The diachronic relationship between demonstratives and first/second person pronouns

2012 ◽  
Vol 13 (1) ◽  
pp. 50-71 ◽  
Author(s):  
Osamu Ishiyama
Keyword(s):  
Historical Data ◽  
Functional Similarity ◽  
The Other ◽  
Common Source ◽  
Historical Sources ◽  
Second Person ◽  
Person Pronoun ◽  
Other Hand ◽  
Close Relationship ◽  
Third Person

It is well known that demonstratives are the cross-linguistically common source of third person pronouns due to the functional similarity between them. For this reason, they are morphologically related to or formally indistinguishable from one another in many languages. First and second person pronouns, on the other hand, typically have historical sources other than demonstratives. However, unlike the close relationship between demonstratives and third person pronouns, the fact that demonstratives and first/second person pronouns have a very tenuous diachronic relationship has not attracted much attention in previous studies. Based primarily on historical data from Japanese, the present study shows that there are at least three functional reasons why demonstratives do not usually give rise to first/second person pronouns. This study also discusses a limited context in which a demonstrative does develop into a second person pronoun.

Albrecht Durer and the 16TH Century Melancholy

2020 ◽  
Vol 2 ◽  
pp. 37-49
Author(s):  
Marcel Henrique Rodrigues
Keyword(s):  
Religious Culture ◽  
The Other ◽  
16Th Century ◽  
Other Hand ◽  
Close Relationship ◽  
The One ◽  
Deep Sense

Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.

scholarly journals The Difficult alliance. Military cooperation between the ruthenian king Daniel and the Piasts of Mazovia

2020 ◽  
Vol 1 (1) ◽  
pp. 104-112
Author(s):  
Michał Skoczyński
Keyword(s):  
Scientific Literature ◽  
Point Of View ◽  
Armed Conflicts ◽  
The Other ◽  
Political Strategy ◽  
Military Cooperation ◽  
Historical Sources ◽  
Other Hand ◽  
Historical Methodology ◽  
The Military

Abstract The article presents the military cooperation between the King of Galician-Volhynian Ruthenia, Daniel Romanowicz, and the Dukes of Mazovia, Konrad and his son Siemowit. The alliance, based as a counterweight for the cooperation between the King of Hungary and the Piast princes of Lesser Poland, who were trying to conquer Ruthenia and dominate all Piast principalities in then fragmented Poland. It lasted for several decades from the 1220’s to the 1260’s and was primarly aimed at mutual protection against the invasions of the pagan Yotvingians and supporting each other in armed conflicts. The text contains an analysis of war expeditions, tactics and ways of support that were given by both sides of the allianace. It is a new point of view on this aspect of political strategy of both sides that in some ways defined the regional situation. Ruthenians granted masovian Piasts some mobile and political uncommited support in fight with their relatives in Poland, and also secured their border with the Yotvingians. On the other hand, masovian knights were an additional strike force in ruthenian plundering expeditions to Yotvingia. The research was based on the analysis of preserved historical sources and scientific literature using historical methodology.

Epodes

1972 ◽  
Vol 6 ◽  
pp. 6-14
Keyword(s):  
Social Status ◽  
Lyric Poetry ◽  
The Other ◽  
Similar Attitude ◽  
Other Hand ◽  
Close Relationship

Horace was writing hisEpodes1at the same time as he was writingSatires. The nameEpodesis derived from the metrical term ό ἐπῳδός (і.е. στίχος) which signifies the second and shorter line of a couplet, but Horace himself referred to them asiambi(soEpod. 14. 7,Epist. i. 19. 23). The collection is titledLiber Epodonin the MSS. and the title was used by grammarians of the fourth and fifth centuries. Butiambigives a better idea of their basic inspiration. Horace says of them(Epist. i. 19. 21-5):So he claims(a)originality,(b)Archilochus as a model,(c)that he was the first Roman to use Archilochus as a model, and(d)that he discarded the vicious personal invective of Archilochus. The judgement disregards Catullus, who had writteniambibefore Horace, but whose similarity to Archilochus did not extend far beyond metre and invective. There is a consistency in Horace’s poetic career: he began by recreating the poetry of Archilochus in hisEpodes, and his later—and greatest— work was the recreation in hisOdesof the lyric poetry of poets like Sappho, Alcaeus, and Pindar. There is a similarly close relationship between theSatiresand theEpistles;and, furthermore, all of his writing uses an autobiographical technique. There is another sort of consistency too, for basicallyEpodesandSatiresexpress a similar attitude of mind: anger, contempt, and amusement are the fundamental emotions (though he often transcends these emotions in both works), and a plausible case can be made out for regarding this as a sign of a young man of low social status, unsure of himself and his talent, and already finding ways of expressing a personality that were not too self-revealing. TheOdesandEpistles, on the other hand, express a more meditative, more philosophical, more humane attitude, yet ultimately no more self-revealing.

Resolving the Lourinia armata (Claus, 1866) complex with remarks on the monophyletic status of Louriniidae, Monard 1927 (Copepoda: Harpacticoida)

Zootaxa ◽  
2021 ◽  
Vol 5051 (1) ◽  
pp. 346-386
Author(s):  
SÜPHAN KARAYTUĞ ◽  
SERDAR SAK ◽  
ALP ALPER ◽  
SERDAR SÖNMEZ
Keyword(s):  
Comparative Evaluation ◽  
Species Complex ◽  
Detailed Examination ◽  
The Other ◽  
Phylogenetic Position ◽  
Nicobar Island ◽  
Other Hand ◽  
The Family ◽  
Close Relationship ◽  
Almost All

An attempt was made to test if Lourinia armata (Claus, 1866)—as it is currently diagnosed—represents a species complex. Detailed examination and comparisons of several specimens collected from different localities suggest that L. armata indeed represents a complex of four closely related morphospecies that can be differentiated from one another by only detailed observations. One of the four species is identified as Lourinia aff. armata and the other three species are described as new to science and named as Lourinia wellsi sp. nov., L. gocmeni sp. nov., and L. aldabraensis sp. nov. Detailed review of previous species records indicates that the genus Lourinia Wilson, 1924 is distributed worldwide. Ceyloniella nicobarica Sewell, 1940, originally described from Nicobar Island and previously considered a junior subjective synonym of L. armata is reinstated as Lourinia nicobarica (Sewell, 1940) comb. nov. on the basis of the unique paddle-shaped caudal ramus seta V. It is postulated that almost all of these records are unreliable in terms of representing true Lourinia aff. armata described herein. On the other hand, the comparative evaluation of the illustrations and descriptions in the published literature indicates the presence of several new species waiting to be discovered in the genus Lourinia.                 It has been determined that, according to updated modern keys, the recent inclusion of the monotypic genus Archeolourinia Corgosinho & Schizas, 2013 in the Louriniidae is not justified since Archeolourinia shermani Corgosinho & Schizas, 2013 does not belong to this family but should be assigned to the Canthocamptidae. On the other hand, it has been argued that the exact phylogenetic position of the Louriniidae still remains problematic since none of the diagnostic characters supports the monophyly of the family within the Oligoarthra. It has also been argued that the close relationship between Louriniidae and Canthocamptidae is supported since both families share the homologous sexual dimorphism (apophysis) on P3 endopod. The most important characteristic that can possibly be used to define Louriniidae is the reduction of maxilliped.  

Pattern and Theme in Chrétien's ‘Yvain’

Traditio ◽  
1974 ◽  
Vol 30 ◽  
pp. 145-189
Author(s):  
Edward C. Schweitzer
Keyword(s):  
Essential Elements ◽  
The Other ◽  
Common Source ◽  
Moral Significance ◽  
Other Hand ◽  
Ultimate Source ◽  
Christian Psychology ◽  
Erec Et Enide ◽  
Thematic Coherence

Yvain, Chrétien's masterpiece, has been conventionally seen as a counterpoise to Erec et Enide, attempting to reconcile the conflicting claims of love and chivalry. The several versions of this interpretation are misleading, if not quite wrong, because they divert our attention from what is special about Yvain to what it has in common with Erec. In all of them the lion is peripheral, although for Chrétien himself the lion gave the romance its name: Le Chevalier au lion. I intend to argue that Yvain is rather a critique of the Arthurian ideal, using patristic — or, if one prefers, Christian — psychology to show its hero fall victim to the sins of superbia, invidia, and ira in the first part and triumph over them in the second. Chrétien, I propose, made the lion a symbol of ira as a power of the soul and as ambivalent emotion, so that the two-part figure of the Chevalier au Lion — Yvain with his lion — dramatizes the restoration of ideal order within Yvain himself. Since the story of Yvain derives almost certainly from a Celtic source, Chrétien's originality consists not in the main events but in their disposition and in the emphasis assigned them in order to reveal their psychological and moral significance. I shall use comparisons with the Welsh story of Owein and the Lady of the Fountain to set that originality in relief, for whether the Welsh romance itself is the ultimate source of Yvain or both develop from some common source, it very likely approximates the form of the story prior to Chrétien's revision. It contains all the essential elements of Chrétien's romance — except Yvain's meeting with the hermit and the dispute between the daughters of the Lord of Noire Espine — masterly in detail but loosely connected, without moral focus or thematic coherence. Yvain, on the other hand, is distinguished, as this essay will try to show, by Chrétien's use of a progression of parallel incidents, together with the symbolic figure of the lion, to reveal gradually the meaning of the whole.

scholarly journals Referential hierarchies: A new look at some historical and typological patterns

Linguistics ◽  
2016 ◽  
Vol 54 (3) ◽  
Author(s):  
Spike Gildea ◽  
Fernando Zúñiga
Keyword(s):  
First Person ◽  
Historical Sources ◽  
Second Person ◽  
Case Marking ◽  
Asymmetrical Pattern ◽  
Third Person ◽  
Grammatical Change ◽  
Formal Properties ◽  
Constituent Ordering ◽  
Person Marking

AbstractThis paper proposes a diachronic typology for the various patterns that have been referred to as Hierarchical Alignment or Inverse Alignment. Previous typological studies have tried to explain such patterns as grammatical reflections of a universal Referential Hierarchy, in which first person outranks second person outranks third person and humans outrank other animates outrank inanimates. However, our study shows that most of the formal properties of hierarchy-sensitive constructions are essentially predictable from their historical sources. We have identified three sources for hierarchical person marking, three for direction marking, two for obviative case marking, and one for hierarchical constituent ordering. These sources suggest that there is more than one explanation for hierarchical alignment: one is consistent with Givón’s claim that hierarchical patterns are a grammaticalization of generic topicality; another is consistent with DeLancey’s claim that hierarchies reflect the deictic distinction between present (1/2) and distant (3) participants; another is simply a new manifestation of a common asymmetrical pattern, the use of zero marking for third persons. More importantly, the evolution of hierarchical grammatical patterns does not reflect a consistent universal ranking of participants – at least in those cases where we can see (or infer) historical stages in the evolution of these properties, different historical stages appear to reflect different hierarchical rankings of participants, especially first and second person. This leads us to conclude that the diversity of hierarchical patterns is an artifact of grammatical change, and that in general, the presence of hierarchical patterns in synchronic grammars is not somehow conditioned by some more general universal hierarchy.

Embodying “you”: Levinas and a question of the second person

2005 ◽  
Vol 34 (2) ◽  
Author(s):  
Carrol Clarkson
Keyword(s):  
Literary Text ◽  
The Other ◽  
Second Person ◽  
Dynamic Potential ◽  
Third Person

AbstractIn this paper I examine the effects of considering Levinas’s philosophy of the relation to the Other as a relation to a second person “you,” rather than to a third person “he.” To think of the Other as “you” sheds further light on the ethical encounter that Levinas terms the “Saying:” it provokes us to think of the event of reading a literary text as an event of the Saying. In the dynamic potential of the literary text to instantiate an “I” and a “you” (which is to say, an addresser and an addressee) each time it is read, and in ways that cannot be exhaustively predicted or epistemologically saturated in advance, the artwork effects an open yet responsive encounter with the Other.

“La marquise sortit à cinq heures”

PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1644-1648
Author(s):  
Albert Chesneau
Keyword(s):  
Structural Analysis ◽  
The Other ◽  
Past Tense ◽  
First Person ◽  
The Novel ◽  
Other Hand ◽  
Third Person ◽  
Present Tense ◽  
Nouveau Roman ◽  
The Ideal

Simple structural analysis applied to passages cited from the works of André Breton elucidates the reasons for his condemnation of the statement La marquise sortit à cinq heures (see his Manifeste du surréalisme, 1924) as non-poetic. This study demonstrates the opposition existing between the above-mentioned realist sentence, essentially non-subjective (third-person subject), non-actual (past tense predicate), contextual (context can be supposed), and prosaic (lack of imagery), and on the other hand a theoretic surrealist sentence, essentially subjective (first-person subject), actual (present tense predicate), and non-contextual, producing a shock-image. In reality, Breton's surrealistic phrase does not always contain all of these qualities at once. However, in contrast to the condemned phrase which contains none at all, it does always manifest at least one of these characteristics, the most important having reference to the evocative power of the shock-image. A final comparison with a sentence quoted from Robbe-Grillet, the theoretician of the “nouveau roman”, proves that even though it may appear objective, the surrealist phrase is really not so. In conclusion, the four characteristics of the ideal surrealist sentence—subjectivity, actuality, non-contextuality, and ability to produce shock-images—create a poetics of discontinuity opposed to the classical art of narration as found traditionally in the novel. (In French)

scholarly journals ANALISIS PENGGUNAAN KOHESI REFERENSI PADA NASKAH DRAMA SISWA SMAN 2 KANDANGAN

2016 ◽  
Vol 12 (2) ◽  
pp. 39
Author(s):  
NFN Indrawati
Keyword(s):  
Qualitative Study ◽  
Random Sampling ◽  
Qualitative Method ◽  
Descriptive Study ◽  
The Other ◽  
Second Grade ◽  
Second Person ◽  
Reading And Writing ◽  
Third Person ◽  
Descriptive Qualitative

Abstrak: Penelitian Analisis Penggunaan Kohesi Referensi pada Naskah Drama Siswa SMAN 2 Kandangan merupakan penelitian deskriptif. Tujuan penelitian ini adalah mendeskripsikan penggunaan kohesi referensi pada naskah drama siswa SMAN 2 Kandangan. Jenis penelitian ini merupakan penelitian deskriptif kualitatif. Populasi data dalam penelitian ini adalah siswa SMAN 2 Kandangan. Objek siswa SMAN 2 Kandangan yang dipilih adalah siswa jurusan IPA dan IPS kelas XI. Teknik penentuan subjek didasarkan pada pengambilan sampel yang dilakukan secara random sampling. Adapun objek penelitian ini adalah penggunaan peranti kohesi referensi dalam naskah drama siswa SMAN 2 Kandangan. Data diperoleh dengan metode membaca dan teknik mencatat. Metode analisisnya menggunakan metode analisi deskriptif kualitatif. Hasil penelitian ini dapat dideskripsikan penggunaan peranti kohesi referensi pada naskah drama siswa SMAN 2 Kandangan, yaitu (1) kohesi referensi pronomina persona adalah pronomina yang dipakai untuk mengacu pada orang. Pronomina persona terdiri atas persona orang pertama tunggal dan jamak, pronomina orang kedu tunggal dan jamak, dan pronomina orang ketiga tunggal dan jamak; (2) kohesi pronomina demonstratif adalah pronomina penunjuk umum, pronomina penunjuk tempat, dan pronomina penunjuk hal ikhwal; (3) kohesi referensi komparatif adalah kohesi referensi yang menyatakan perbandingan unsur yang satu dibandingkan dengan unsur yang lain. Kohesi referensi komparatif terdiri atas kohesi referensi komparatif yang menyatakan kurang, kohesi referensi komparatif yang menyatakan sama, dan kohesi referensi komparatif yang menyatakan lebih.Kata kunci: Kohesi, referensi, naskah drama Abstract: This study Analisis Penggunaan Kohesi Referensi pada Naskah Drama Siswa SMAN 2 Kandangan is descriptive study. The aim of this study is to describe the using of reference cohesion in drama script by SMAN 2 Kandangan student. This is descriptive qualitative study. The data population is the student of SMAN 2 Kandangan. The object of this study is SMAN 2 Kandangan from Science and Social class of second grade. Subject determination technique is based on random sampling.The data are gained through reading and writing. This study used descriptive qualitative method. The object of this study is the using of reference cohesion instrument in drama script of SMAN 2 Kandangan’ students. The result shows that the using of reference cohesion instrument in drama script by the student of SMAN 2 Kandangan are (1) pronomen reference cohesion is pronomen refers to a person. Person pronomen consist of singular and plural of first person. Pronomen singular and plural of second person, and pronomen singular and plural of third person; (2) demonstrative pronomen cohesion is general instruction pronomen, place instruction pronomen, cause instruction pronomen, occurances instruction pronomen; (3) comparative reference cohesion is reference cohesion that stating comparation of one component to the other one. Comparative reference cohesion consists of comparative reference cohesion that stating inefficient, comparative reference cohesion that stating equality, and comparative reference cohesion that stating more.Key words: cohesion, reference, drama script

Towards the use of phonological markedness and extraprosodicity in accounting for morphological errors in Specific Language Impairment

2017 ◽  
Vol 8 (2) ◽  
pp. 234-272
Author(s):  
Öner Özçelik
Keyword(s):  
Language Impairment ◽  
Specific Language Impairment ◽  
The Other ◽  
Linguistic Knowledge ◽  
Processing Capacity ◽  
Specific Language ◽  
Other Hand ◽  
Grammatical Morphemes ◽  
Third Person ◽  
Prosodic Structures

Abstract Certain grammatical morphemes are variably produced in the speech of children with Specific Language Impairment (SLI). Previous research tends to view this as a consequence of either a deficit in linguistic knowledge or a limitation in processing capacity; however, both approaches raise problems. For example, linguistic accounts are unable to explain why these children’s problems are mostly with production rather than comprehension. Processing accounts, on the other hand, have difficulty explaining why affected children have differing levels of problems with grammatical morphemes that are similar on the surface (e.g. English plural -s vs. third person singular -s). In this paper, a new, phonological account is proposed which avoids these problems, and better captures the wide array of data presented in the literature. It is proposed that children with SLI have problems with organizing segmental data into prosodic structures that are linguistically highly marked, in particular those that involve various forms of extraprosodicity.

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