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The most macabre of the numerous anthropomorphic metaphors linguists provide for their subject matter is that of language death. The extinction of a language is in fact a distressing matter, because the cultural tradition connected to it and the sociocultural or even ethnic independence of the group that speaks it very often perish together with it. Yet it is a very common phenomenon. [...] It would seem strange that such a frequent and well-known phenomenon has not been studied much earlier; nevertheless it is a fact that the investigation of language death is a new and developing field, which emerged as something like an independent subdiscipline of linguistics towards the end of the seventies. This comparatively embryonic stage of the field should be kept in mind throughout the following discussion.
In the area of the Modern Greek verb, phenomena which consistently appear are headmarking, many potential slots before and/or after the verb root, noun and adverb incorporation, addition of adverbial elements by means of affixes, a large inventory of bound morphemes, verbal words as minimal sentences, etc. These features relate Modern Greek to polysynthesis. The main bulk of this paper is dedicated to the comparison of affixal and incorporation patterns between Modern Greek and the polysynthetic languages Abkhaz, Cayuga, Chukchi, Mohawk, and Nahuatl. Ultimately, a typological outlook for Modern Greek is proposed.
This paper is concerned with anticausative verbs (or verb-forms), or shortly, anticausatives. [...] [C]ausative/non-causative pairs with a marked non-causative are quite frequent in the languages of the world. However, so far they have not received sufficient attention in general and typological linguistics, a fact which is also manifested in the absence of a generally recognized term for this phenomenon […]. This paper therefore deals with the most important properties of anticausatives (particularly semantic conditions on them), their relationship to other areas of grammar as well as their historical development in different languages. The grammatical domain of transitivity, valence and voice, where the anticausative belongs, takes up a central position in grammar and consequently the present discussion should be of considerable interest to general comparative (or typological) linguists.
During the 1930s through the 1940s and into the 1950s, Spanish and German presentations in opposition to ardent nationalism share strikingly common aesthetic and ideological strategies supporting claims to a transnational, international space. Specific examples of common geography, identity and language in German and Spanish presentations (theater, short stories, reports, essays, speeches and poetry) in Spain and Latin America by German (Regler, Renn, Uhse), Spanish (J. Bergamin, R. Alberti, M. Aub) and Latin American (D. Rivera, P. Neruda, C. Vallejo) intellectuals, artists and activists during the 1930s through the 1950s will be explored. For example, German-speaking audiences and artists in Spain and Mexico shared a common lived and aesthetic space as Spanish-speaking audiences and artists. Further, many German presentations were translated into Spanish and visa versa. Here, presentations in “Das Wort” and “El Mono Azul” in Spain as well as “Freies Deutschland/Alemania libre” in Mexico will be referenced in developing a sense of re-definition of the concept of ‘foreign’ and ‘commonness’ beyond simply nationality (tradition, history and geography) and language. The impetus for an alternative, international and even revolutionary ‘space’ (as defined by Henri Lefebvre in The Production of Space) was produced in and through common Spanish and German strategies and realizations in their presentations. This Spanish-German example from the early/mid-part of the 20th century is a significant contribution to contemporary interdisciplinary discussions in the 21st century.
The mirine plant bug Tropidosteptes forestierae, new species (Hemiptera: Miridae) is described from
Collier County, Florida, where it was found causing serious injury to an extensive ornamental hedge of Florida swampprivet, Forestiera segregata (Jacq.) Krug and Urb. (Oleaceae). Adult male and female, fifth instar, and egg are described. Color images of the adults, nymph, egg, and injury; scanning photomicrographs of selected adult structures; and illustrations of male genitalia are provided. A key to help distinguish the 16 species of Tropidosteptes known to occur in the southeastern United States is given.
Two new species of the genus Pahamunaya Schmid (Trichoptera: Polycentropodidae), P. talon sp. n. and P. spinifera sp. n., from Vietnam are described and illustrated. Examination of the holotype male of P. khoii Oláh and Johanson, in combination with an additional specimen of the same species, revealed new characters. New illustrations for this species are provided.
A wall-sized canvas by Twombly hanging in a purpose-built pavilion by Renzo Piano, commissioned by the Menil Collection in Houston, bears the scrawled inscription »Anatomy of Melancholy.« Untitled (Say Goodbye Catullus, to the Shores of Asia Minor) is the culminating statement of the artist’s maturity: begun in 1972, it was first exhibited in 1994. In this monumental cenotaph, Twombly’s painting displays phrases from Archilochos, Catullus, Keats and Rilke, as well as the title of Burton’s famous tome, worked into the fabric of the composition, integral to the iconic content. It is the aching heart of the select permanent exhibition of his oeuvre at the pavilion, known as the Twombly Gallery (www.menil.org/twombly.html). The austerity of Piano’s architectural setting, as well as the cunningly filtered Texas sunlight, makes this a site of cult, like the chapel containing the dark, final canvases of Mark Rothko, situated around the corner in the same urban grove of old oak. The setting is a modern Dodona, remote seat of the oaken oracle of Zeus, and it makes an evocative home for Twombly’s enigmatic constructions. These disarm conventional vocabularies of aesthetic response, drawing attention to words and snatches of verse as points of association and recognition. Looking at them involves siting a phrase such as »Anatomy of Melancholy« in other dimensions – in lines, patches, figures, colors.
It is the aim of this paper to present and elaborate a new solution to the old syntactic problems connected with the Latin gerundive and gerund, two verbal categories which have been interpreted variously either as adjective (or participle) or noun (or infinitive). These questions have been much discussed for quite a number of years […] but for the most part from a philological or purely diachronic point of view. All these linguists try to explain the peculiarities of these categories and their syntax by showing that the gerund is historically prior to the gerundive. [...] It is our thesis […] that in order to arrive at a unified account of gerundive and gerund we do not have to go back to prehistoric times. Even for the classical language gerund and gerundive represent the same category, in the sense that the gerund can be shown to be a special case of the gerundive. Additional evidence from a parallel construction in Hindi is adduced to make the Latin facts more plausible. It is only in the post-classical language that certain tendencies which had shown up already in Old Latin poetry become stronger and finally lead to a reanalysis of the gerundive and a split into two distinct syntactic constructions. The propositional meaning of the gerundive in its attributive use is explained with reference to a conflict between syntactic and cognitive principles. Special constructions which are the effects of such conflicts can be found in other parts of grammar. Languages differ with respect to the degree of syntacticization (or conventionalization) of these special constructions.
There are many aspects of Haas' life and experiences in India which deserve greater attention. I would like to refer briefly only to his attempts as a litterateur to come to terms with 'India' as presented in his autobiographical recollection and to some comparative cultural reflections in his essays. Like all reconstructions his autobiographical recollection of India is also a construct in which the site of India as a place of exile is justified by an achieved awareness between conscious individual choice and inevitability. An individual acts out a personal history, the prefiguration of which he only becomes aware of in the form of a subsequent epiphanic realization. Given Haas' literary background, it is not surprising that this is articulated through a literary association.