Knot Semantic Logic and Deep Structure of Statements

This article aims to analyze the deep structure of sentences by applying the knot semantic logic principle in the surface structure of the sentences. This article will help to judge some controversial statements that have legal and social effects. The knot semantic logic theory is a novel approach to explaining a literature’s symmetry structure. Chiasm, parallelism, and concentricity are all examples of symmetry structure. This new theory introduces a new method for detecting symmetry in words, sentences, verses, essays, chapters, and entire books. This analysis will use Knot semantic logic point of view. The methodology used in the analysis has two main procedures: (1) classification of the structure and (2) analyzing some examples from some official/formal statements and controversial statements using Paltridge’s classification of thematic progression and knot semantic logic. The result of this research is that the valid argument has surface and Deep Structure. Some fallacies statements such as presumption, generalization, distortion, and deletion have a deep structure that forms ring composition (Type I of knots semantic logic) and parallelizations (Type III of knots semantic logic). This research results generate a new idea about perspective truth, Original perspective domain, and Response perspective domain

TIEMPO TRÁGICO: ESTRUCTURA ANULAR Y ESQUEMAS MISTÉRICOS EN LOS CANTOS CORALES DE ANTÍGONA DE SÓFOCLES (PARTE II)

En el presente artículo nos proponemos reconocer y analizar el uso de la técnica de la ring-composition o estructura anular en los cantos corales de Antígona de Sófocles en relación con los elementos de los cultos eleusino y dionisíaco que atraviesan la obra. Nuestra hipótesis consiste en que, lejos de ser un factor de mera articulación formal, la ring-composition cumple con una función dramática pues cohesiona, con su juego de paralelismos, las alusiones a los misterios con el fin de presentar la acción como un ritual iniciático fallido. En esta segunda parte continuamos el análisis e incluimos los cantos corales restantes y las conclusiones.

Narrative and Lyric Levels in Catullus

This chapter revisits the challenges of thinking about narrative metalepsis in lyric contexts by considering the diverse corpus of Catullus. Catullus’ most obviously narrative poem—poem 64—offers rich possibilities for metaleptic readings, and the chapter particularly investigates the ways in which the boundary between the poem’s outer narrative and its inset, ostensibly ecphrastic story is navigated by two powerfully subjective presences, the narrator and Ariadne, by such means as apostrophe and mise en abyme. Yet Catullus is typically classified as a lyric poet, and the chapter also examines poems that fuse the narrative and lyric modes, looking at potentially hymnic addresses to divinities across the corpus, and the tension in poem 68 between, on the one hand, the tendency to establish a whole series of nested narrative levels through ring composition and simile, and, on the other, the pull of the lyric mode towards a unified poetic ‘present’. There is a particular emphasis on the interaction among speech acts in the first, second and third person. Catullus himself appears in all three ‘persons’ as a character in the corpus, but is also a Roman author in whose real existence we believe, and the chapter concludes by returning against this background to Genette’s concern that metalepsis prompts us to ask whether we may belong to some narrative—as Catullus indeed does.

TIEMPO TRÁGICO: ESTRUCTURA ANULAR Y ESQUEMAS MISTÉRICOS EN LOS CANTOS CORALES DE ANTÍGONA DE SÓFOCLES (PARTE I)

En el presente artículo nos proponemos reconocer y analizar el uso de la técnica de la ring-composition o estructura anular en los cantos corales de Antígona de Sófocles en relación con los elementos de los cultos eleusino y dionisíaco que atraviesan la obra. Nuestra hipótesis consiste en que, lejos de ser un factor de mera articulación formal, la ring-composition cumple con una función dramática pues cohesiona, con su juego de paralelismos, las alusiones a los misterios con el fin de presentar la acción como un ritual iniciático fallido. En esta primera parte trataremos el marco general de análisis y el canto de entrada del coro.

intratextuality

Intratextuality is a critical term used to explore the relationship between the parts and the whole in texts, including issues of unity (and disunity), the relationship between digressions and their surroundings, interactions between disparate parts of texts (such as ring composition), juxtapositions that may reflect surprisingly on their neighbours, or any structural issue within a single work of literature. Intratextual approaches may also be interested in ways in which the activity of a reader affects response to the text, for example by dividing it into mental “paragraphs.” Crucial to intratextual reading is that all these relationships be interpretable.

Chemical interactions between Saturn’s atmosphere and its rings

The Pioneer and Voyager spacecraft made close-up measurements of Saturn’s ionosphere and upper atmosphere in the 1970s and 1980s that suggested a chemical interaction between the rings and atmosphere. Exploring this interaction provides information on ring composition and the influence on Saturn’s atmosphere from infalling material. The Cassini Ion Neutral Mass Spectrometer sampled in situ the region between the D ring and Saturn during the spacecraft’s Grand Finale phase. We used these measurements to characterize the atmospheric structure and material influx from the rings. The atmospheric He/H2 ratio is 10 to 16%. Volatile compounds from the rings (methane; carbon monoxide and/or molecular nitrogen), as well as larger organic-bearing grains, are flowing inward at a rate of 4800 to 45,000 kilograms per second.

RETROSPECTIVE READING IN SENECAN TRAGEDY

Conclusions matter in Senecan prose and poetry. At the conclusion of his epistles, Seneca often includes an unexpected quote or alters his subject-matter in a surprising manner—a technique that Fowler has helpfully classified as an example of ‘Romantic Irony’ in the vein of Heine or selected Horatian odes. His dialogues display a similar penchant for such endings, e.g. the post-mortem speech of Cremutius Cordus to his daughter, Marcia, in the finale of the Consolatio ad Marciam (Dial. 6.26.2-7). Seneca's tragedies likewise conclude in a beguiling fashion, ‘Part of the dramatic force of the Senecan ending is its avoidance of any note of easy resolution; it serves rather to sharpen and/or problematize the central issues of the particular play.’ As a way to further encourage the reader to question or recognize major themes of the play, Seneca's conclusions feature an intertext that casts these themes in a different light or elicits metapoetic commentary. These intertexts stress ideas and language important to the particular play, especially those found in the prologue, in order to create a type of ring-composition to the tragedy as a whole. This paper investigates these intertexts and indicates not only how they operate on an inter/intratextual level, but also why Seneca would think of the texts that he does at the conclusion of his tragedies. Seneca looks back to some of his major literary influences at the conclusions of his plays (Ovid, Horace, and Virgil unsurprisingly; Seneca the Elder perhaps more surprisingly), which reveals that these moments are diagnostic of his intertextual method in general. The larger situational or generic context of the sources shade the words uttered by Senecan protagonists, but Seneca stresses the tragic impact of such intertextual echoes again and again; Seneca tragicus surely is a pessimistic reader of the Augustan tradition. The reiteration of similar language and imagery throughout the play ‘primes’ the reader to recognize the intertext at the play's conclusion—thus intratextual repetitions signpost the intertextual reference. Seneca wants these references to be noticed; he promotes a retrospective reading technique in which these intertexts recast language and themes found earlier in the play, now vis-à-vis the literary and rhetorical source material. In creating such dense verbal connections, he encourages further contemplation of the major motifs of the tragedies and inherently endorses the position of his plays as ‘open’ texts that beg for further supplementation by further reading and rereading, again and again.