The term ‘meaning’, as it is presently employed in Linguistics, is a polysemous concept, covering a broad range of operational definitions. Focussing on two of these definitions, meaning as ... Show moreThe term ‘meaning’, as it is presently employed in Linguistics, is a polysemous concept, covering a broad range of operational definitions. Focussing on two of these definitions, meaning as ‘concept’ and meaning as ‘context’ (also known as ‘distributional semantics’), this paper explores to what extent these operational definitions lead to converging conclusions regarding the number and nature of distinct senses a polysemous form covers. More specifically, it investigates whether the sense network that emerges from the principled polysemy model of over as proposed by Tyler & Evans (2003; 2001) can be reconstructed by the neural language model BERT. The study assesses whether the contextual information encoded in BERT embeddings can be employed to succesfully (i) recognize the abstract sense categories and (ii) replicate the relative distances between the senses of over proposed in the principled polysemy model. The results suggest that, while there is partial convergence, the two models ultimately lead to different global abstractions because the imagistic information that plays a key role in conceptual approaches to prepositional meaning may not be encoded in contextualized word embeddings. Show less
Performances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this... Show morePerformances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression. This performative view of polyphony is contextualised not only in musical practice, but also in the wider interdisciplinary use of polyphony as a metaphor. Single-player polyphonic expression is shown to enact or demonstrate an inner experience of the plurality of subjective agency, an experience made possible by its embodied dimension. Besides verbalising and theorising polyphonic expression, this dissertation provides experiments and exercises useful for developing such a practice, as well as examples of its application in concert Show less
In this study, the plant metaphors of the Septuagint of Isaiah are analyzed in order to gain further insight into the translation technique of this unique book. This study suggests that the... Show moreIn this study, the plant metaphors of the Septuagint of Isaiah are analyzed in order to gain further insight into the translation technique of this unique book. This study suggests that the translator had some concern for Greek style in his use of metaphors, but interpreted primarily as a Jewish scribe.Chapter two examines metaphors with terminology from the various parts of plants, and LXX-Isa’s translations are compared with the Targum’s renderings. In general, this chapter demonstrates how the LXX-Isa translator did not follow the example of other LXX translators, yet carefully renders each verse in its context. Chapter three examines metaphors using terms for different kinds of plants, and LXX-Isa’s translations are compared with the Targum’s renderings. In this chapter, while many metaphors are rendered literally, in many cases the translator adjusts the language of metaphors to communicate clearly what he believes the image means.The concluding chapter categorizes all the metaphors examined in this study by their translation strategy. LXX-Isa’s rendering of metaphors is next compared to the Targum of Isaiah. Finally, evidence is given for the translator using some of his Hellenistic rhetorical training concerning metaphors to improve the style of his translation Show less
__Building in Words__ deals with the process of construction in Roman imperial literature from Vergil to the second century AD. The first part of the dissertation treats the ways in which... Show more__Building in Words__ deals with the process of construction in Roman imperial literature from Vergil to the second century AD. The first part of the dissertation treats the ways in which representations of the construction of an edifice can be designed to influence the reader__s evaluation of it. The focus is first on major monuments in the city and strategies of memory-making in different media, and then on water engineering projects, with an emphasis on the moral aspects of human interventions in nature. The second part of the dissertation deals with the meta-literary function of representations of construction. It covers the relation between city building and text-construction in different poetic genres, the specific aesthetic of construction conceived in Statius__ Silvae, and uses of the myth of Amphion. The dissertation concludes with a look at deconstruction, both physical and literary. An epilogue deals with the reception and appropriation of Roman spectacles of engineering in Mussolini__s Rome. Show less
Verbal compounds abound in Hausa (a Chadic language). A very broad definition of Hausa verbal compounds (henceforth: VC) is “a compound with a verb”. Four types of verbal compound are analysed: V... Show moreVerbal compounds abound in Hausa (a Chadic language). A very broad definition of Hausa verbal compounds (henceforth: VC) is “a compound with a verb”. Four types of verbal compound are analysed: V[erb]+X compounds, PAC+V compounds (a PAC is a pronoun complex indicating TAM), VCs with a ma prefix (both singular and, unusually, plural) as well as VCs with a nominalised verb (VNCs). In chapters 2 and 3 phonological and morphological features of Hausa VCs are discussed. Two such features affect the tone of the verb (Hausa is a tone language), one affects the final vowel of the noun direct object in V+X compounds (under conditions described). Some V+X compounds, all PAC+V compounds as well as VNCs are unmarked. In chapter 4 the functions of phonological and morphological features are critically analysed. The discussion in chapter 5 centres on a particular kind of verb (the ‘grade 2’ verb) and an explanation is offered for the idiosyncracies of grade 2 verbs in V+X compounds. Chapter 6 focusses on the literal and lexical meanings of Hausa VCs, i.e. on the generally opaque lexical meanings. The various kinds of relationship between the two meanings are systematically described in terms of metonymy, metaphor and other rhetorical devices. Show less
