80% on picture naming, mean intelligibility was more than 10 points higher on interrupted repetition. However, that difference did not generalize across conditions or across speakers. Thus, although it is technically accurate to say that, on average, interrupted repetition yielded better vowel intelligibility than did picture naming, that observation requires a great deal of qualification, particularly because of individual speaker differences. The outcomes are interpreted in terms of their relevance to language assessment and phonetic learning. (shrink)

The term of Tαυyάστ was found first in the History of Theophylact Simocatta, the Byzantine historian. Phonetically, it was derived from Ta-han, i.e. the Great Han, an appellation for the two Han Dynasties by the Huns and other nomadic peoples. With the rise of the Turks in Central Asia and its frequent diplomatic exchanges with the Byzantine empire in the last half of the 6th century, this term was acquainted with and written down by the Byzantine historian. This term, commonly (...) used as a name, was accepted by the various ethnic groups during its westward spread to Central Asia and West Asia, referring to China, and to those ethnic groups themselves with a derivative meaning in many cases. (shrink)

Multi-word formation processes in Portuguese comprise root-compounding (e.g., toxicodependente ‘drug addict’, agridoce ‘sour sweet’), word-compounding (e.g., barco-casa ‘houseboat’, guarda-roupa ‘wardrobe’, cantora-atriz ‘singer/actress’), and blending (e.g., cartomente ‘lying fortune teller’ < cartomante ‘fortune teller’ + mente ‘he/she lies’, tristemunho ‘sad testimony’ < triste ‘sad’ + testemunho ‘testimony’, cantautor ‘singer and composer’ < cantor singer + autor ‘composer’). Compound structures have been quite thoroughly described by several authors (e.g., Villalva & Gonçalves 2015), whereas blending has garnered some controversial and even contradictory analyses. (...) Some authors claim that blends and compounds have similar structures, while others consider that they have completely different structures (e.g., Gries 2004b, Minussi & Nóbrega 2014). This paper focuses on the description and analysis of an annotated corpus of Portuguese blends, and on the presentation of experimental evidence that aims to assess the knowledge of these words by native young adult European and Brazilian Portuguese speakers.The first section is devoted to the presentation of Portuguese blends, namely regarding the status of their constituents and their linear relationships, grammatical structure, and the phonetic/prosodic relationship that holds between the blends and their base words. The second section focuses on the description of the Portuguese blend corpus. Although new coinages make this a never-ending work in progress, it is presently formed by (circa) 300 blends, collected in a variety of sources, from literary texts to political and social commenting, advertising, or even individual ad hoc instances. The information gathered in the corpus comprehends all the features considered in the analysis of the blends, presented in section 1, and it also provides data on attestation and frequency. The third section presents an analysis of a sub-corpus (184 forms), related to their linear structure, grammatical and prosodic relationships, and a cross-analysis that suggests that there is a strong link between headedness and cliphood. Finally, the fourth section offers a brief presentation of experimental work that suggests that clips facilitate the processing of blends, since the clipped word is more frequently used in replies to a familiarity test, and the same happens with reaction time values obtained in a lexical decision test. (shrink)

In Plato's Cratylus, Hermogenes contends that the correctness of names is conventional. Appealing though this claim sounds to modern ears, it does not meet with approval in the Cratylus. Why? I argue that the conventionalism promoted by Hermogenes is discredited by unacceptable relativist implications because it incorporates the mistaken assumption that correct names are individuated exclusively by their phonetic composition.

When it comes to Second and Foreign Language Teaching, the teaching of pronunciation has, for long, been neglected and it has not been given due attention in textbooks. Additionally, studies tend to focus on only some intonation patterns such as wh- questions and yes-no questions, leaving other patterns which are as important unexplored. Thus, a research gap is generated. This study aims to narrow that gap by means of exploring the effectiveness of the teaching of intonation to Spanish-speaking trainee teachers (...) at a Chilean university. The study focuses on a less familiar intonation pattern, that of utterances which express implied information, namely, implications. The study involved 9 participants who were in the process of becoming English teachers and who were enrolled in an English phonetics course. All participants took a pre-test followed by a four-session intervention on the intonation of English implications and a post-test which involved the reading of 29 prompts. In order to compare pre- and post-test results, a Wilcoxon signed-ranked test was run. The results drawn from the non-parametric test revealed that the participants were able to perform English intonation for implications better after having received training than before the treatment, Z=-2,668, p=0,008. (shrink)

The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its (...) own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.Abstract: Abū Hafs Sharafuddīn Omar b. Ali al-Hamavī al-Mısrī (d. 632/1235) known as the king of lovers, and called Ibn al-Fārid, is a divine love poet that lived in Egypt during the Ayyubids period (1171-1462). He is an important figure in the process of change and transformation of poetry language in Arabic literature. The lughz and muʿammā (enigma, enigmetic speech, allusion, inversion riddle, poetry puzzle, synecdoche and metaphoric language) means a word pointing to a name or something by symbol and sign. Numerous books have been written about lughzes. These include Arabic poetry, Persian poetry, Classical Turkish poetry, Arabic grammar, Islamic law, hadith, mathematics and inheritance law. The lughz and muʿammā have some linguistic features related to phonetics, statistical linguistics, morphology, lexicology, grammar, syntax, semantics and prosody. This tradition has an important place in Arabic poetry. The research aims to carry out a theoretical and anecdotal examination of the lughzes and muʿammās in Ibn al-Fārız’s Dīwān. The paper explains, firstly, the concept of lughz in terms of conceptual content and theoretical structure. The article summarizes its own method to be applied in analyzing and evaluating lughzes within ten items. The research examines the series of lughzes in Dīwānand divides them into parts according to the original question in the riddles. This work examines the secondary lughzes given in the details of poems in solution parts. The paper indicates whether the lughzes in Dīwānhave a theoretical structure or not. In this context, the research examines lughzes in terms of language and structure, especially in terms of the processes of establishment and solution. This paper categorizes the lughzes according to the number of layers and to whether they have a simple or compound structure. This paper examines the theoretical and functional contributions of the amal al-tahsīlī, amal al-takmīlī, amal al-tashīlī and amal al-tazyīlī methods in the stages of the establishment and the solution of the lughzes. The work applies the theoretical perspectives of these methods to each lughz. The research also examines the contribution of these four methods to the lughzes.There are many lughzes in Ibn al-Fārid’s poems. In Ibn al-Fārid’s Dīwān, in general, fifty-four things are asked. Fifty-one of them are words. Three of them are verbs. One of the verbs is in the order structure and two in the past tense. His lughzes have a theoretical and methodical structure. In terms of organizational structure, lughzes are generally multi-layered, intricate, compound and integrated. Composite lughzes are multi-layered, simple poems are single-layered. Approximately twenty words are asked in the lughzes. These words are always in the first layer of lughz, whether simple or compound. Thirty-seven words in the lughz are secondary lughz with an auxiliary and complementary nature. They are located between the second and sixth layers. Seventeen of the lughzes asked in the auxiliary nature are located in the second layer, thirteen in the third layer, five in the fourth layer, one in the fifth layer and one in the sixth layer. One of the lughzes is six-layered, one of them are five-layered, four of them are four-layered, eight are three-layered, four are double-layered and three are single-layered. According to this, the majority of lughzes in Ibn al-Fārid’s poems are in the unified form and multilayered.The lughzes are formed in terms of word, composition, phrase, grammar and meaning levels. The lughzes have both lexical and semantic characteristics. Ibn al-Fārid uses the configuration (amal al-tahsīlī), completion (amal al-takmīlī), facilitation (amal al-tashīlī) and addition (amal al-tazyīlī) methods to design the lughzes. The structure in the lughzes is shaped by these methods. The words in his lughzes constitute eleven categories, consisting of names, acts and noun verbs. The answers of the questions asked in the poems consist in general of prophet names, surah names, tribal names, administrator’s surnames, letters, cities, animals, food and drink names, attributes and actions. Verbs are in the past time or order form. Some of the lughzes in Ibn al-Fārid’s poems are built in an extraordinary style beyond being interesting. Not all the sentences used in couplets are part of the lughzes. These elements are mentioned in order to complete the lughzes in terms of rhythm and meaning. To be able to solve the lughzes of Ibn al-Fārid, one must be knowledgeable about the language and narrative features of Arabic and Islamic culture, as well as subjects such as the Quran, Sufism, abjad calculation, mathematics, geometry, geography, biology, botany and zoology. His poems contributes to the development and transformation of Arabic poetry. (shrink)

(1) This is Part 2 of the semantic theory I call TM. In Part 1, I developed TM as a theory in the analytic philosophy of language, in lexical semantics, and in the sociology of relating occasions of statement production and comprehension to formal and informal lexicographic conclusions about statements and lexical items – roughly, as showing how synchronic semantics is a sociological derivative of diachronic, person-relative acts of linguistic behavior. I included descriptions of new cognitive psychology experimental paradigms which (...) would allow us to precisely measure the two constituents of semantics – meaning and reference – both at the level of individual speech acts and at the level of societal convergences, i.e. at both the token and type levels. -/- (2) In the Introduction, I recapitulate the arguments of Part 1. The Introduction also develops some analytic philosophical and lexical semantics themes not discussed in Part 1. -/- (3) After the Introduction, I present neural TM (nTM) as a theory of the neural mechanisms and processes which give rise to these person/occasion-relative acts of linguistic behavior. I develop nTM at three levels, the first two of which describe linguistic/semantic functions independently of their cortical locations. At the first level, I describe individual word-to-word and word-to-object connections. At the second level, I describe the corresponding structuralist networks of which they are the individual components. At this level, I introduce some key linguistic concepts of TM – its graded meaning, reference, and generalization sets, and the types of statements which express various levels of word-to-word and word-to-object relationships among lexical items which, because of the constraints they impose on the use of those lexical items in statements we produce and comprehend, are concepts. This constitutes the second structural level of nTM. -/- (4) At the third level, I associate the non-localized structures of the previous levels with cortically located neural structures and with the fasciculi that connect them. I distinguish neural areas in which primary (phonetic) and secondary (orthographic) lexicons are stored in long-term memory. I also describe the embodied concepts which co-exist in the anterior temporal lobes with the images they lexicalize. These concepts are often said to name physical objects and their features, although what they in fact name are kinds of physical objects and features. I describe how conceptual constraints and referential constraints interact to channel our intentions to say how things are into statements which are semantically well-formed, and which consequently successfully communicate information. -/- (5) Following this presentation of nTM, I examine five prominent neural semantic theories. I point out what is wrong with each of them as far as their explanations of semantics are concerned, and I also indicate how nTM can replace the “semantic cores” of those theories. -/- (6) The two basic mistakes made by neuroscience semantic theories, as I will explain, are (i) that all but one of them regard semantics as a matter of the association of words with perceptual images, and of generalizations from those associations; and (ii) that they all rely on an unspecified set of neural structures which purportedly encode the meaning of concepts in abstraction from their phonological and orthographic forms. nTM maintains, in contrast, that there are no abstract neural representations of semantic content. Neural constraints on our linguistic behavior, especially on our ascriptive and co-ascriptive use of words, express the semantic constraints on those words which make them concepts. That is the semantic content of words. -/- (7) I next consider several results from neuroscience experimental data which have been given one interpretation by one or another of the standard neurosemantic theories, but to which nTM gives a different interpretation. I include several predictions which I have found neither confirmed nor disconfirmed in the experimental neuroscience literature. -/- (8) After a concluding section in which I summarize the major changes to neurosemantic theory introduced by TM, and the analytic philosophy of language and lexical semantics contexts within which TM is situated, there follows an appendix in which I discuss neural net AI, and make some recommendations for implementing nTM in silicon. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

The article highlights certain aspects of the obscured structure of the number, which occur irregularly in the teaching of numeracy in Preschool Education. Its absence, as an effect, leads to the child's misunderstanding of the concept of number. In the presymbolic stage, the number is taught through the word. Structural particularities are found in the semantics and phonetics of the number word and are substantial in the processes of speech and listening. The objectives are to make known the obscured structure (...) of the number and its elements and to analyze the nature of the name of the number. It is justified that the basis of the word "ONE" are the first sound manifestations of the infant. It states that there is the same and equal relationship between the acquisition of knowledge of language and speech with the acquisition of knowledge of number through the development of tonal auditory balance. Methodology: the theoretical analysis of the structural parts (semantics and phonosemantics) of the number and the identification of reciprocal correlation between the constructions of the knowledge of spoken numeral word in Preschool Education through the implemented technology. Contribution: the development of the method for learning the concept of number. (shrink)