This squib begins with an argument emphasizing that the grammar of English makes a distinction between constituents that are focused and those that are merely new, hence not given. If the distinction is made via features, we need two features: one indicating focus and one indicating either given or new information. Which one of the two? Semantically, the choice doesn’t matter: whatever information is given is not new and the other way round. For the phonology, there is a difference, however. (...) If the prosody of all-new constituents is default prosody, but the prosody of given constituents is special, we would want to indicate givenness, rather than newness. (shrink)

This paper grew out of a reaction to Elisabeth Selkirk's contribution to the Handbook of Phonology (Goldsmith 1996). Section 1.2 of that article is concerned with syntactic and semantic aspects of the placement of pitch accents in English. As will be seen in the data to be presented below, the constellation of pitch accents in an utterance is determined in part by properties of the preceding discourse, including the distinction between new and old information. This means for example, (...) that a phrase containing accent is appropriate in a different set of contexts than that same phrase unaccented. Since accents are assigned within words but the pragmatics can make reference to phrases, the following question arises. Given a word that is accented, which phrases count as containing accent as far as the pragmatics is concerned and which not? This question is known as the projection problem, though I have characterized it in slightly different terms than is normally done, for reasons to be made clear below. As Selkirk shows, projection is sensitive to argument structure and other syntactic notions (see Gussenhoven(1984), Rochement(1986), Schmerling(1976) and Selkirk 1984)). In Selkirk's system, a sentence can have one or more foci and these foci are marked with an F in the syntactic tree. Focussing a phrase leads to a certain kind of.. (shrink)

Sound and Grammar: A Neo-Sapirian Theory of Language by Susan F. Schmerling offers an original overall linguistic theory based on the work of the early American linguist Edward Sapir, supplemented with ideas from the philosopher-logicians Kazimierz Ajdukiewicz and Richard Montague and the linguist Elisabeth Selkirk. The theory yields an improved understanding of interactions among different aspects of linguistic structure, resolving notorious issues directly inherited by current theory from (post- ) Bloomfieldian linguistics. In the theory presented here, syntax is (...) a filter on a phonological algebra, not a linguistic level; linguistic expressions are phonological structures, and syntax is semantically relevant relations among phonological structures. The book shows how Neo-Sapirian grammar sheds new light on syntax-phonology interactions in English, German, French, and Spanish. (shrink)

Die Autorin befürwortet eine Vertiefung des Übertragungsgeschehens auch dann, wenn nur eine Therapiestunde pro Woche zur Verfügung steht. Ein emotionales Sich-Verankern im Raum wird als hilfreiche Vertiefung im einstündigen Setting beschrieben, und die Intellektualisierung (als Abwehr des emotionalen Sich-Verankerns) wird diskutiert. Zunächst eher im Metaphorischen angesiedelt und spontan mit der einstündigen Therapie einer intellektuell eingeschränkten jungen Patientin assoziiert, untersucht die Autorin ihre These in der Folge – mithilfe einschlägiger Literatur und anhand weiteren Fallmaterials – auf einer konzeptuellen Ebene.

Three commitments guide Dennett’s approach to the study of consciousness. First, an ontological commitment to materialist monism. Second, a methodological commitment to what he calls ‘heterophenomenology.’ Third, a ‘doxological’ commitment that can be expressed as the view that there is no room for a distinction between a subject’s beliefs about how things seem to her and what things actually seem to her, or, to put it otherwise, as the view that there is no room for a reality/appearance distinction for consciousness. (...) We investigate how Dennett’s third doxological commitment relates to his first two commitments and whether its acceptance should be seen as a mere logical consequence of acceptance of the first two. We will argue that this is not the case, that Dennett’s doxological commitment is in need of independent motivation, and that this independent motivation is not forthcoming. (shrink)

Nos séculos XII e XIII surgiram as sumas teológicas, nas quais distingue-se uma forma literária externa, com a ordenação da matéria e o desenvolvimento do discurso, e, de outro, a forma interna, como uma ideia sistematizadora. Os autores analisam as obras da época para descobrir nelas aspectos comuns e diferenças.

English summary: Johann Gottfried Herder played a central role in the emergence of aesthetics and art history in the eighteenth century. His was not only an avid reader and critic of important contemporaries, but also made essential contributions to the possibilities of art and art theory. This volume is illuminated by contemporary art discussion and the many facets of debate around Herder and the emergence of aesthetics and art history, from his early writings in the 1760s and 70s, to this (...) later works. French description: Johann Gottfried Herder spielt eine zentrale Rolle fur die Entstehung der Asthetik und der Kunstgeschichte, die beide zu den grundlegenden geistesgeschichtlichen Neuerungen des 18. Jahrhunderts gehoren. Er war nicht nur ein aufmerksamer Leser und Kritiker der wichtigsten Autoren, die sich mit dieser Materie befassten, wie etwa Winckelmann, Lessing oder Baumgarten, sondern hat selbst grundlegende und umfassende Beitrage geschrieben, die immer wieder aufs Neue die Moglichkeiten und Grenzen der Kunst, der Kunstwahrnehmung und der Kunsttheorie ausloten. Der hier vorgelegte Band leuchtet vor dem Hintergrund der zeitgenossischen Kunstdiskussionen die vielen Facetten der Auseinandersetzung Herders mit der entstehenden Asthetik und Kunstgeschichte aus, beginnend mit seinen Schriften, Kritische Walder' und, Plastik' aus den 1760er und 1770er Jahren bis hin zu seinen spateren Werken. (shrink)