This paper shows that Russell’s theory of descriptions gives the wrong se-mantics for definite descriptions occurring in questions and imperatives. Depending on how that theory is applied, it either assigns nonsense to per-fectly meaningful questions and assertions or it assigns meanings that di-verge from the actual semantics of such sentences, even after all pragmatic and contextual variables are allowed for. Given that Russell’s theory is wrong for questions and assertions, it must be wrong for assertoric state-ments; for the semantics (...) of ‘the phi’ obviously doesn’t vary depending on whether it occurs in a question or an assertion or a command. (shrink)

I argue that sentence contents should be assigned truth-values relative to parameters other than a possible world only if those parameters are fixed by the context of assessment rather than the context of use. Standard counterexamples, including tense, de se attitudes, and knowledge ascriptions, all admit of alternative analyses which do not make use of such parameters. Moreover, allowing such indices greatly complicates the task of defining disagreement, and forces an odd separation between what is true, and what someone has (...) truthfully said. If non-world indices are always fixed by the context of assessment, a characterization of semantic theories as ?relativist? in terms of assessment-sensitivity converges with a characterization in terms of sensitivity to non-world indices. More tentatively, I suggest that even a possible world index, when used in the assignment of truth-values to sentence contents, should be fixed by the context of assessment, not the context of use. This eliminates MacFarlane's category of ?non-indexical contextualism?, and results in a system in which parameters fixed by the context of use are used only in the assignment of contents to linguistic expressions, and parameters used in the assignment of truth-values to contents are uniformly fixed by the context of assessment. (shrink)

The Reign of Quantity gives a concise but comprehensive view of the present state of affairs in the world, as it appears from the point of view of the 'ancient wisdom', formerly common both to the East and to the West, but now almost entirely lost sight of. The author indicates with his fabled clarity and directness the precise nature of the modern deviation, and devotes special attention to the development of modern philosophy and science, and to the part played (...) by them, with their accompanying notions of progress and evolution, in the formation of the industrial and democratic society which we now regard as 'normal'. Guénon sees history as a descent from Form (or Quality) toward Matter (or Quantity); but after the Reign of Quantity-modern materialism and the 'rise of the masses'-Guénon predicts a reign of 'inverted quality' just before the end of the age: the triumph of the 'counter-initiation', the kingdom of Antichrist. This text is considered the magnum opus among Guénon's texts of civilizational criticism, as is Symbols of Sacred Science among his studies on symbols and cosmology, and Man and His Becoming according to the Vedanta among his more purely metaphysical works. (shrink)

This study investigates the performance of 21 monolingual and 56 bilingual children aged 5;6-9;0 on German-LITMUS-sentence-repetition (SRT; Hamann et al., 2013) and nonword-repetition-tasks (NWRT; Grimm et al., 2014), which were constructed according to the LITMUS-principles (Language Impairment Testing in Multilingual Settings; Armon-Lotem et al., 2015). Both tasks incorporate complex structures shown to be cross-linguistically challenging for children with Specific Language Impairment (SLI) and aim at minimizing bias against bilingual children while still being indicative of the presence of language impairment (...) across language combinations. Given the great variability in bilingual language exposure and the potential effect of language experience on language performance in bilingual children, we examined whether background variables related to bilingualism, particularly, the degree language dominance as measured by relative amount of use and exposure, could compromise the diagnostic accuracy of the German-LITMUS-SRT and NWRT. We further investigated whether a combination of the two tasks provides better diagnostic accurracy. To address this, we used an unsupervised machine learning algorithm, the Partitioning-Around-Medoids (PAM), for deriving a clinical category for the children as ±language-impaired based on performance scores on SRT and/or NWRT while withholding information about their clinical status based on standardized assessment in L1/L2. Subsequently, we calculated diagnostic accuracy and investigated which background variables (age of onset, length of exposure, degree of language-dominance, socio-economic-status, and risk factors for SLI) best explained clinical-group-membership yielded from the PAM-analysis based on NWRT and/or SRT scores. Results show that although language-dominance influences the performance of bilingual typically-developing children, especially in the SRT, the diagnostic accuracy of the tools is not compromised by language dominance: while risk factors for SLI were significant predictors for clinical group membership in all models, language dominance did not contribute at all to explaining clinical cluster membership as typically-developing or SLI based on any of the combinations of the SRT and NWRT variables. Additionally, results confirm that a combination of SRT scored by correct target structure and the structurally more complex language-dependent part of the NWRT yields better diagnostic accuracy than single measures and is only sensitive for risk factors for SLI and not to dominance levels or SES. (shrink)

Refusal is considered a face-threatening act, since it contradicts the inviter’s expectations. In the case of Japanese, native speakers are known to prefer to leave sentences unfinished for a conventional indirect refusal. Successful comprehension of this indirect refusal depends on whether the addressee is fully conventionalized to the preference for syntactic unfinishedness so that they can identify the true intention of the refusal. Then, non-native speakers who are not fully accustomed to the convention may be confused by the indirect (...) style. In the present study, we used event-related potentials of electroencephalography in an attempt to differentiate the neural substrates for perceiving unfinished sentences in a conventionalized indirect refusal as an FTA between NS and NNS, in terms of the unfinishedness and indirectness of the critical sentence. In addition, we examined the effects of individual differences in mentalization, or the theory of mind, which refers to the ability to infer the mental states of others. We found several different ERP effects for these refusals between NS and NNS. NNS induced stronger P600 effects for the unfinishedness of the refusal sentences, suggesting their perceived syntactic anomaly. This was not evoked in NS. NNS also revealed the effects of N400 and P300 for the indirectness of refusal sentences, which can be interpreted as their increased processing load for pragmatic processing in the inexperienced contextual flow. We further found that the NNS’s individual mentalizing ability correlates with the effect of N400 mentioned above, indicating that lower mentalizers evoke higher N400 for indirect refusal. NS, on the contrary, did not yield these effects reflecting the increased pragmatic processing load. Instead, they evoked earlier ERPs of early posterior negativity and P200, both of which are known as indices of emotional processing, for finished sentences of refusal than for unfinished ones. We interpreted these effects as a NS’s dispreference for finished sentences to realize an FTA, given that unfinished sentences are considered more polite and more conventionalized in Japanese social encounters. Overall, these findings provide evidence that a syntactic anomaly inherent in a cultural convention as well as individual mentalizing ability plays an important role in understanding an indirect speech act of face-threatening refusal. (shrink)

The objective of this study is twofold: to examine the patterns that govern social reporting with reference to an Islamic framework and to identify the moral legitimacy factors that influence them. We select 146 publicly listed Sharia‐compliant companies and classify the disclosures in their annual reports according to an Islamic framework that categorises items as either Required, Expected or Desired to indicate the degree of importance each item carries from an Islamic perspective. Based on this framework, we then analyse moral (...) legitimacy factors, specifically the type of Sharia screening body and the proportion of Muslims in the population, that may influence the prioritisation of the different categories of social reporting. We find that disclosures that fall into the Required category of our framework—especially those that relate to companies’ involvement in “haram” activities (activities not permissible in Islam)—are still few among the companies studied. Our research also reveals that both moral legitimacy factors under investigation influence the three categories of social reporting, although in different ways. This research contributes to the existing literature by empirically examining how organisations prioritise their disclosure of virtues and the moral legitimacy factors that influence that prioritisation. (shrink)

Previous work has shown that children with dyslexia are impaired in speech recognition in adverse listening conditions. Our study further examined how semantic context and fundamental frequency contours contribute to word recognition against interfering speech in dyslexic and non-dyslexic children. Thirty-two children with dyslexia and 35 chronological-age-matched control children were tested on the recognition of words in normal sentences versus wordlist sentences with natural versus flat F0 contours against single-talker interference. The dyslexic children had overall poorer recognition performance (...) than non-dyslexic children. Furthermore, semantic context differentially modulated the effect of F0 contours on the recognition performances of the two groups. Specifically, compared with flat F0 contours, natural F0 contours increased the recognition accuracy of dyslexic children less than non-dyslexic children in the wordlist condition. By contrast, natural F0 contours increased the recognition accuracy of both groups to a similar extent in the sentence condition. These results indicate that access to semantic context improves the effect of natural F0 contours on word recognition in adverse listening conditions by dyslexic children who are more impaired in the use of natural F0 contours during isolated and unrelated word recognition. Our findings have practical implications for communication with dyslexic children when listening conditions are unfavorable. (shrink)

To assert is to utter a sentence under certain conventions, claims Michael Dummett. This view runs afoul of empirical evidence indicating the widespread assertoric use of non‐elliptical words and phrases. Dummett also advances two theses apparently related to his sentence conventionalism: that word meaning depends on sentence meaning, and that language is (in some sense) prior to thought. I argue that these latter two theses are independent of the empirically dubious Sentential Thesis. Plausibly, the wider Dummettian logico‐metaphysical programme is not (...) impugned by the existence of non‐sentential assertions. (shrink)

Recent work in supersemantics and in the semantic interpretation of prosody has showed that non-words (gestural, prosodic an iconic elements) can make truth conditional contributions. This paper contends that the way that they make their contributions—the way that they are integrated into semantic representations—calls into question foundational assumptions about how semantics works. I explore the case of a prosodic contour that can act as an intensifier (a word like ‘very’ or ‘really’) and argue that its compositional behaviour indicates that it (...) is integrated into sentence meaning in a secondary, dependent way and that this reveals a novel form of layering in semantic interpretation. (shrink)

Contrary to dictionaries, a non sequitur isn’t “any statement that doesn’t follow logically from previous statements”. Otherwise, every opening statement would be a non sequitur: a non sequitur is a statement claimed to follow from previous statements but that doesn’t follow. If the sentence making a given statement doesn’t contain ‘thus’, ‘so’, ‘hence’, ‘therefore’, or something else indicating an implication claim, the statement isn’t a non sequitur in this sense. But this is only one of several senses of that expression, (...) which, contrary to appearances, is a unitary common noun more properly written as one word: non-sequitur or nonsequitur. Above a nonsequitur was, roughly speaking, a conclusion of an invalid premise- conclusion argument, but not every such, only those that were stated to follow from premises that had been stated. Every informative proposition is the conclusion of an invalid argument. Anyway, nonsequiturs were not arguments. However, the expression ‘nonsequitur’ also means “invalid premise- conclusion argument”. It also means something like “fallacious reasoning” as in ‘Abe’s proof of the big-bang hypothesis is a nonsequitur’. The English noun is also used for an irrelevancy, an abrupt change of topic, or for any of many other expressions that are gratuitous, inappropriate, incongruous, or in some other way out of place. The English noun is derived from the Latin expression ‘non sequitur’, which is not a common noun but a sentence variously meaning “it isn’t in sequence ”, “it doesn’t follow”, “it is out of order”, etc. A statement that begins ‘in the second place’ is a nonsequitur if the previous sentence lacked implication of something like ‘in the first place’ or if it contained something similar to ‘in the third place’. In fact, a true implication claim can be a nonsequitur if there is no reason for making it. If Ben says ‘Hence, Abe swims and Abe swims’ in reply to Carl’s statement ‘Abe swims‘, then Ben may well be committing a nonsequitur. Many conversation stoppers are nonsequiturs. This lecture surveys and analyses a wide selection of uses of ‘nonsequitur’ in logic and logic-related literature. -/- END OF DRAFT 4 -/- NOTE 091215: When Rick Perry was discussing possible withdrawal from the race—unfortunately not the human race but the Republican race—a reporter reminded him that just last week Donald Trump predicted the Perry withdrawal. Perry interrupted with “A broken clock is right once a day”. -/- If you did not know Perry you might think his reply was a brilliant diversionary nonsequitur. If you know Perry you might think his reply was a stupid nonsequitur. -/- For the record, he did say ‘once a day’, not ‘twice a day’. BTW, my interjection ‘unfortunately not the human race but the Republican race’ was also a nonsequitur. (shrink)

Whether sentences are formulated primarily using lexically based or non-lexically based information has been much debated. In this perspective article, I review evidence for rational flexibility in the sentence production architecture. Sentences can be constructed flexibly via lexically dependent or independent routes, and rationally depending on the statistical properties of the input and the validity of lexical vs. abstract cues for predicting sentence structure. Different neural pathways appear to be recruited for individuals with different executive function abilities and (...) for verbs with different statistical properties, suggesting that alternative routes are available for producing the same structure. Together, extant evidence indicates that the human brain adapts to ongoing language experience during adulthood, and that the nature of the adjustment may depend rationally on the statistical contingencies of the current context. (shrink)

This paper discusses the philosophical and logical motivations for rejectivism, primarily by considering a dialogical approach to logic, which is formalized in a Question–Answer Semantics. We develop a generalized account of rejectivism through close consideration of Mark Textor's arguments against rejectivism that the negative expression ‘No’ is never used as an act of rejection and is equivalent with a negative sentence. In doing so, we also shed light upon well-known issues regarding the supposed non-embeddability and non-iterability of force indicators.

How are non-declarative sentences understood? How do they differ semantically from their declarative counterparts? Answers to these questions once made direct appeal to the notion of illocutionary force. When they proved unsatisfactory, the fault was diagnosed as a failure to distinguish properly between mood and force. For some years now, efforts have been under way to develop a satisfactory account of the semantics of mood. In this paper, we consider the current achievements and future prospects of the mood-based semantic (...) programme. (shrink)

This book offers a new perspective on current semantic theory by analysing key aspects of linguistic meaning and non-truth-conditional semantics. It applies non-truth-conditional semantics to various areas of language and critically considers earlier approaches to the study of semantic meaning, such as truth-conditional semantics, Speech Act theory and Gricean conventional implicatures. The author argues that those earlier approaches to linguistic semantics do not stand up to close scrutiny and are subject to a number of counterexamples, indicating that they are insufficient (...) for a comprehensive and unified account of linguistic semantics.<BR> An alternative framework is then presented based on recent developments in the field, demonstrating that it is possible to provide a unified account of linguistic semantics by making two fundamental distinctions between (a) conceptual and procedural meaning and (b) explicit and implicit communication. These two distinctions, combined with the various levels of representation available in linguistic communication, allow researchers to capture the variety of linguistic meaning encountered in natural language. The study includes a discussion of a number of areas within linguistic semantics, including sentence adverbials, parentheticals, discourse/pragmatic connectives, discourse particles, interjections and mood indicators. (shrink)

Jay Newhard (2021) proposes a novel solution to the Liar Paradox, which he calls the alethic indeterminacy solution to the Liar Paradox. Bradley Armour-Garb (2021) raises a pair of objections to the alethic indeterminacy solution. Both objections are based upon the alethic indeterminacy solution’s alleged commitment that the truth conditions for a Liar Sentence are indeterminate, and therefore not true. In this paper, this alleged commitment is shown to be mistaken. The alethic indeterminacy solution is compatible with maintaining that the (...) truth conditions for a Liar Sentence are a non-truth-functional biconditional which is true, and not indeterminate. Logically complex sentences are typically and standardly treated as truth-functional, and the philosophical literature on non-truth-functionality is diffuse. Two independent accounts of non-truth-functional biconditionals are defended. The first account is based on the claim that indicative conditionals express a non-truth-functional dependency relation between consequent and antecedent. The second account is based upon connected sentences having interdependent truth conditions, which can occur with any polyadic connective. These accounts are fully general, not ad hoc measures. Each account solves both of Armour-Garb’s objections. With both objections met, the alethic indeterminacy solution is shown to be a viable solution to the Liar Paradox worth further development. (shrink)

The present study aimed to investigate the effects of type of noise, age and gender on children’s speech intelligibility and sentence comprehension. The experiment was conducted with 171 children between 11 and 13 years old in ecologically-valid conditions (collective presentation in real, reverberating classrooms). Two standardized tests were used to assess speech intelligibility (SI) and sentence comprehension (SC). The two tasks were presented in three listening conditions: quiet; traffic noise; and classroom noise (non-intelligible noise with the same spectrum and temporal (...) envelope of speech, plus typical classroom sound events). Both task performance accuracy and listening effort were considered in the analyses, the latter tracked by recording the response time using a single-task paradigm. Classroom noise was found to have the worst effect on both tasks (worsening task performance accuracy and slowing response times), due to its spectro-temporal characteristics. A developmental effect was seen in the range of ages (11-13 years), which depended on the task and listening condition. Gender effects were also seen in both tasks, girls being more accurate and quicker to respond in most listening conditions. A significant interaction emerged between type of noise, age and task, indicating that classroom noise had a greater impact on response times for SI than for SC. Overall, these results indicate that, for 11- to 13-year-old children, performance in SI and SC tasks is influenced by aspects relating to both the sound environment and the listener (age, gender). The presence of significant interactions between these factors and the type of task suggests that the acoustic conditions that guarantee optimal SI might not be equally adequate for SC. Our findings have implications for the development of standard requirements for the acoustic design of classrooms. (shrink)

In this paper I discuss the consistency and accuracy of Husserl’s sketch of a theory about non-declarative sentences in the last chapter of Logical Investigations. Whereas the consistency is acknowledged, the accuracy is denied, because Husserl’s treatment of non-declarative phrases such as questions or orders implies that those phrases contain, in some way, a declarative sentence and an objectifying act. To construct a question like »is A B?« as being equivalent to a declarative sentence such as »I ask whether (...) A is B« is, indeed, a false phenomenological analysis, because to ask or to order or to beg is not to assert. I turn, then, to John Austin’s theory of performative utterances and illocutionary acts in order to find a more accurate approach to the logical-semantic content of non-declarative sentences. Eventually, I show how this Husserlian theory of non-declarative sentences has a negative impact on the phenomenological theory of social acts and communication. (shrink)

Earlier studies have shown that musically trained individuals may have a benefit in adverse listening situations when compared to non-musicians, especially in speech-on-speech perception. However, the literature provides mostly conflicting results. In the current study, by employing different measures of spoken language processing, we aimed to test whether we could capture potential differences between musicians and non-musicians in speech-on-speech processing. We used an offline measure of speech perception, which reveals a post-task response, and online measures of real time spoken language (...) processing: gaze-tracking and pupillometry. We used stimuli of comparable complexity across both paradigms and tested the same groups of participants. In the sentence recall task, musicians recalled more words correctly than non-musicians. In the eye-tracking experiment, both groups showed reduced fixations to the target and competitor words’ images as the level of speech maskers increased. The time course of gaze fixations to the competitor did not differ between groups in the speech-in-quiet condition, while the time course dynamics did differ between groups as the two-talker masker was added to the target signal. As the level of two-talker masker increased, musicians showed reduced lexical competition as indicated by the gaze fixations to the competitor. The pupil dilation data showed differences mainly in one target-to-masker ratio. This does not allow to draw conclusions regarding potential differences in the use of cognitive resources between groups. Overall, the eye-tracking measure enabled us to observe that musicians may be using a different strategy than non-musicians to attain spoken word recognition as the noise level increased. However, further investigation with more fine-grained alignment between the processes captured by online and offline measures is necessary to establish whether musicians differ due to better cognitive control or sound processing. (shrink)

Japanese English learners have difficulty speaking Double Object than Prepositional Object structures which neural underpinning is unknown. In speaking, syntactic and phonological processing follow semantic encoding, conversion of non-verbal mental representation into a structure suitable for expression. To test whether DO difficulty lies in linguistic or prelinguistic process, we conducted functional magnetic resonance imaging. Thirty participants described cartoons using DO or PO, or simply named them. Greater reaction times and error rates indicated DO difficulty. DO compared with PO showed parieto-frontal (...) activation including left inferior frontal gyrus, reflecting linguistic process. Psychological priming in PO produced immediately after DO and vice versa compared to after control, indicated shared process between PO and DO. Cross-structural neural repetition suppression was observed in occipito-parietal regions, overlapping the linguistic system in pre-SMA. Thus DO and PO share prelinguistic process, whereas linguistic process imposes overload in DO. (shrink)

This paper shows that Russell’s theory of descriptions gives the wrong semantics for definite descriptions occurring in questions and imperatives. Depending on how that theory is applied, it either assigns nonsense to perfectly meaningful questions and assertions or it assigns meanings that diverge from the actual semantics of such sentences, even after all pragmatic and contextual variables are allowed for. Given that Russell’s theory is wrong for questions and assertions, it must be wrong for assertoric statements; for the semantics (...) of ‘the phi’ obviously doesn’t vary depending on whether it occurs in a question or an assertion or a command. (shrink)

If S is any well-formed and significant question or command having the form "...the phi...", Russell's Theory of Descriptions entails (i) that S is syntactically ambiguous, and (ii) that there is at least one disambiguation of S that is syntactically ill-formed. Given that each of (i) and (ii) is false, so is the Theory of Descriptions.

An increasing number of studies demonstrated the involvement of the cerebellum in sequence processing. The current preliminary study is the first to investigate the causal involvement of the cerebellum in sequence generation, using low-frequency repetitive transcranial magnetic stimulation. By targeting the posterior cerebellum, we hypothesized that the induced neuro-excitability modulation would lead to altered performance on a Picture and Story sequencing task, which involve the generation of the correct chronological order of various social and non-social stories depicted in cartoons or (...) sentences. Our results indicate that participants receiving LF-rTMS over the cerebellum, as compared to sham participants, showed a stronger learning effect from pre to post stimulation for both tasks and for all types of sequences. No differences between sequence types were observed. Our results suggest a positive effect of LF-rTMS on sequence generation. We conclude that the cerebellum is causally involved in the generation of sequences of social and nonsocial events. Our discussion focuses on recommendations for future studies. (shrink)

Since logic in the 13th century is focussed on syllogistics as its main subject, textbooks on logic provide us with large and detailed treatments of the proposition as the immediate and constitutive basis of the syllogism. In the present paper I will give a survey of these treatments and pay special attention to a certain side-issue, namely to non-assertive sentences and to some difficulties concerning their classification. I will focus on William of Sherwood's apporach to the subject and compare (...) it with the conceptions of Roger Bacon, Peter of Spain and Lambert of Lagny, who are the auhtors of the three main logic compendia besides William of Sherwood's in the thirteenth century. (shrink)

The essays in this collection are the outgrowth of a workshop, held in June 1976, on formal approaches to the semantics and pragmatics of natural languages. They document in an astoundingly uniform way the develop ments in the formal analysis of natural languages since the late sixties. The avowed aim of the' workshop was in fact to assess the progress made in the application of formal methods to semantics, to confront different approaches to essentially the same problems on the one (...) hand, and, on the other, to show the way in relating semantic and pragmatic explanations of linguistic phenomena. Several of these papers can in fact be regarded as attempts to close the 'semiotic circle' by bringing together the syntactic, semantic and pragmatic properties of certain constructions in an explanatory framework thereby making it more than obvious that these three components of an integrated linguistic theory cannot be as neatly separated as one would have liked to believe. In other words, not only can we not elaborate a syntactic description of (a fragment of) a language and then proceed to the semantics (as Montague pointed out already forcefully in 1968), we cannot hope to achieve an adequate integrated syntax and semantics without paying heed to the pragmatic aspects of the constructions involved. The behavior of polarity items, 'quantifiers' like any, conditionals or even logical particles like and and or in non-indicative sentences is clear-cut evidence for the need to let each component of the grammar inform the other. (shrink)

En este articulo quiero discutir algunos temas centrales deI tratamiento fregeano de los contextos no extensionales. Limitaré mi discusión al análisis de oraciones de creencia y de la oratio obliqua. En la primera parte, voy a describir dos tipos de teoría dentro deI marco de la semántica de Frege. En particular, compararé y evaluaré los análisis de oraciones no extensionales de primer y segundo nivel que se pueden llevar a cabo en las teorías de ambos tipos. En la segunda parte, (...) examinaré en que medida se puede establecer una jerarquía infinita de sentidos indirectos. En la tercera parte, voy a examinar el principio fregeano de sustitutividad de expresiones coreferenciales salva veritate. Además, haré algunas observaciones críticas sobre artículos de Tyler Burge y Jaakko Hintikka relacionados con esta temática.In this article, I discuss some important aspects of Frege’s treatment of nonextensional contexts. I focus on the analysis of belief sentences and of oratio obliqua. In the first part, I deseribe two types of theory within Fregean semantics and assess the analyses of non-extensional sentences of first and of second level whieh can be carried out in the theories of both types. In the seeond part, I examine to what extent one can establish an infinite hierarehy of indirect senses. In the third and final part, I examine Frege’s principle of substitutivity salva veritate of coreferential terms. I conelude with critieal observationson articles of Tyler Burge and Jaakko Hintikka which deal with this principle. (shrink)

Studies in conversation analysis have shown that in assessments, various linguistic resources are used to express epistemic stance in ordinary conversation. In Korean conversation, although the evidential and non-evidential functions of sentence-ending suffixes are well recognized, little research has been done on their relation to epistemic stance and their use in assessments. In this study, using naturally-occurring conversation data and the CA framework, I analyze 59 cases of a speaker’s first assessment regarding his/her interlocutor and 49 responses to these first (...) assessments. I argue that in Korean assessment pairs, the evidential and non-evidential SE suffixes are used as a resource for expressing epistemic stance. The results show that 74.4% of the first assessments were marked with an evidential SE suffix whereas 71.4% of the second assessments were marked with a non-evidential SE suffix. Furthermore, certain evidential SE suffixes are used as a resource to convey a downgraded epistemic stance in first assessments whereas certain non-evidential SE suffixes are used to express epistemic primacy in second assessments. (shrink)

Frege-Geach worries about embedding and composition have plagued metaethical theories like emotivism, prescriptivism and expressivism. The sharpened point of such criticism has come to focus on whether negation and inconsistency have to be understood in descriptivist terms. Because they reject descriptivism, these theories must offer a non-standard account of the meanings of ethical and normative sentences as well as related semantic facts, such as why certain sentences are inconsistent with each other. This paper fills out such a solution (...) to the negation problems, following some of the original emotivist ideas about the interplay of interests in conversation. We communicate both to share information and coordinate our actions, and we use distinctively normative language like deontic ‘must’ and ‘may’ to negotiate what people are to do. The kinds of disagreement involved in such negotiation can illuminate the issues with negation and inconsistency. This paper outlines a dynamic semantic system in which these ideas can bear fruit, developing the scorekeeping model of conversation. The result is clarification about what Frege-Geach worries can mean for nondescriptive semantics. (shrink)

Wittgenstein attached overarching personal importance to questions of moral value. Yet his written treatments of ethics are brief and obscure, while his views on language have had a strong, albeit intermittent and diffuse, influence on analytic moral philosophy. His remarks on ethics seem to be totally at odds with realist and cognitivist accounts. Both the Tractatus and 'A Lecture on Ethics' maintain that ethics transcends linguistic expression, and later remarks seem to point in the direction of a communal variant of (...) expressivism and relativism. Nevertheless, Wittgenstein’s philosophy of language was invoked in the 1980s by Oxford philosophers like John McDowell and Sabina Lovibond against the still prevailing non-cognitivist mainstream. These ‘anti-anti-realists’ maintained that, from a Wittgensteinian perspective, all indicative sentences, including moral ones, make claims to truth. My article discusses this proposal, historically, exegetically, and substantively. Anti-anti-realism (AAR) chimes with Wittgenstein’s deflationary account of truth. But that account is not committed to the conclusion that all propositions that can be called ‘true’ or ‘false’ have the same semantic status. Indeed, anti-anti-realism is at odds with Wittgenstein’s view that the similarity in linguistic form disguises logical differences between moral and descriptive propositions. (shrink)

§0. A familiar if obscure idea: an indicative conditional presents its consequent as holding in the actual world on the supposition that its antecedent so holds, whereas a subjunctive conditional merely presents its consequent as holding in a world, typically counterfactual, in which its antecedent holds. Consider this pair.

Michael Dummett has nicely expressed a rather widespread doctrine about the primacy of sentences. He writes: "you cannot DO anything with a word — cannot effect any conventional act by uttering it — save by uttering some sentence containing that word ...". In this paper we argue that this doctrine is mistaken: it is not only sentences, but also ordinary words and phrases which can be used in isolation. The argument involves two steps. First: we show — using (...) Sperber and Wilson's relevance theory — that an utterance of "John's father" could COMMUNICATE a proposition. Second: we point out that, in this context, this proposition would be asserted rather than merely implicated. Because there is nothing importantly idiosyncratic about the phrase "John's father", we infer that words and phrases generally can be used in isolation to make assertions. (shrink)

Michael Dummett has nicely expressed a rather widespread doctrine about the primacy of sentences. He writes: "you cannot DO anything with a word — cannot effect any conventional act by uttering it — save by uttering some sentence containing that word...". In this paper we argue that this doctrine is mistaken: it is not only sentences, but also ordinary words and phrases which can be used in isolation. The argument involves two steps. First: we show — using Sperber (...) and Wilson's relevance theory — that an utterance of "John's father" could COMMUNICATE a proposition. Second: we point out that, in this context, this proposition would be asserted rather than merely implicated. Because there is nothing importantly idiosyncratic about the phrase "John's father", we infer that words and phrases generally can be used in isolation to make assertions. (shrink)

One aspect of auditory scenes that has received very little attention is the level of diffuseness of sound sources. This aspect has increasing importance due to growing use of amplification systems. When an auditory stimulus is amplified and presented over multiple, spatially-separated loudspeakers, the signal’s timbre is altered due to comb filtering. In a previous study we examined how increasing the diffuseness of the sound sources might affect listeners’ ability to recognize speech presented in different types of background noise. Listeners (...) performed similarly when both the target and the masker were presented via a similar number of loudspeakers. However, performance improved when the target was presented using a single speaker and the masker from three spatially separate speakers but worsened when the target was diffuse, and the masker was compact. In the current study, we extended our research to examine whether the effects of timbre changes with age and linguistic experience. Twenty-four older adults whose first language was English and 24 younger adults whose second language was English were asked to repeat non-sense sentences masked by either Noise, Babble, or Speech and their results were compared with those of the Young-EFLs previously tested. Participants were divided into two experimental groups: A Compact-Target group where the target sentences were presented over a single loudspeaker, while the masker was either presented over three loudspeakers or over a single loudspeaker; A Diffuse-Target group, where the target sentences were diffuse while the masker was either compact or diffuse. The results indicate that the Target Timbre has a negligible effect on thresholds when the timbre of the target matches the timbre of the masker in all three groups. When there is a timbre contrast between target and masker, thresholds are significantly lower when the target is compact than when it is diffuse for all three listening groups in a Noise background. However, while this difference is maintained for the Young and Old-EFLs when the masker is Babble or Speech, speech reception thresholds in the Young-ESL group tend to be equivalent for all four combinations of target and masker timbre. (shrink)

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

This paper presents and discusses Henri Poincaré’s view on the logical non-derivability of imperatives from indicatives. Firstly, his point of view is compared with David Hume’s. Then Poincaré’s thesis is shown to have been implicitly or explicitly essential to attempts to build a logic of imperatives (norms) as a special linguistic category as well as a deontic logic. The paper shows deontic logic enables us to formulate general principles concerning the logical separability of deonticals (sentences with deontic operators) and (...) non-deontic sentences. Finally, the paper includes remarks on the reception of Poincaré’s discussed ideas in later logical and philosophical literature with the second issue illustrated by legal philosophy. (shrink)

In this study, we examine the problem of belief revision, defined as deciding whic h of several initially-accepted sentences to disbelieve, when new information presents a l ogical inconsistency with the initial set. In the first three experiments, the initial sentence set included a conditional sentence, a non-conditional sentence, and an inferred conclusi on drawn from the first two. The new information contradicted the inferred conclusion. Results indicated that the conditional sentences were more readily abandoned than non-c onditional (...) sentences, even when either choice would lead to a consistent belief state, and that this preference was more pronounced when problems used natural language cover sto ries rather than symbols. The pattern of belief revision choices differed depending on whe ther the contradicted conclusion from the initial belief set had been a modus ponens or m odus tollens inference. Two additional experiments examined alternative model-theoretic definitions of minimal change to a belief state, using problems that contained multiple mo dels of the initial belief state and of the new information that provided the contradiction. The results indicated that people did not follow any of four formal definitions of minimal change on these problems. The new information and the contradiction it offered was not, for example, used to select a particular model of the initial belief state as a way of reconci ling the contradiction. The preferred revision was to retain only those initial sentences th at had the same, unambiguous truth value within and across both the initial and new info rmation sets. The study and results are presented in the context of certain logic-based for malizations of belief revision, syntactic and model-theoretic representations of belief stat es, and performance models of human deduction. Principles by which some types of sent ences might be more "entrenched" than others in the face of contradiction are also discuss ed from the perspective of induction and theory revision. (shrink)

In this paper, I argue for two principles to determine the temporal interpretation of modal sentences in English, given a theory in which modals are interpreted against double conversational backgrounds and an ontology in which possible worlds branch towards the future, The Disparity Principle requires that a modal sentence makes distinctions between worlds in the modal base. The Non- disparity Principle requires that a modal sentence does not make distinctions on the basis of facts settled at speech time. Selection (...) of the modal base will set these principles against each other, or allow for their cooperative interaction. For a root modal base, there is a conflict and disparity wins. The resulting interpretation is future. For a non-root modal base, the principles cooperate. Non-disparity determines a non-future interpretation and disparity requires the sentence to go beyond what is known by the speaker. (shrink)

Himbert of Garda was a little-known Franciscan theologian who studied at Paris around 1320 and probably served as Francis of Meyronnes’ secretary. His commentary on the Sentences provides precious insights on the development of Franciscan thought at Paris, connecting Francis of Meyronnes’ refined presentations of doctrine with raw academic debates between bachelors and masters in the Faculty of Theology. An appendix presents Himbert’s discussion of intrinsic degrees in Book I d.36, and both redactions of his treatment of the formal (...) distinction in the context of the divine attributes in Book I d.8, as well as parallel texts from Francis of Meyronnes. A second appendix provides a full question- and citation-list for Himbert’s commentary on the Sentences. (shrink)

There is a distinctive kind of command, namely commands to answer specific questions. An imperative sentence denoting such a command has an interrogative sentence corresponding to it-a sentence denoting the respective question. LetImp, Int, andQ be such an imperative sentence, the interrogative sentence corresponding to it, and the question denoted by the interrogative sentence, respectively. LetQ be an empirical question, i. e., and ((ητ)ω)-object. LetP be an ((ητ)ω)-construction constructingQ. Then the analysis ofImp has the form (QL).LetQ be an analytical question, (...) i. e., a molecular extensional η-construction. LetQ=C, whereC is a ℊ-object (over the extended base). Then the analysis ofImp has the form (QL′). The imperative sentences whose analyses have the form (QL) or (QL′) can be called ‘question-like imperative sentences’ or simply ‘QL-imperative sentences’. No imperative sentence whose analysis differs from (QL) and (QL\t') can be associated with a question. Therefore, no transformation of such an imperative sentence should result in a correct interrogative sentence. Fulfilling an order which is determined by a QL-imperative sentenceImp, one simultaneously gives the right answer to the questionQ (which is associated withImp). One who does not fulfil this order either wrongly answersQ or does not answerQ at all. (shrink)