Words in Semitic texts often consist of a concatenation of word segments, each corresponding to a Part-of-Speech (POS) category. Semitic words may be ambiguous with regard to their segmentation as well as to the POS tags assigned to each segment. When designing POS taggers for Semitic languages, a major architectural decision concerns the choice of the atomic input tokens (terminal symbols). If the tokenization is at the word level the output tags must be complex, and represent both the segmentation (...) of the word and the POS tag assigned to each word segment. If the tokenization is at the segment level, the input itself must encode the different alternative segmentations of the words, while the output consists of standard POS tags. Comparing these two alternatives is not trivial, as the choice between them may have global effects on the grammatical model. Moreover, intermediate levels of tokenization between these two extremes are conceivable, and, as we will aim to show, beneficial. To the best of our knowledge, the problem of tokenization for POS tagging of Semitic languages has not been addressed before in full generality. In this paper, we study this problem for the purpose of POS tagging of Modern Hebrew texts. After extensive error analysis of the two simple tokenization models, we propose a novel, linguistically-motivated, intermediate tokenization model that gives better performance for Hebrew over the two initial architectures. Our study is based on the well-known Hidden Markov Models (HMMs). We start out from a manually devised morphological analyzer and a very small annotated corpus, and describe how to adapt an HMM-based POS tagger for both tokenization architectures. We present an effective technique for smoothing the lexical probabilities using an untagged corpus, and a novel transform for casting the segment-level tagger in terms of a standard, word-level, HMM implementation. The results obtained using our model are on par with the best published results on Modern Standard Arabic, despite the much smaller annotated corpus available for Modern Hebrew.. (shrink)

Part of speech feature is the representation between syntactic morphology and semantic category. Priming effect experiment can test the correlation between the parts of speech feature and the lexical processing process. This article puts forward part of speech representation paradigmatic and syntagmatic effect hypotheses. The experiments applied the design pattern of 3 ∗ 2 ∗ 3. Subjects are requested to make options of the part of speech of the target words. This study shows that when Chinese (...) English learners extract an individual word, their choices are still influenced by part of speech factor without the restrictions of constructive syntagmatic semantic conditions. Both the syntagmatic and paradigmatic effects are verified. Part of speech priming effect intensity is influenced by the English acquisition levels of the subjects. (shrink)

In this paper, a special type of polysemantic words, that is, words with multiple meanings for the same part of speech, are analyzed under the name of neutrosophic words. These words represent the most dif cult cases for the disambiguation algorithms as they represent the most ambiguous natural language utterances. For approximate their meanings, we developed a semantic representation framework made by means of concepts from neutrosophic theory and entropy measure in which we incorporate sense related data. We show (...) the advantages of the proposed framework in a sentiment classification task. (shrink)

This study analyzes the compositions of Hong Kong English as a second language (ESL) learners and English as a foreign language (EFL) learners in Mainland China in terms of lexical and syntactic features. A program based on the CoreNLP was developed and used to analyze written language texts, and differences in tags of parts of speech and syntactic dependencies between the two groups of texts were compared statistically to examine differences in the lexical and syntactic features of (...) the learners’ written language. The results show significant differences in the lexical and syntactic features of learners’ writing. Specifically, in EFL learners’ writing, there is a salient group pattern of higher lexical diversity, whereas ESL compositions are more flexible in vocabulary use with higher information density, in that they use more syntactic phrases and content words. In terms of syntax, Hong Kong ESL students use more adverbials and adverbial clauses, which is advantageous in syntactic simplicity and readability over their counterparts, whereas Mainland China EFL students prefer using more specific expressions to demonstrate syntactic relations. Compared to EFL compositions, ESL compositions are more informative, coherent, and grammatical in lexical features and more readable in syntactic features, which require more attention and further improvements in terms of EFL teaching. (shrink)

We are still searching for an adequate theory of the first amendment freedom of speech. Despite a plethora of judicial opinions and scholarly articles, there are fundamental conflicts over the meaning of the words "Congress shall make no law... abridging the freedom of speech." This Article examines the possibility that recent developments in social theory can aid our understanding of the freedom of speech. My thesis is that Jiirgen Habermas' theory of communicative action can serve as the basis for an (...) interpretation of the first amendment that fits the general contours of existing first amendment doctrine and provides a coherent justification for the freedom of speech. Habermas' theory takes as its point of departure the speech act theory developed through contemporary analytic philosophy and linguistics. The central theme of speech act theory is that speech is action; communication coordinates individual behavior through achieving rational understanding. An important corollary is the proposition that communication is intersubjective; speech acts involve both speakers and listeners. In addition, the theory of communicative action makes a distinction between communicative action-oriented to the coordination of behavior through rational agreement-and strategic behavior-the use of speech to manipulate, coerce, or deceive. I argue that a theory of free speech can incorporate this distinction to mark the boundaries of the right to free speech: freedom of speech is freedom to engage in communicative action, not strategic action. Another component of Habermas' theory is the ideal speech situation, in which rational agreement may be reached because distorting factors are excluded; this ideal situation serves as the basis of a principle of equality of communicative opportunity that can give the freedom of speech its fundamental content. Habermas' theory of communicative action provides the basis for my reinterpretation of the first amendment freedom of speech as the freedom of communicative action. This Article has two aims. My first aim is to develop a theory of the meaning of the first amendment from the theory of communicative action. In pursuit of this first goal, the Article assumes a perspective that is internal to the practice of American constitutional law. I argue that Habermas' theory has substantial power to explain and justify first amendment doctrine. Indeed, it is my view that a theory of freedom of speech based on the theory of communicative action, more so than any other theory, provides the best justification for the first amendment while simultaneously providing the best fit with the existing case law. In addition to the development of a theory of the first amendment, this Article has a second aim: From the point of view of the practice of social theory, the current Article is a "thought experiment" designed to test and elaborate Habermas' theory of communicative action. I explore various objections to and ambiguities in the theory of communicative action by taking up the attitude of a participant in the practice of legal interpretation who adopts the theory of communicative action as a practical principle for institutionalization of discourse in the public sphere. It is my hope that this thought experiment will have value in the enterprise of understanding, clarifying, and extending the theory of communicative action. For example, this Article responds to the suggestion that the theory of communicative action should be reformulated as a theory of institutionalized discourse "in the public sphere of a participatory democracy." Part II of this Article begins with a hermeneutic approach to the problem of interpreting the first amendment. Part III explores and criticizes existing theories of the freedom of expression. The theory of communicative action is explicated in Part IV; the implications of that theory for the freedom of speech are explored in Part V. Finally, Part VI applies the results to specific problems in first amendment doctrine, and Part VII draws some conclusions about the implications of this exercise for both first amendment doctrine and the theory of communicative action. (shrink)

Our first aim in this paper is to respond to four novel objections in Jason Stanley's ‘Context and Logical Form’. Taken together, those objections attempt to debunk our prior claims that one can perform a genuine speech act by using a sub‐sentential expression—where by ‘sub‐sentential expression’ we mean an ordinary word or phrase, not embedded in any larger syntactic structure. Our second aim is to make it plausible that, pace Stanley, there really are pragmatic determinants of the literal truth‐conditional (...) content of speech acts. We hope to achieve this second aim precisely by defending the genuineness of sub‐sentential speech acts. Given our two aims, it is necessary to highlight briefly their connection—which we do in the first part of the Introduction. Following that, we introduce Stanley's novel objections. This is the role of the second part of the Introduction. We offer our rebuttals in Section 2 (against ‘shorthand’) and Section 3 (against syntactic ellipsis, among other things). (shrink)

Our first aim in this paper is to respond to four novel objections in Jason Stanley's 'Context and Logical Form'. Taken together, those objections attempt to debunk our prior claims that one can perform a genuine speech act by using a subsentential expression—where by 'subsentential expression' we mean an ordinary word or phrase, not embedded in any larger syntactic structure. Our second aim is to make it plausible that, pace Stanley, there really are pragmatic determinants of the literal truthconditional (...) content of speech acts. We hope to achieve this second aim precisely by defending the genuineness of subsentential speech acts. Given our two aims, it is necessary to highlight briefly their connection—which we do in the first part of the Introduction. Following that, we introduce Stanley's novel objections. This is the role of the second part of the Introduction. We offer our rebuttals in Section 2 (against 'shorthand') and Section 3 (against syntactic ellipsis, among other things). (shrink)

Inferences made from endocasts of fossil skulls cannot provide information on the function of particular neocortical areas or the subcortical pathways to prefrontal cortex that form part of the neural substrate for speech, syntax, and certain aspects of cognition. The neural bases of syntax cannot be disassociated from “communication.” Manual motor control was probably a preadaptive factor in the evolution of humansyntactic ability, but neurophysiological data on living humans show that speech motor control and syntax are more closely linked. (...) The evolution of fully modern speech occurred fairly recently; thoughHomo habilismay have had some degree of speech and syntactic ability, it was not fully modern. Stone tools are uncertain indices of language or cognition. (shrink)

This article seeks to assess the meaning and scope of one of Lacan's most famous and decried notion: scansion. Scansion is a notion of prosody which undoubtedly was not chosen at random by Lacan. Scanning, which proved central to his conception of the analytic cure and handling of the treatment, turns out to be a gesture of a very particular kind: through an action which involves minimal intervention is revealed a double entendre, the content of the unconscious fantasy. The clinical (...) function of scansion is hence to accentuate a ‘part’ of the subject's discourse to make it resonate, to isolate a signifier, to make it audible through its material and phonemic plasticity in its irreducible ambiguity. As the article tries to demonstrate, scansion is for Lacan of Freudian descent: clinically stemming and theoretically deduced from the principle of the determinism of the unconscious, it relies on the ‘weft’ of the dream's written fabric as evinced by The Interpretation of Dreams. (shrink)

According to the contemporary consensus, when reaching in the lexicon grammar looks for items like nouns, verbs, and prepositions while logic sees items like predicates, connectives, and quantifiers. In fact, there doesn’t seem to be a single lexical category contemporary grammar and logic both make use of. I hope to show that while a perfect match between the lexical categories of grammar and logic is impossible there can be a substantial overlap. I propose semantic definitions for all the major parts (...) of speech . I argue that the differences among these categories can be captured in terms of distinctions recognized in logic. (shrink)

In this article we study how reported speech markers are used as procedural resources in a laboratory based parapsychology experiment to investigate forms of anomalous communication, such as extrasensory perception. In particular, we focus on how specific activities in a key part of the experiment are mediated by the use of `you said' formulations which project that whatever is said next is a paraphrase or a verbatim report of what the recipient had said earlier. We identify two uses of (...) reported speech markers. First, they are used in utterances that initiate some form of repair, such as correction or clarification. Second, they cluster in sequential locations that mark, after a temporary suspension, the resumption of key activities in the experiment. In this we hope to contribute to the study of the institutional properties of reported speech. We conclude by discussing the ways in which broader cultural understandings of the inferential force of `you said' formulations inform their use in this institutional setting, and reflecting on the significance of these findings for parapsychological investigation of anomalous communication in this setting. (shrink)

According to the contemporary consensus, when reaching in the lexicon grammar looks for items like nouns, verbs, and prepositions while logic sees items like predicates, connectives, and quantifiers. In fact, there doesn’t seem to be a single lexical category contemporary grammar and logic both make use of. I hope to show that while a perfect match between the lexical categories of grammar and logic is impossible there can be a substantial overlap. I propose semantic definitions for all the major parts (...) of speech. I argue that the differences among these categories can be captured in terms of distinctions recognized in logic. (shrink)

I examine what would be necessary to move part-of-speech tagging performance from its current level of about 97.3% token accuracy (56% sentence accuracy) to close to 100% accuracy. I suggest that it must still be possible to greatly increase tagging performance and examine some useful improvements that have recently been made to the Stanford Part-of-Speech Tagger. However, an error analysis of some of the remaining errors suggests that there is limited further mileage to be had either from better (...) machine learning or better features in a discriminative sequence classifier. The prospects for further gains from semisupervised learning also seem quite limited. Rather, I suggest and begin to demonstrate that the largest opportunity for further progress comes from improving the taxonomic basis of the linguistic resources from which taggers are trained. That is, from improved descriptive linguistics. However, I conclude by suggesting that there are also limits to this process. The status of some words may not be able to be adequately captured by assigning them to one of a small number of categories. While conventions can be used in such cases to improve tagging consistency, they lack a strong linguistic basis. (shrink)

Taking Chomsky’s Syntactic Structures as a starting point, this paper explores the use of recursive techniques in contemporary linguistic theory. Specifically, it is shown that there were profound ambiguities surrounding the notion of recursion in the 1950s, and that this was partly due to the fact that influential texts such as Syntactic Structures neglected to define what exactly constituted a recursive device. As a result, uncertainties concerning the role of recursion in linguistic theory have prevailed until the present (...) day, and some of the most common misunderstandings that have appeared in recent discussions are examined at some length. This article shows that debates about such topics are frequently undermined by fundamental misunderstandings concerning core terminology, and the full extent of the prevailing haziness is revealed. An attempt is made, for instance, to distinguish between such things as iterative constructional devices and self-similar syntactic embedding, despite the fact that these are usually both unhelpfully classified as examples of recursion. Consequently, this article effectively constitutes a plea for much greater accuracy and clarity when such important issues are addressed from a linguistic perspective. (shrink)

first-order HMM, the current tag t0 is predicted based on the previous tag t−1 (and the current word).1 The back- We present a new part-of-speech tagger that ward interaction between t0 and the next tag t+1 shows demonstrates the following ideas: (i) explicit up implicitly later, when t+1 is generated in turn. While unidirectional models are therefore able to capture both use of both preceding and following tag con-.

Modules, as Marr and Fodor conceive of them, lie between sensory and central processes. Modules have the functional property of representing that portion of the world which turns them on, and nine non-functional or structural properties that facilitate carrying out that function. Fodor has proposed that the processing of linguistic information is carried out by a language module , which therefore has the functional and structural features of modules. We argue that the proposed LM does not have the functional property (...) of modules in general . And we argue that Fodor's candidate for the output of the LM, interpreted syntactic form, does not satisfy important structural properties of modules . We propose another candidate, speech act potential, and argue that it fits almost all of Fodor's conditions . We next report on some pilot sentence completion studies suggesting that speech act information can influence the course of a parse and hence are a part of the LM . Finally, we outline possible experiments to test the modularity of speech act information by online methods of priming. (shrink)

This paper proposes a feature extraction algorithm based on the maximum entropy phrase reordering model in statistical machine translation in language learning machines. The algorithm can extract more accurate phrase reordering information, especially the feature information of reversed phrases, which solves the problem of imbalance of feature data during maximum entropy training in the original algorithm, and improves the accuracy of phrase reordering in translation. In the experiment, they were combined with linguistic features such as parts of speech, words, and (...) syntactic features extracted by using the syntax analyzer, and the maximum entropy classifier was used to predict translation errors, and the experimental verification was performed on the Chinese-English translation data set and compared. The experimental results show that different word posterior probabilities have a significant impact on the classification error rate, and the combination of linguistic features based on the word posterior probability can significantly reduce the classification error rate and improve the translation error prediction performance. (shrink)

The language we use over the course of conversation changes as we establish common ground and learn what our partner finds meaningful. Here we draw upon recent advances in natural language processing to provide a finer‐grained characterization of the dynamics of this learning process. We release an open corpus (>15,000 utterances) of extended dyadic interactions in a classic repeated reference game task where pairs of participants had to coordinate on how to refer to initially difficult‐to‐describe tangram stimuli. We find that (...) different pairs discover a wide variety of idiosyncratic but efficient and stable solutions to the problem of reference. Furthermore, these conventions are shaped by the communicative context: words that are more discriminative in the initial context (i.e., that are used for one target more than others) are more likely to persist through the final repetition. Finally, we find systematic structure in how a speaker's referring expressions become more efficient over time: Syntactic units drop out in clusters following positive feedback from the listener, eventually leaving short labels containing open‐class parts of speech. These findings provide a higher resolution look at the quantitative dynamics of ad hoc convention formation and support further development of computational models of learning in communication. (shrink)

Modules, as Marr and Fodor conceive of them, lie between sensory and central processes. Modules have the functional property of representing that portion of the world which turns them on, and nine non-functional or structural properties that facilitate carrying out that function. Fodor has proposed that the processing of linguistic information is carried out by a language module, which therefore has the functional and structural features of modules. We argue that the proposed LM does not have the functional property of (...) modules in general. And we argue that Fodor's candidate for the output of the LM, interpreted syntactic form, does not satisfy important structural properties of modules. We propose another candidate, speech act potential, and argue that it fits almost all of Fodor's conditions. We next report on some pilot sentence completion studies suggesting that speech act information can influence the course of a parse and hence are a part of the LM. Finally, we outline possible experiments to test the modularity of speech act information by online methods of priming. (shrink)

Proposing a novel theory of parts of speech, this book discusses categorization from a methodological and theoretical point a view. It draws on discoveries and insights from a number of approaches - typology, cognitive grammar, notional approaches, and generative grammar - and presents a generative, feature-based theory. Building on up-to-date research and the latest findings and ideas in categorization and word-building, Panagiotidis combines the primacy of categorical features with a syntactic categorization approach, addressing the fundamental, but often overlooked, questions (...) in grammatical theory. Designed for graduate students and researchers studying grammar and syntax, this book is richly illustrated with examples from a variety of languages and explains elements and phenomena central to the nature of human language. (shrink)

Here we study polysemy as a potential learning bias in vocabulary learning in children. Words of low polysemy could be preferred as they reduce the disambiguation effort for the listener. However, such preference could be a side-effect of another bias: the preference of children for nouns in combination with the lower polysemy of nouns with respect to other part-of-speech categories. Our results show that mean polysemy in children increases over time in two phases, i.e. a fast growth till the (...) 31st month followed by a slower tendency towards adult speech. In contrast, this evolution is not found in adults interacting with children. This suggests that children have a preference for non-polysemous words in their early stages of vocabulary acquisition. Interestingly, the evolutionary pattern described above weakens when controlling for syntactic category (noun, verb, adjective or adverb) but it does not disappear completely, suggesting that it could result from a combination of a standalone bias for low polysemy and a preference for nouns. (shrink)

Bursill-Hall, writing as a linguist, has produced a book of interest and use to all students of philosophy who are intrigued either by medieval or by modern theories of language, or by both. Bursill-Hall’s book is the first full-length presentation of this material in English. After a brief, not to say, desultory, survey of the history of linguistic theory from the Greeks until the appearance of the so-called Modistae, the author discusses the descriptive technique and the terminology of the speculative (...) grammarians. The third chapter, "Metalanguage," offers a valuable analysis of the basic "elements" and "categories" of modistic grammar. One especially striking feature of this chapter is the author’s account of the sequence of operations through which a vox, or meaningless sound, becomes, first, a dictio, or sound capable of signifying, and, then, a pars orationis, a part of speech or word-class, capable of entering into syntactic relations with other partes orationis so as to produce a meaningful and well-formed sentence. The next four chapters form the core of the work. Taking as his primary sources the Belgian Siger of Courtrai, the German Thomas of Erfurt, and the Dane Martin of Dacia, Bursill-Hall expounds in detail the modistic treatments of the essential, specific and accidental features of the declinable and indeclinable word-classes and the modistic theories of syntax. An evaluative conclusion comparing modistic and modern linguistic theory is followed by a series of appendices in which detailed diagrams make visible the definitions and interrelations of the various modes and partes orationis in the texts of Siger, Thomas and Martin. The work includes a useful bibliography, a table of passages cited from medieval authors, an index of examples cited in the main text, an index of names and an index of subjects. The exposition and the apparatus combine to yield a volume of quickly apparent value for both reference and research. This said, and with due regard for the fact that the author is writing as a professional linguist, it must be said that a certain sense of philosophical disappointment cannot be suppressed. Looked at linguistically, speculative grammar is an attempt to inventory and describe those features of word-classes in virtue of which an element of language is potentially expressive of meaning and capable of entering into syntactic relations with other significant elements. Looked at philosophically, speculative grammar is a theory of the intelligibility of linguistic expressions—cp. Thomas of Erfurt, #225: the end served by a complete expression is "to express a composite mental concept and to generate a perfect understanding in the mind of the hearer." Intelligibility is seen in this theory as the product of the concurrence or interpenetration of the ontological constitution of extramental realities, the apprehensive powers of the intellect and the manners of signifying conferred by the intellect on the linguistic medium in accordance with its appreciation of extramental reality. The author is certainly aware of the philosophical matrix of the grammatical theories he rehearses. At the same time, he seems to give these underlying philosophical considerations rather short shrift. To say, as he does, that the Modistae "seem to have been unaware of... the fact that their theories were in fact a projection into reality of the basic patterns of the language in which they were expressed," is surely not to do justice to the complex ontological, epistemological and semantic issues informing their work. Similarly, a statement that comparison between modistic and modern theories faces the difficulty that "the medieval vision of man in his environment and the metaphysical theories of the world are entirely different from those of today" is, at best, uninformative and, at worst, a piece of vaporous historicism. At other times, it is not entirely clear what interpretation the author is recommending. This is especially true of his remarks about the inactive character of the modus intelligendi. While the Modistae were, after all, doing grammar and not epistemology or, should one say, rational psychology, still, their grammatical theory rests on their insistence that the forms of language are linked appropriately to the forms of being and it is the modus intelligendi activus that is responsible both for the possibility and the success of this linkage. This volume is well-produced and almost completely free of misprints. However, the obnoxiously high price asked by the publisher is not justified either by the quality of production or by the inclusion of numerous Latin citations; it only serves, I fear, as a barrier to the wide circulation the book deserves.—D. L. (shrink)

Part-of-speech tagging for English composition is the basis for automatic correction of English composition. The performance of the part-of-speech tagging system directly affects the performance of the marking and analysis of the correction system. Therefore, this paper proposes an automatic scoring model for English composition based on article part-of-speech tagging. First, use the convolutional neural network to extract the word information from the character level and use this part of the information in the coarse-grained learning layer. (...) Secondly, the word-level vector is introduced, and the residual network is used to establish an information path to integrate the coarse-grained annotation and word vector information. Then, the model relies on the recurrent neural network to extract the overall information of the sequence data to obtain accurate annotation results. Then, the features of the text content are extracted, and the automatic scoring model of English composition is constructed by means of model fusion. Finally, this paper uses the English composition scoring competition data set on the international data mining competition platform Kaggle to verify the effect of the model. (shrink)

The necessity of the study of mistakes of bilingual students in the use of nominal parts of speech is grounded in the article, it provides valuable material for scientific and methodological conclusions, as these mistakes reflect linguistic, psychological and pedagogical aspects that affect the ability of schoolchildren to learn peculiarities of using nominal parts of speech of Russian language. In this regard, ascertaining experiment with pupils of schools with native teaching language was held. Students were offered the tasks based on (...) formation of the four types of competence: language, linguistic, communicative and cultural. The results of the experiment made possible to reveal numerous mistakes in using nominal parts of speech in oral speech and in writing of students. These mistakes are a consequence of the complexity of semantic and grammatical nature of the names in the Russian language, of interfering influence of the native language and as well are explained by the imperfection of the content and methods of teaching nominal parts of speech at school. (shrink)

The paper aims to develop an interactional account of illocutionary practice, which results from integrating elements of Millikan's biological model of language within the framework of Austin's theory of speech acts. The proposed account rests on the assumption that the force of an act depends on what counts as its interactional effect or, in other words, on the response that it conventionally invites or attempts to elicit. The discussion is divided into two parts. The first one reconsiders Austin's and Millikan's (...) contributions to the study of linguistic practice. The second part presents the main tenets of the interactional account. In particular, it draws a distinction between primary and secondary conventional patterns of interaction and argues that they make up coherent systems representing different language games or activity types; it is also argued that the proposed account is not subject to the massive ambiguity problem. (shrink)

Bursill-Hall, writing as a linguist, has produced a book of interest and use to all students of philosophy who are intrigued either by medieval or by modern theories of language, or by both. Bursill-Hall’s book is the first full-length presentation of this material in English. After a brief, not to say, desultory, survey of the history of linguistic theory from the Greeks until the appearance of the so-called Modistae, the author discusses the descriptive technique and the terminology of the speculative (...) grammarians. The third chapter, "Metalanguage," offers a valuable analysis of the basic "elements" and "categories" of modistic grammar. One especially striking feature of this chapter is the author’s account of the sequence of operations through which a vox, or meaningless sound, becomes, first, a dictio, or sound capable of signifying, and, then, a pars orationis, a part of speech or word-class, capable of entering into syntactic relations with other partes orationis so as to produce a meaningful and well-formed sentence. The next four chapters form the core of the work. Taking as his primary sources the Belgian Siger of Courtrai, the German Thomas of Erfurt, and the Dane Martin of Dacia, Bursill-Hall expounds in detail the modistic treatments of the essential, specific and accidental features of the declinable and indeclinable word-classes and the modistic theories of syntax. An evaluative conclusion comparing modistic and modern linguistic theory is followed by a series of appendices in which detailed diagrams make visible the definitions and interrelations of the various modes and partes orationis in the texts of Siger, Thomas and Martin. The work includes a useful bibliography, a table of passages cited from medieval authors, an index of examples cited in the main text, an index of names and an index of subjects. The exposition and the apparatus combine to yield a volume of quickly apparent value for both reference and research. This said, and with due regard for the fact that the author is writing as a professional linguist, it must be said that a certain sense of philosophical disappointment cannot be suppressed. Looked at linguistically, speculative grammar is an attempt to inventory and describe those features of word-classes in virtue of which an element of language is potentially expressive of meaning and capable of entering into syntactic relations with other significant elements. Looked at philosophically, speculative grammar is a theory of the intelligibility of linguistic expressions—cp. Thomas of Erfurt, #225: the end served by a complete expression is "to express a composite mental concept and to generate a perfect understanding in the mind of the hearer." Intelligibility is seen in this theory as the product of the concurrence or interpenetration of the ontological constitution of extramental realities, the apprehensive powers of the intellect and the manners of signifying conferred by the intellect on the linguistic medium in accordance with its appreciation of extramental reality. The author is certainly aware of the philosophical matrix of the grammatical theories he rehearses. At the same time, he seems to give these underlying philosophical considerations rather short shrift. To say, as he does, that the Modistae "seem to have been unaware of... the fact that their theories were in fact a projection into reality of the basic patterns of the language in which they were expressed," is surely not to do justice to the complex ontological, epistemological and semantic issues informing their work. Similarly, a statement that comparison between modistic and modern theories faces the difficulty that "the medieval vision of man in his environment and the metaphysical theories of the world are entirely different from those of today" is, at best, uninformative and, at worst, a piece of vaporous historicism. At other times, it is not entirely clear what interpretation the author is recommending. This is especially true of his remarks about the inactive character of the modus intelligendi. While the Modistae were, after all, doing grammar and not epistemology or, should one say, rational psychology, still, their grammatical theory rests on their insistence that the forms of language are linked appropriately to the forms of being and it is the modus intelligendi activus that is responsible both for the possibility and the success of this linkage. This volume is well-produced and almost completely free of misprints. However, the obnoxiously high price asked by the publisher is not justified either by the quality of production or by the inclusion of numerous Latin citations; it only serves, I fear, as a barrier to the wide circulation the book deserves.—D. L. (shrink)

A new view of the functional role of the left anterior cortex in language use is proposed. The experimental record indicates that most human linguistic abilities are not localized in this region. In particular, most of syntax (long thought to be there) is not located in Broca's area and its vicinity (operculum, insula, and subjacent white matter). This cerebral region, implicated in Broca's aphasia, does have a role in syntactic processing, but a highly specific one: It is the neural (...) home to receptive mechanisms involved in the computation of the relation between transformationally moved phrasal constituents and their extraction sites (in line with the Trace-Deletion Hypothesis). It is also involved in the construction of higher parts of the syntactic tree in speech production. By contrast, basic combinatorial capacities necessary for language processing – for example, structure-building operations, lexical insertion – are not supported by the neural tissue of this cerebral region, nor is lexical or combinatorial semantics. The dense body of empirical evidence supporting this restrictive view comes mainly from several angles on lesion studies of syntax in agrammatic Broca's aphasia. Five empirical arguments are presented: experiments in sentence comprehension, cross-linguistic considerations (where aphasia findings from several language types are pooled and scrutinized comparatively), grammaticality and plausibility judgments, real-time processing of complex sentences, and rehabilitation. Also discussed are recent results from functional neuroimaging and from structured observations on speech production of Broca's aphasics. Syntactic abilities are nonetheless distinct from other cognitive skills and are represented entirely and exclusively in the left cerebral hemisphere. Although more widespread in the left hemisphere than previously thought, they are clearly distinct from other human combinatorial and intellectual abilities. The neurological record (based on functional imaging, split-brain and right-hemisphere-damaged patients, as well as patients suffering from a breakdown of mathematical skills) indicates that language is a distinct, modularly organized neurological entity. Combinatorial aspects of the language faculty reside in the human left cerebral hemisphere, but only the transformational component (or algorithms that implement it in use) is located in and around Broca's area. Key Words: agrammatism; aphasia; Broca's area; cerebral localization; dyscalculia; functional neuroanatomy; grammatical transformation; modularity; neuroimaging; syntax; trace deletion. (shrink)

Despite overwhelming evidence suggesting that quantifier scope is a phenomenon that must be treated at the pragmatic level, most computational treatments of scope ambiguities have thus far been a collection of syntactically motivated preference rules. This might be in part due to the prevailing wisdom that a commonsense inferencing strategy would require the storage of and reasoning with a vast amount of background knowledge. In this paper we hope to demonstrate that the challenge in developing a commonsense inferencing strategy (...) is in the discovery of the relevant commonsense data and in a proper formulation of the inferencing strategy itself, and that a massive amount of background knowledge is not always required. In particular, we present a very effective procedure for resolving quantifier scope ambiguities at the pragmatic level using simple quantitative data that is readily available in most database environments. (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)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This work presents the structure, distribution and semantic interpretation of quantificational expressions in languages from diverse language families and typological profiles. The current volume pays special attention to underrepresented languages of different status and endangerment level. Languages covered include American and Russian Sign Languages, and sixteen spoken languages from Africa, Australia, Papua, the Americas, and different parts of Asia. The articles respond to a questionnaire the editors constructed to enable detailed crosslinguistic comparison of numerous features. They offer comparable information on (...) semantic classes of quantifiers (generalized existential, generalized universal, proportional, partitive), syntactically complex quantifiers (intensive modification, Boolean compounds, exception phrases, et cetera), and several more specific issues such as quantifier scope ambiguities, floating quantifiers, and binary (type 2) quantifiers. The book is intended for semanticists, logicians interested in quantification in natural language, and general linguists as articles are meant to be descriptive and theory independent. The book continues and expands the coverage of the Handbook of Quantifiers in Natural Language (2012) by the same editors, and extends the earlier work in Matthewson (2008), Gil and others (2013) and Bach et al (1995). (shrink)

In recent decades, the analysis of phraseology has made use of the exploration of large corpora as a source of quantitative information about language. This paper intends to present the main lines of work in progress based on this empirical approach to linguistic analysis. In particular, we focus our attention on some problems relating to the morpho-syntactic annotation of corpora. The CORIS/CODIS corpus of contemporary written Italian, developed at CILTA – University of Bologna (Rossini Favretti 2000; Rossini Favretti, Tamburini, (...) De Santis in press), is a synchronic 100-million-word corpus and is being lemmatised and annotated with part-of-speech (POS) tags, in order to increase the quantity of information and improve data retrieval procedures (Tamburini 2000). The aim of POS tagging is to assign each lexical unit to the appropriate word class. Usually the set of tags is pre-established by the linguist, who uses his/her competence to identify the different word classes. The very first experiments we made revealed how the traditional part-of-speech distinctions in Italian (generally based on morphological and semantic criteria) are often inadequate to represent the syntactic features of words in context. It is worth noting that the uncertainties in categorisation contained in Italian grammars and dictionaries reflect a growing difficulty as they move from fundamental linguistic classes, such as nouns and verbs, to more complex classes, such as adverbs, pronouns, prepositions and conjunctions. This latter class, that groups together elements traditionally used to express connections between sentences, appears inadequate when describing cohesive relations in Italian. This phenomenon actually seems to involve other elements traditionally assigned to different classes, such as adverbs, pronouns and interjections. Recent studies proposed the class of ‘connectives’, grouping all words that, apart from their traditional word class, have the function of connecting phrases and contributing to textual cohesion. From this point of view, conjunctions can be considered as part of phrasal connectives, that can in turn be included in the wider category of textual connectives. The aim of this study is to identify elements that can be included in the class of phrasal connectives, using quantitative methods. According to Shannon and Weaver’s (1949) observation that words are linked by dependent probabilities, corroborated by Halliday’s (1991) argument that the grammatical “system” (in Firth’s sense of the term) is essentially probabilistic, quantitative data are introduced in order to provide evidence of relative frequencies. Section 2 presents a description of word-class categorisation from the point of view of grammars and dictionaries arguing that the traditional category of conjunctions is inadequate for capturing the notion of phrasal connective. Section 3 examines the notion of ‘connective’ and suggests a truth-function interpretation of connective behaviour. Section 4 describes the quantitative methods proposed for analysing the distributional properties of lexical units, and section 5 comments on the results obtained by applying such methods drawing some provisional conclusions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joseph Margolis LITERATURE AND SPEECH ACTS The trivial truth that literature employs language has been fastened on regularly and repeatedly to spawn a remarkable variety of misconceptions. Most famously, in the context of aesthetics, it has led to the untenable thesis that all art is language,1 and to the more pointed claim that works of art somehow affirm propositions that may be linguistically rendered and straightforwardly judged true or (...) false. It has also embarrassed a good deal of theorizing about the nature of aesthetic experience and the aesthetic orientation, and has led to preposterous views about the aesthetic status of the literary arts and the exaggerated importance of words in literature. These developments are reasonably well known, partly because they form a venerable portion of the history of aesthetics, partly because the doctrines at stake take so many apparently persuasive guises—even in our own time. There are other views, however, also largely based on the example of literature, that are at once useful because they are corrective of other abuses and are in their turn prone to newer mistakes that bid fair to become fashionable. The ambivalent corrective I have in mind may be marked by the thesis that a work of art is an utterance of some sort. In effect, the thesis stresses the distortion that results from pretending to address art relevantly solely in terms of the palpable properties of some object or product—more or less on the model of examining a perceptually accessible physical object. Attention is required, on the theory, to the act or agency of the artist by which the work is "uttered," in a sense quite close to that in which a forger is said to "utter" a bad check: by this simple strategem, we are led to see that biographical, historical, intentional considerations are instructive about a work of art in an essential way and that the properties of an artwork cannot possibly be restricted to its merely sensory or sensuous features (if indeed, admitting conceptual art, a particular work has any such features at all). The proposal, therefore, is at least a heuristically useful one. Whether it ought also to be enshrined as definitional of 39 40Philosophy and Literature art is another question altogether, qualified partly by its being entirely possible to save the corrections without the thesis, partly by the debatable force of definitions themselves. A rather specialized but utterly misleading and unpromising version of the utterance theory maintains that literature as such, as well as such particularly important distinctions within literature as fiction, poetry, and metaphor, may be perspicuously defined or distinguished in terms of a speech-act model. We must be careful here. The general thesis that the phenomenon of language cannot be adequately analyzed apart from contextual considerations bearing on speakers' intentions, shared assumptions and background beliefs between speakers and hearers, and the actual histories of conversations and the like has now been abundantly confirmed by a variety of theorists—including, prominently, J. L. Austin, P. F. Strawson, H. P. Grice, John Searle, Keith Donnellan, George Lakoff, and Zeno Vendler. Still, the general concession that familiar syntactic and semantic studies of the phenomenon of language omit an entire dimension of language, as Austin so ably demonstrated, has rather little to say about the distinctions normally debated in the context of literary theory and the appreciation and criticism of literature. (This may well seem paradoxical. The argument has yet to be supplied.) But since the application of the speech-act model to literary analysis shows some tendency to attract advocates, it may be useful to draw explicit attention here to the inherent limitations and difficulties of the enterprise. Obviously, if language must be analyzed at least in part in terms of the context of performing speech acts, it will be impossible to ignore altogether the speech-act dimension of literary utterances. The question remains: what can and what cannot be illuminated by means of the speech-act model? Precisely how restricted a general speech-act model is—that is, one not restricted just to literature—can be seen at a stroke simply by noting that the meanings of sentences (i) cannot be equated with what speakers... (shrink)

In this chapter we consider unsupervised learning from two perspectives. First, we briefly look at its advantages and disadvantages as an engineering technique applied to large corpora in natural language processing. While supervised learning generally achieves greater accuracy with less data, unsupervised learning offers significant savings in the intensive labour required for annotating text. Second, we discuss the possible relevance of unsupervised learning to debates on the cognitive basis of human language acquisition. In this context we explore the implications of (...) recent work on grammar induction for poverty of stimulus arguments that purport to motivate a strong bias model of language learning, commonly formulated as a theory of Universal Grammar (UG). We examine the second issue both as a problem in computational learning theory, and with reference to empirical work on unsupervised Machine Learning (ML) of syntactic structure. We compare two models of learning theory and the place of unsupervised learning within each of them. Looking at recent work on part of speech tagging and the recognition of syntactic structure, we see how far unsupervised ML methods have come in acquiring different kinds of grammatical knowledge from raw text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Current State of Vico ScholarshipDavid L. MarshallGiambattista Vico is one of those chameleon figures in the history of ideas who is so intellectually rich that he can be constantly reinvented. It is indicative of the rich ambiguity of his thought that two of the most prominent intellectual historians working today should have come to opposite conclusions about his relationship to the master-category of eighteenth-century intellectual history: for (...) Mark Lilla, Vico was a Counter-Enlightenment thinker; for Jonathan Israel, he was a figure in the Radical Enlightenment.1 Vico’s fungibility gives reason for pause. Someone who can be folded into all manner of intellectual projects may be suspect. But Vico is more colonizing than colonized and, thus, the diversity of his receptions is evidence of creativity, and not merely malleability. The only way to deal with Vico is to dive into the multiplicity of plausible interpretations and find in them the makings of a new line of inquiry. Vico’s moment of flourishing in the Anglophone world came initially in the 1960s and 1970s, but if the diversity and quality of receptions in the last five years is anything to go by then we can say that Vico remains—especially in Italian, French, and German— an intellectual historical provocateur.This review essay surveys such literature and makes a single recurring observation: the various specifications of Vico’s place in intellectual history come into alignment as dimensions of what one might term Vico’s reinvention of rhetoric. As a professor of rhetoric in a culture that possessed—for [End Page 141] the most part—very weak oratorical institutions, Vico found himself in a particularly paradoxical situation. Recent research on Vico suggests that this paradox worked itself out in Vico’s thought in a number of highly interesting ways. First, Vico constitutes an opportunity for intellectual historians of the scientific revolution by offering a simultaneously rhetorical and pragmatic gloss of the early modern logic of experiment. Second, for intellectual historians of religion, Vico constitutes a study in how early moderns could examine the rhetorical functioning of theological vocabularies without necessarily committing themselves to the independent existence of the referents of those vocabularies. Third, for intellectual historians of Enlightenment, Vico confirms that encyclopedism was not a merely French practice in the eighteenth century and that the kind of omnicompetence implicit in encyclopedic multidisciplinarity had roots in rhetorical criticism. Fourth, intellectual historians of Counter-Enlightenment cannot easily fold Vico into their narratives, in part because his legal works (which have been read as a call for cultural retrenchment in response to early modern skepticism) are in fact an account of how Greek rhetoric found its analogue in Roman jurisprudence. Fifth, for historians of the idea of language, Vico demonstrates that there were powerful alternatives in early modernity to the dominant contractualist account of the origin of language (offered by Hobbes, Locke, and others) that were rhetorical and yet did not emphasize the priority of speech over writing.When it appeared in 1961, Nicola Badaloni’s Introduzione a G.B. Vico was the most sophisticated attempt to locate Vico in the Neapolitan philosophical tradition. In many ways, it remains the best attempt at contextualizing a thinker who is notoriously difficult to situate among his contemporaries. John Robertson’s recent Case for the Enlightenment has many virtues (not least its revealing supposition that Vico ought to be read alongside Hume), but as an attempt at contextualization Robertson’s work is not as rich as Badaloni’s.2 In particular, Badaloni did a great deal to reconstruct the history of natural philosophical inquiry at Naples in the seventeenth and eighteenth centuries. In Badaloni’s description, Naples was a place in which a strong culture of natural philosophical investigation set the foundation for concepts such as experimentalism and pantheism. Furthermore, Badaloni argued that, although such concepts originated in natural philosophy, they cross-pollinated with ideas prominent in the Neapolitan schools of jurisprudence—particularly probabilism. In the [End Page 142] broadest terms, Badaloni argued that Vico’s intellectual project was an examination of the pantheistic principle that Jovis omnia plena (“all things are made of Jove”) in the domains of law, poetry, and history... (shrink)

Semantics, the study of meaning, combines philosophy, linguistics, psychology, and anthropology. This compilation of scholarship from all four disciplines complements the author's earlier volumes, giving comprehensive annotations and bringing the total number of entries in the 3-volume series to over 7,400. Book titles appear in the first section, followed by articles and conference papers under 22 headings: surveys of semantics, definitions and models of meaning, reference, ambiguity, synonymy, antonymy, polysemy, homonymy, morpho-semantic fields, word-association, semantic fields and componential analysis, kinship (...) terms, color terms, semantics of parts of speech, syntax and semantics, negation, modals, idioms, case grammar, child language, comparative semantics, and semantics universals. (shrink)

Whether free speech is defended as a fundamental right that inheres in each individual, or as a guarantee that all of society's members will have a voice in democratic decision-making, the central role of expressive freedom in liberating the human spirit is undeniable. Freedom of expression will, as the essays in this volume illuminate, encounter new and continuing controversies in the twenty-first century. Advances in digital technology raise pressing questions regarding freedom of speech and, with it, intellectual property and privacy (...) rights. Campaign finance reform limits the formerly sacrosanct category of 'political speech'. Expressive liberties may face their greatest challenge from government efforts to thwart terrorism. The twelve legal scholars and philosophers whose work appears in this volume examine the history of free speech doctrine, its relevance to other social and personal values, and the radical critiques it has withstood in recent years. (shrink)

Kristina Toutanova Christopher D. Manning Dept of Computer Science Depts of Computer Science and Linguistics Gates Bldg 4A, 353 Serra Mall Gates Bldg 4A, 353 Serra Mall Stanford, CA 94305–9040, USA Stanford, CA 94305–9040, USA [email protected] [email protected]..

Speech categories are defined by multiple acoustic dimensions and their boundaries are generally fuzzy and ambiguous in part because listeners often give differential weighting to these cue dimensions during phonetic categorization. This study explored how a listener's perception of a speaker's socio-indexical and personality characteristics influences the listener's perceptual cue weighting. In a matched-guise study, three groups of listeners classified a series of gender-neutral /b/-/p/ continua that vary in VOT and F0 at the onset of the following vowel. Listeners (...) were assigned to one of three prompt conditions and rated the talker in terms of vocal gender prototypicality, attractiveness, friendliness, confidence, trustworthiness, and gayness. Male listeners and listeners who saw a male face showed less reliance on VOT compared to listeners in the other conditions. Listeners' visual evaluation of the talker also affected their weighting of VOT and onset F0 cues, although the effects of facial impressions differ depending on the gender of the listener. The results demonstrate that individual differences in perceptual cue weighting are modulated by the listener's gender and his/her subjective evaluation of the talker. These findings lend support for exemplar-based models of speech perception and production where socio-indexical features are encoded as a part of the episodic traces in the listeners' mental lexicon. This study also shed light on the relationship between individual variation in cue weighting and community-level sound change by demonstrating that VOT and onset F0 co-variation in North American English has acquired a certain degree of socio-indexical significance. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)