Se constructions designate a set of polysemous constructions along a transitivity continuum marked by the clitic se that perform various functions: reflexive/reciprocal, middle, anticausative, passive, and impersonal. A counterpart of these constructions without the clitic – the null se construction – is also attested. Based on an extensive usage-feature and profile-based analysis, and using multivariate statistical methods, we analyze, considering Cognitive Grammar, the conceptual, structural, and lectal factors that determine the choice between overt and null se constructions. The results of (...) the study show that the null constructions are far more frequent in Brazilian (BP) than in European Portuguese (EP). In BP, the focus on the moment of change is a crucial factor for the overt/null variation in reflexive/reciprocal, middle, anticausative, and impersonal constructions. If the moment of the change of state is profiled, the overt se construction is usually produced. If the moment of change is not profiled, the null se construction is preferred. External factors also play a role in the variation. Register is an important predictor for the observed variation of the anticausative construction, and the only predictor for the overt/null variation in the case of the passive construction. In EP, the null se variant is mainly limited to anticausative constructions. In all cases of null constructions, there is a shift to an absolute construal, which has an impact on the way that the transitivity continuum is conceptualized. (shrink)

This article is the result of research on the occurrences of the terms suppositio, supponere and their linguistic derivations in the literature on fallacies of the second half of the thirteenth century. The authors analysed are Albert the Great, Giles of Rome, Simon of Faversham, the so-called Incerti Auctores, the Anonymous of Prague and John Duns Scotus. The central elements that emerge are the role played by the notion of suppositum and by the linguistic context to determine the denotation of (...) an expression, and the importance of the metaphysical problem of the unity and identity of suppositum in both the theory of predication and the theory of inference. Both subjects, obviously, are closely connected. (shrink)

U sadržaju ovog elaborata autorica želi propitati pojam umjetnosti orijentirajući se na Gadamerovo shvaćanje umjetnosti kao »aktualnost lijepoga«, a kao polazišnu točku autorica uzima Gadamerovo krucijalno pitanje: »Je li umjetnost moderne ono što uistinu razumijevamo kao umjetnost?« Ono što autorica smatra pregnantnim pri određivanju polazišta ovog elaborata, čiji sadržaj tendira obrazložiti i pojasniti razumijevanje umjetnosti kao »aktualnost lijepoga«, na temelju fenomenološki impostiranog i hermeneutički oblikovanog mišljenja u djelu naslovljenom Ogledi o filozofiji umjetnosti, tiče se tumačenja Gadamerova stava spram vrednovanja kriterija (...) umjetnosti, odnosno umjetničkog djela. Odakle Gadamer preuzima te kriterije? On ih preuzima iz dvaju, može se reći, sadržajno dijametralno suprotnih, a formom identičnih kulturno povijesnih epohalnih razdoblja, od kojih prvo, ujedno i važnije, predstavlja izvor iz kojega ono drugo crpi svoje impulse, snagu, uzore i nadahnuća: antika i moderna. Međutim, prije nego li prijeđemo na bît problema, valja propitati razloge koji su naveli filozofiju, a time i sâmog Gadamera, da se počne zanimati/baviti pitanje umjetnosti. Imajući na umu prethodno izložene reference, u sadržaju ovog elaborata spomenuta će se tema obrazložiti slojevito, tj. u tri dijela: prvi dio elaborata baviti će se općim značajkama Gadamerova fundiranja problematike umjetnosti, tj. umjetničkog djela općenito i to s naglaskom na značaj, smisao, svrhu i ulogu moderne umjetnost. U drugom će se dijelu više pažnje posvetiti razumijevanju estetske dimenzije umjetnosti: iskustvo lijepoga. Treći dio elaborata orijentiran je na razumijevanje umjetnosti kao igre, simbola i svetkovine.The author’s intent in this paper consists into inquire Gadamer’s notion of art as »actuality of beauty«. As a starting point for it author takes Gadamer’s crucial question: »Is the art of modernity what we really understand as art?«. That what the author wants to explain from the phenomenological and hermeneutical view in defining stand point of this elaborate which tend to clarify understanding of art as »actuality of beauty« and what is considered as pregnant too, is Gadamer’s stand related to evaluation of criteria of art and work of art particularly presented in his philosophical work »Essays about Philosophy of Art«. Where does Gadamer find the criteria presents a question of fundamental significance for this essay. Namely, he finds them in two essentially different but formally very identical cultural and historical areas: in ancient Greek and in modernity. The first step we take in this paper goes toward an explanation of the motifs that stimulated philosophy in general and Gadamer in particular to examine the issue of art as a philosophical theme. The argument of this paper will be presented on several levels. In the first part of it we will argue about general meanings of Gadamer’s understanding and explaining the aim and the roll of the art of modernity. In the second part of it we will be oriented toward understanding of aesthetical dimension of the art, such as an experience of the beauty. In the last part of this paper we will discuss the art as a game, symbol and festival. (shrink)

Se realizó una investigación cualitativa para explorar los factores que generan y sostienen el abuso en la Iglesia peruana. Se identificaron factores culturales (abuso de poder, normalización de la violencia y masculinidad hegemónica), eclesiales (clericalismo, diferencias jerárquicas rígidas en las relaciones y en la forma de comprender cómo ser Iglesia, y factores estructurales de la Iglesia que se manifiestan en el contexto peruano), así como aspectos relacionados con la formación. Aunque los hallazgos suponen retos importantes para la Iglesia peruana, se (...) reconocen avances en cuanto al interés por la formación, el trabajo en prevención y la apertura a reflexionar sobre el poder y las relaciones en algunos sectores de la institución. (shrink)

The Cambridge Companion to Socrates is a collection of essays providing a comprehensive guide to Socrates, the most famous Greek philosopher. Because Socrates himself wrote nothing, our evidence comes from the writings of his friends (above all Plato), his enemies, and later writers. Socrates is thus a literary figure as well as a historical person. Both aspects of Socrates' legacy are covered in this volume. Socrates' character is full of paradox, and so are his philosophical views. These paradoxes have led (...) to deep differences in scholar's interpretation of Socrates and his thought. Mirroring this wide range of thought about Socrates, this volume's contributors are unusually diverse in their background and perspective. The essays in this volume were authored by classical philologists, philosophers, and historians from Germany, Francophone Canada, Britain, and the United States, and they represent a range of interpretive and philosophical traditions. (shrink)

This book offers an Arabic edition, English translation, study and glossaries of ʿUbaidallāh Ibn Buḫtīšūʿ’s important work on apparent death; an appendix moreover provides the Arabic and Hebrew recensions of ʿUbaidallāh’s lost Greek _Vorlage_.

In lieu of an abstract, here is a brief excerpt of the content:Big Women:Mark Adamo's Lysistrata, or the Nude Goddess Between Monteverdi and Musical ComedyRalph HexterWe live in an age when opera companies across America are regularly presenting new operas, and some of them are even making hesitant first steps into repertory status, though it is too soon to tell how long- or short-lived their performance history will be. Opera itself began—Peri's Dafne (1597) is commonly regarded as the starting (...) point—as an attempt to recreate Greek tragedy on the stage, and for at least its first two hundred years, plots drawing on classical material, if not always classical literary texts, were staples. Nineteenth-century opera composers were relatively less inclined to turn to the classics for plots and characters, but the twentieth century witnessed renewed activity in classically based operas, from Strauss' Elektra (1909) and Stravinsky's Oedipus Rex (1927) to Hans Werner Henze's Venus und Adonis (1997) and Randolph Peters' The Golden Ass (1999), to name but a few significant examples. Mark Adamo's Lysistrata, or the Nude Goddess, which premiered in Houston in 2005, is among the first operas in our new century to continue the tradition.Accompanied by a trio of distinguished distaff classicists, I attended the 2006 revival of Lysistrata, or the Nude Goddess at the New York City Opera. Some months later, as word of the outing—any resemblance to this or any other Aristophanic comedy is purely accidental—trickled out, AJP's editor asked me to write this "Brief Mention." The reader will infer, then, that I neither watched nor listened with the idea of writing such a notice. What follows are reflections based partially on recollection of my immediate impressions (especially of the music) but also on subsequent study of the published libretto,1 Adamo's earlier and quite popular Little Women (1998), and stray remarks of the composer in published or online [End Page 119] interviews. In no sense is it a review of the particular April 2nd matinee performance that I saw. Of that let me say that my impression was almost uniformly positive. The principals, who have very demanding parts (and not only vocally), were strong; several were reprising roles they had taken in the Houston world premiere.Adamo states on the title page of the libretto that the opera is "[f]reely adapted from the play by Aristophanes," and this is both true and to the good. Before I turn to the adaptation itself, it might be worth observing that within the reception history of ancient stageworks in opera, the tradition of classical comedies turned into operas is relatively slight. I put it that way because, of course, one might well argue that New Comedy in its Roman form is the ultimate source of all opera buffa. I say nothing new when I place Figaro directly in the line of servi callidi.2Greek Old Comedy (i.e., given the state of preservation, Aristophanes) has only infrequently provided fodder for opera. One of the most interesting cases is Walter Braunfels' setting of Aristophanes Birds—Die Vögel—premiered in 1920. Braunfels (1882–1954) was fired from his teaching post by the Nazis in 1933—he was half Jewish—and his works were banished from the repertory. Die Vögel, his most successful stagework, has been recently revived, and a recording is available in Decca's "Entartete ["degenerate"] Musik" series. One must also recall the famous Frogs performed in the pool of Yale's Payne Whitney Gymnasium in 1941, since, a generation later, in 1975, the piece was revived, provided with music and lyrics by Stephen Sondheim and, like so many other shows, transferred from New Haven (if not the Shubert) to Broadway.3Aristophanes is more at home, I would argue, in American musical comedy than in opera, at least opera as it has come to be received by modern audiences treated almost without exception to post-Gluckian opera, with major houses, until recently, shunning the more interesting hybrids. (Think even of Carmen and how long it took for it to lose the recitatives by Guiraud that replaced the original opéra comique spoken dialogue.) To modern spectators or readers, Aristophanes, with... (shrink)

The love for Prophet Muhammad is one of the most frequently mentioned themes in both oral and written cultures. The love for Prophet Mohammad which is narrated in the scientific works related to the Prophet in Turkish literature also could be seen poetic and prose works by artists. Some of works include biographies (siyer) in which the Prophet’s biographies are mentioned eulogies (mevlit), miraç-name, which tells miraç event, (hilye) which describes the Prophet's physical and other attributes, and (naat) in which (...) the Prophet is praised. Through these works, the love for Prophet Muhammad who is the reason why the world is created is beautifully depicted and aimed to pass it on to future generations. This love, enduring for centuries in Islamic societies, has led to the Prophet to be as an mediator in the prayers by the humble servant to Allah. Because, in Islam, the belief that prayers addressed to Allah through the mediator of Prophet Muhammad, whom Allah has called "My Beloved" will be accepted is prevalent. This profound love for Prophet Muhammad, graved in the hearts, is considered a duty by individuals of all ages and all sections in Turkish society. The earliest examples of this emotion, expressed by poets who interpret the feelings of the people, can be found in Yûsuf Hâs Hâcib's Kutadgu Bilig. Later poets like Mevlânâ, Yunus Emre, Şeyyâd Hamza, and others continued to compose such poems. Furthermore the work known as Vesiletü’n-necât written by Süleyman Çelebî and read since the fifteenth century, commonly referred to as mevlit and seen as a top one for the love of Prophet among the public, is one of the most significant works addressing this theme. Poets such as Ahmed Paşa, Fuzûlî, Nâbî, and Şeyh Gâlib in Turkish literature have also portrayed the love for Prophet Muhammad in their works in the best style. Some of these poets, expressing their love for the Prophet from different perspectives, have been individuals who could not visit the sacred places due to financial difficulties. The desperate and intense longing for Prophet has been conveyed to writing yearning for the Prophet. The example of an arzuhâl discussed in this study illustrates this aspect of the abovementioned. Arzuhâls, written in the form of petitions describing a need or request in the sources, are texts. However, if it is taken into account spiritually, they are the texts where various wishes and prayers are asked by Allah and sometimes the prophets are used as messenger. These writings include both worldly and spiritual desires. Following to these prayer texts, they are sent to sacred partsthose going to Hajj and Umrah. These prayers sometimes are written by an expert or the needy ones sincerely. They are left at sacred places like the Kaaba, the station of Prophet Ibrahim or the burial place of Prophet Muhammad, with the belief that they will be accepted. It is still known that in some regions of Anatolia, many traditions have persisted from the past to the present day. One such region where the tradition of writing arzuhâls is still alive is the town of Palu in Elazığ. The poem presented in this study, a poetic example of arzuhâl, was written by Molla Muhammed Ali, a poet, scholar, and calligrapher living in the Beyhan town of Palu. This poem portrays the imploring and entratings of an desperate individual who wishes to visit the Prophet's grave with in the profound love for Prophet Muhammad. The poem is written in an eight-syllable meter and consists of 20 quatrains. Throughout the poem, the desire to see the Prophet's grave has been narrated and the despair over not reaching to sacred places has been discussed. Therefore the characteristics of a desperate lover are evident in the poem. This lyrical text is written in a simple and fluent style. It is noteworthy that in the last quarter of the twentieth century, the love for Prophet Muhammad is expressed in Ottoman Turkish. The poem presenting a rich appearence with various types of words and literary devices does not make the reader feel bored.In the introduction of the study brief information about Prophet Muhammad is provided. Subsequently, various examples of the love for Prophet Muhammad in Turkish literature are presented to the reader. In the first part the analysis of the poem has been carried out and the second part includes the translation of the poem. The original text of the poem has taken place at the end of the study. With the analyzed poetic arzuhâl it has been aimed not only to preserve the tradition but also to contribute to our written and oral culture. (shrink)

Based on the novel data collected through original fieldwork on five syntactic phenomena (the position of the finite verb in embedded clauses, in sentences with a modal verb, negative concord, position of focused light/heavy objects in main clauses with a complex tense, scrambling) in the heritage language Mòcheno, we show that i) there exist two populations – one exhibiting intra-speaker variation between German and Italian word orders, and one lacking it; ii) these two populations are the result of diatopic variation (...) and, to a lesser extent, of diastratic variation. The results reached through quantitative statistical analysis are partially convergent with those arrived at by traditional theoretical syntax on Mòcheno, but our analysis has allowed us to shed new light on a series of so-far neglected or poorly understood phenomena. More specifically, we discovered that there exists micro-variation fed by diastratic (age) variation within the Roveda variety, which represents the only case in Mòcheno in which age is a relevant factor in determining variation. We also showed that the traditional claim that the Palù variety is “more German” than the other Mòcheno variety is surely to be confirmed, but we could refine it by showing that German word orders are also accepted by speakers of other varieties and that the acceptability of these word orders in competition with the Italian syntax is not fed by the age of speakers (no diastratic variation). Finally, we showed that the acceptance of German word orders across speakers varies according to the phenomenon investigated: negation is the phenomenon in which German word orders are more likely to be accepted, whereas embedded clauses are the phenomenon in which German word orders are more likely to be rejected. (shrink)