DOCSLIB.ORG

Deconstructing Subcategorization: Conditions on Insertion Versus Position 1 Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deconstructing Subcategorization: Conditions on Insertion Versus Position 1 Introduction Deconstructing subcategorization: Conditions on insertion versus position Laura Kalin and Nicholas Rolle (Princeton University) — Draft July 2020 1 Introduction The notion of subcategorization has been utilized for decades to account for certain idiosyncratic behaviors of lexical items. We hone in on one particular use of the term subcategorization, as relates to properties of individual exponents (morphs); see e.g. Lieber 1980; Kiparsky 1982; Selkirk 1982; Inkelas 1990; Orgun 1996; Paster 2005, 2006, 2009; Yu 2007; Bye and Svenonius 2012; McPherson 2019; inter alia. As Paster (2009, 21) puts it, the basic idea is that “affixation is a process that matches an affix with missing elements”, which must be present in the affix's local environment, as specified in the affix's “subcategorization frame”. Proposals have extended to utilize subcategoriza- tion for exponents of roots in addition to affixes, and to include virtually all linguistic categories as possible elements in a subcategorization frame, most relevant here being morphological features (e.g., [+past], [+latinate], stem vs. root) and phonological features, both segmental (e.g., C, V, [+labial]) and prosodic (e.g., phonological phrases and phonological words). Across these proposals, subcategorization has been used to subsume (at least) two types of restrictions on exponents. The first type—which we refer to as conditions on insertion (here- after COINs)—constrain when/whether an exponent is allowed to be inserted. The second type— conditions on position (hereafter COPs)—regulate where an exponent is positioned, in particular, when it does not appear in its otherwise expected place.1 Our goal in this squib is to argue that— even restricted to the fine level of granularity of regulating individual exponents—subcategorization must be formally separated into two distinct mechanisms; COINs and COPs cannot be collapsed. We show that (i) COINs and COPs differ typologically with respect to the sorts of elements in their frames, (ii) an exponent may have both a COIN as well as a distinct COP, and (iii) COINs hold at a derivationally earlier point than COPs. Our findings have implications for the architecture of the grammar, at both the morphology-syntax and morphology-phonology interfaces. This squib is organized as follows. We first review the relevant ways subcategorization is employed in the literature (x2), and show that this raises the question of how the grammar knows when to treat a subcategorization frame as a COIN or a COP (x3). From there we argue for the bifurcation of subcategorization (x4) and discuss the implications of these findings (x5). 1We have adapted this whether/where framing from Paster (2009, 19-20). 1 2 Background In the literature, subcategorization has a dual function. On the one hand, subcategorization is used to constrain the insertion of an exponent (our condition on insertion/COIN). On the other hand, it is also used to regulate an exponent's (idiosyncratic) position (our condition on position/COP). A COIN places an environmental pre-condition on an exponent. Consider, for example, the 3rd person possessive prefix in Tzeltal (Mayan), which has two phonologically-conditioned suppletive al- lomorphs: s- before C-initial stems (e.g., s-mul, `his sin') but y- before V-initial stems (e.g., y-ahwal, `his ruler'), as stated in (1). Throughout, we adopt a simple and intuitive notation for subcatego- rization frames—[feature] exponent : condition—followed by a description in prose.2 (1) Segmental COINs in Tzeltal (Paster 2006, 59, citing Slocum 1948, 80) a. 3.poss y- : V(« “y must be before a vowel”) b. 3.poss s- : C(« “s must be before a consonant”) COINs are commonly used to account for suppletive allomorphy, as above, as well as for morphologi- cal compatibility and morphological gaps (see, e.g., Lieber 1980; Jensen 1990; Booij and Lieber 1993; Halle and Marantz 1993, 1994; Booij 1998; Bobaljik 2000; Paster 2006, 2009; Bye 2008; Hannahs 2013; Harley 2014; McPherson 2014, 2019; inter alia). In contrast, COPs determine the position of an exponent with respect to some anchor. For example, in Chamorro (Austronesian), the verbalizer appears before the first V in the stem, as an infix (e.g., trăum¡isti `become sad'). This too is expressed via subcategorization in the literature: (2) Segmental COP in Chamorro (Yu 2007, 89, citing Topping 1973, 185) verbalizer -um- : V(« “um must be before a vowel”) Importantly, the conditions on y- in Tzeltal, (1), and -um- in Chamorro, (2), are identical, both subcategorizing for a following vowel. However, as a COIN, the frame [ V ] requires that the exponent y- be inserted only before a vowel (in its default linear position/insertion site, see fn. 3); otherwise it is not inserted. As a COP, the frame [ V ] still requires the exponent -um- to be before a vowel, but the exponent may displace from its default insertion site to satisfy this condition; the insertion of the exponent is not constrained, only its surface position. 2We do not intend for these to be taken as the ultimate representations of subcategorization frames, which is an issue outside of the scope of this squib. 2 COPs have notably been employed to model unexpected constituency disruption—e.g., infixation, second positionhood, and `special clitics' (Zwicky, 1977)—but also can be used to model idiosyncratic prosodic domains and phonological rule blocking (see, e.g., Spring, 1992; Downing, 1998b,a; Chung, 2003; Yu, 2003, 2007; Zec, 2005; Bickel et al., 2007; Caballero, 2010; Hyde and Paramore, 2016; Zec and Filipovi´cĐur¡evi´c,2017; Bennett et al., 2018; Rolle and Hyman, 2019; Rolle and O'Hagan, 2019; Tyler, 2019; inter alia). Numerous other phenomena involving quirks of affix ordering may be able to be grouped here as well, such as types of `local dislocation' in Distributed Morphology (Embick and Noyer, 2001), `morphotactics' (Arregi and Nevins, 2012), `templates' (e.g., the Bantu carp template; Hyman (2003)), and bigrams (Ryan, 2010, 2019).3 3 The puzzle The two distinct uses of exponent-related subcategorization raises an obvious question: given a particular subcategorization frame for a particular exponent, how does the grammar know whether this frame can be satisfied by displacing the exponent (as in Chamorro) or not (as in Tzeltal)? In other words, where in the grammar is it encoded whether the subcategorization frame expresses a COIN or a COP? Most of the literature cited above employs subcategorization for either a COIN or a COP, and so there is little discussion of this ambiguity, nor an explicit solution to the puzzle. One answer is offered by Yu 2007, 229 (also referencing Carstairs-McCarthy 1998), who proposes that “languages may respond to the failure to satisfy a phonological subcategorization requirement in different ways”. One of these ways is infixation (the topic of Yu's 2007 work), where displacement is used as a strategy to satisfy the frame. However, “when morpheme interruption is prohibited” (ibid:229) and infixation therefore unavailable, the exponent must instead satisfy its frame in its default position at the beginning or end of the stem it combines with. If, in this position, the frame is not satisfied, then the exponent is blocked from appearing—thus, there will be a morphological gap, which may or may not be filled by another exponent with a complementary distribution. A simple factorial typology (within OT) can more precisely illustrate this point (as alluded to in Yu 2007, 229). Consider three toy constraints (which stand in for larger families of constraints): (3) a. Subcat = a subcategorization frame must be satisfied 3As should be clear from this discussion, we are not referring to the basic linearization of morphemes here, but rather displacement from an otherwise expected linear position. In this squib we will not be concerned with how basic linearization happens, and assume that it must be established independently from both COINs and COPs (such as being calculated in some algorithmic way based off of the morpho(syntactic) structure à la Kayne 1994). 3 b. Linear = constituents must be uninterrupted (i.e., no infixation/displacement) c. Parse = there must be an available parse (i.e., no ineffability/gap) Now consider an exponent α that subcategorizes for adjacency to an element γ (subcategorization frame [ γ ]), and imagine a linearized input /α-β-γ/, where β and γ are some type of morpho- logical or phonological element (e.g., segments, exponents, features) that form a constituent to the exclusion of α. By re-ranking the constraints in (3), we can derive different outputs, (4). (4) Simple factorial typology (/input/ Ñ zoutputz)[to be argued against] a. If Subcat,Parse " Linear then /α-β-γ/ Ñ zβ<α>γz displacement (frame = COP) b. If Subcat,Linear " Parse then /α-β-γ/ Ñ d (the null parse) gap (frame = COIN) c. If Linear,Parse " Subcat then /α-β-γ/ Ñ zαβγz no change (frame ignored) In such an approach, a single subcategorization frame would behave as a COIN or a COP depending on other properties of the grammar in question, namely, the constraint ranking. According to this approach, then, COPs and COINs are two sides of the same theoretical coin. (Note that in a system like (4c), there would be no synchronic reason to posit a subcategorization frame at all.) Despite the elegance of such a proposal, we explicitly reject it in the next section. 4 Proposal: Deconstructing subcategorization In this section, we argue subcategorization at the exponent level must be formally split into two dis- tinct mechanisms, COINs and COPs. In other words, these two types of idiosyncratic subcategorized structure cannot be encoded in the same type of condition. (5) summarizes our proposal: (5) Subcategorization bifurcation: An exponent may have a Condition on its Insertion and/or a Condition on its Position, which are formally independent of one another, oper- ate over an (overlapping but distinct) set of primitives, and are not interchangeable.
Load more

Recommended publications
  • Creativity Book 2013
    CREATIVITY : PRODUCT , PROCESS , PERSONALITY , ENVIRONMENT AND TECHNOLOGY 2 SANDRA I. KAY DESIGNING ELEGANT PROBLEMS FOR CREATIVE THINKING Creative thinkers seek elegance in their work. An aesthetic sensibility accompanies creative work from the original vision or motivation to its use in identifying what many creators describe as an ‘elegant solution’. Examples of this characteristic can be identified in most, if not all fields. If one defines creative thought in develop- mental terms, as “a process in which the individual finds, defines, or discovers an idea or problem not predetermined by the situation or task” (Kay 1989, p.65), then the importance of guidance by an aesthetic sensibility becomes more visible. We can see elegant solutions all around us. This chapter will look at what has been said about elegant solutions by a few creative producers and a few examples of elegant solutions that can affect our environment prior to introducing the con- cept of elegant problems. Elegant Problems address the what, not the how of creative teaching and learning. Aesthetic Sensibility, Deep Problems and Elegant Solutions in the Sci- ences The ability to appreciate the beauty of a solution has been noted by scientists, mathematicians, and artists. The term ‘Elegant Solution” is used across disciplines and time to describe the result of creative thought. For example, Campbell (1960) cites its importance with the words of the mathematician Poincare: The useful combinations are precisely the most beautiful, I mean those best able to charm this special sensibility that all mathematicians know, but of which the profane are so ignorant as often to be tempted to smile at it….
    [Show full text]
  • PLANNING and INSTALLATION GUIDE PLANNING and INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION
    PLANNING AND INSTALLATION GUIDE PLANNING AND INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION 6 Remember these safety tips and helpful Finished Elegance is a No Painting Required hints before getting started interior moulding. Just cut, install and caulk. Spanish translation lorem ipsum dolor evat sit quis magnithit 100% satisfaction guarenteed. ■ Always wear eye, ear, and respiratory protection when doing any home improvement project. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti 1 Plan your Finished Elegance Project vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore Spanish translation lorem ipsum ■ Using a compound miter saw and a pneumatic nail gun ■ will not only make the installation process easier, it will Draw a floor plan of your room. (Fig 1) Use the grid also speed up the time required for installation. provided to plot your room. (1 squar e = 1 foot) Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore minihit qui to commolu ptatus ma quiam expla ccaest exereicia ne mo ducilla ■ If you don’t own or want to purchase these tools, they cusaectas non net eum can be rented at The Home Depot Rental Center. ■ Measure each wall and note it on your plan. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perfe restium ad ullabore ■ Also note the placement and size of any doors, windows, or openings in the room.
    [Show full text]
  • Common and Distinct Neural Substrates for Pragmatic, Semantic, and Syntactic Processing of Spoken Sentences: an Fmri Study
    Common and Distinct Neural Substrates for Pragmatic, Semantic, and Syntactic Processing of Spoken Sentences: An fMRI Study G.R.Kuperberg and P.K.McGuire Downloaded from http://mitprc.silverchair.com/jocn/article-pdf/12/2/321/1758711/089892900562138.pdf by guest on 18 May 2021 Institute of Psychiatry, London E.T.Bullmore Institute of Psychiatry, London and the University of Cambridge M.J.Brammer, S.Rabe-Hesketh, I.C.Wright, D.J.Lythgoe, S.C.R.Williams, and A.S.David Institute of Psychiatry, London Abstract & Extracting meaning from speech requires the use of difference between conditions in activation of the left-super- pragmatic, semantic, and syntactic information. A central ior-temporal gyrus for the pragmatic experiment than the question is:Does the processing of these different types of semantic/syntactic experiments; (2) a greater difference be- linguistic information have common or distinct neuroanatomi- tween conditions in activation of the right-superior and middle- cal substrates? We addressed this issue using functional temporal gyrus in the semantic experiment than in the syntactic magnetic resonance imaging (fMRI) to measure neural activity experiment; and (3) no regions activated to a greater degree in when subjects listened to spoken normal sentences contrasted the syntactic experiment than in the semantic experiment. with sentences that had either (A) pragmatical, (B) semantic These data show that, while left- and right-superior-temporal (selection restriction), or (C) syntactic (subcategorical) viola- regions may be differentially involved in processing pragmatic tions sentences. All three contrasts revealed robust activation of and lexico-semantic information within sentences, the left- the left-inferior-temporal/fusiform gyrus.
    [Show full text]
  • Modeling Subcategorization Through Co-Occurrence Outline
    Introducing LexIt Building Distributional Profiles Ongoing Work Conclusions Outline Modeling Subcategorization Through Co-occurrence 1 Introducing LexIt A Computational Lexical Resource for Italian Verbs The Project Distributional Profiles 1 2 Gabriella Lapesa ,AlessandroLenci 2 Building Distributional Profiles Pre-processing 1University of Osnabr¨uck, Institute of Cognitive Science Subcategorization Frames 2 University of Pisa, Department of Linguistics Lexical sets Selectional preferences Explorations in Syntactic Government and Subcategorisation nd University of Cambridge, 2 September 2011 3 Ongoing Work 4 Conclusions Gabriella Lapesa, Alessandro Lenci Modeling Subcategorization Through Co-occurrence 2/ 38 Introducing LexIt Introducing LexIt Building Distributional Profiles The Project Building Distributional Profiles The Project Ongoing Work Distributional Profiles Ongoing Work Distributional Profiles Conclusions Conclusions Computational approaches to argument structure LexIt: a computational lexical resource for Italian The automatic acquisition of lexical information from corpora is a longstanding research avenue in computational linguistics LexIt is a computational framework for the automatic acquisition subcategorization frames (Korhonen 2002, Schulte im Walde and exploration of corpus-based distributional profiles of Italian 2009, etc.) verbs, nouns and adjectives selectional preferences (Resnik 1993, Light & Greiff 2002, Erk et al. 2010, etc.) LexIt is publicly available through a web interface: verb classes (Merlo & Stevenson 2001, Schulte im Walde 2006, http://sesia.humnet.unipi.it/lexit/ Kipper-Schuler et al. 2008, etc.) Corpus-based information has been used to build lexical LexIt is the first large-scale resource of such type for Italian, resources aiming at characterizing the valence properties of predicates cf. VALEX for English (Korohnen et al. 2006), LexSchem for fully on distributional ground French (Messiant et al.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]
  • University of Oklahoma Graduate College
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of P hilosophy BY STACI LYNN VON BOECKMANN Norman, Oklahoma 2004 UMI Number: 3147180 UMI Microform 3147180 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE LIFE AND WORK OF GRETEL KARPLUS/ADORNO: HER CONTRIBUTIONS TO FRANKFURT SCHOOL THEORY A Dissertation APPROVED FOR THE DEPARTMENT OF ENGLISH BY ____________________________ _ Prof. Catherine Hobbs (Chair) _____________________________ Prof. David Gross ____________________________ _ Assoc. Prof. Susan Kates _____________________________ Prof. Helga Madland _____________________________ Assoc. Prof. Henry McDonald © Copyright by Staci Lynn von Boeckmann 2004 All Rights Reserved To the memory of my grandmother, Norma Lee Von Boeckman iv Acknowledgements There a number of people and institutions whose contributions to my work I would like to acknowledge. For the encouragement that came from being made a Fulbright Alternative in 1996, I would like to thank t he Fulbright selection committee at the University of Oklahoma. I would like to thank the American Association of University Women for a grant in 1997 -98, which allowed me to extend my research stay in Frankfurt am Main.
    [Show full text]
  • The Unspared Elegance of Marilyn Turtz on View at Dowling Walsh
    The unspared elegance of Marilyn Turtz on view at Dowling Walsh pressherald.com/2017/05/28/the-unspared-elegance-of-marilyn-turtz-on-view-at-dowling-walsh/ By Daniel Kany May 28, 2017 The frame on a painting might act like the border between the art’s imagined world and the reality around it, but it also is a kind of flag that marks the start of the art experience for the viewer. The framing of art goes well beyond wooden rectangles and pedestals. Framing can include gallery walls, labels, lights, other works of art and so on. Dowling Walsh is a gallery that generally relies on traditional framing. Even with contemporary art, like the razor-sharp edges of Cig Harvey’s exquisite photos, the framing is clear. So it was an intriguing surprise to see the works in “Construct,” a curated group show more tethered to conceptualism than tradition. Aaron T Stephan’s stacks of cinder blocks spiraled up into the air: the blocks themselves are curved, and it is this undermining of their utility that frames them as art. One of Stephanie Cardon’s works also uses cinder blocks, but she uses them to support (and frame) threads that create moiré interference patterns. Such patterns create a perceptual frame since they appear, shift and move with the position of the viewer. ART REVIEW WHAT: Paintings by Marilyn Turtz and much more WHERE: Dowling Walsh Gallery, 365 Main St., Rockland WHEN: 10 a.m. to 5 p.m. Tuesday to Saturday; featured exhibition up through Memorial Day, but work will remain on view at gallery 1/5 MORE INFO: 596-0084, dowlingwalsh.com Search photos available for purchase: Photo Store → The most interesting aspect of “Construct,” however, is the inclusion of paintings by Elizabeth Fox and prints by Fairfield Porter (1907-1975).
    [Show full text]
  • Portrait of the Artist's Wife by Albert Braïtou
    Portraying the Elegance of an Era Painting Pairs: An art historical and technical study of Portrait of the Artist’s Wife by Albert Braïtou-Sala Lucy Fellows & Kelsey Gallagher Lucy Fellows and Kelsey Gallagher A Study of Albert Braïtou-Sala’s Portrait of the Artist’s Wife teacup and saucer in one hand. She exudes a 1920s elegance with her cupid-bow shaped red lips and bobbed hairstyle. Her downcast glance contributes to the peaceful mood of the painting. Behind Marie-Jeanne, Braïtou- Sala has loosely rendered a refined interior setting, including a tea service atop a dark wooden table, gold-framed pictures hanging on a pink wallpapered background, and trinkets sitting on a back table. Figure 1. Albert Braïtou-Sala, Portrait of the Artist's Wife, 41 x 33.3 cm, early 1920s, presumed oil on embossed This investigation into Portrait of the Artist’s paper, 41 x 33.3 cm, private collection, UK. Wife was conducted as part of the annual It is easy to be seduced by the charm and Painting Pairs project, an art historical and elegance of Albert Braïtou-Sala’s paintings. technical research collaboration between Portrait of the Artist’s Wife (Fig. 1), with its calm graduate students at The Courtauld Institute atmosphere and gracefully posed figure, of Art1. This painting came to The Courtauld provides a fine example of the French- from a private collection to be researched Tunisian artist’s most prolific and favoured and treated. There is minimal pre-existing art genre, portraiture. The picture is a small- historical scholarship surrounding Braïtou- sized, impressionist-style portrait painted on Sala, and to our knowledge, there has been textured paper.
    [Show full text]
  • Acquiring Verb Subcategorization from Spanish Corpora
    Acquiring Verb Subcategorization from Spanish Corpora Grzegorz ChrupaÃla [email protected] Universitat de Barcelona Department of General Linguistics PhD Program “Cognitive Science and Language” Supervised by Dr. Irene Castell´onMasalles September 2003 Contents 1 Introduction 5 2 Verb Subcategorization in Linguistic Theory 7 2.1 Introduction . 7 2.2 Government-Binding and related approaches . 7 2.3 Categorial Grammar . 9 2.4 Lexical-Functional Grammar . 11 2.5 Generalized Phrase-Structure Grammar . 12 2.6 Head-Driven Phrase-Structure Grammar . 14 2.7 Discussion . 17 3 Diathesis Alternations 19 3.1 Introduction . 19 3.2 Diathesis . 19 3.2.1 Alternations . 20 3.3 Diathesis alternations in Spanish . 21 3.3.1 Change of focus . 22 3.3.2 Underspecification . 26 3.3.3 Resultative construction . 27 3.3.4 Middle construction . 27 3.3.5 Conclusions . 29 4 Verb classification 30 4.1 Introduction . 30 4.2 Semantic decomposition . 30 4.3 Levin classes . 32 4.3.1 Beth Levin’s classification . 32 4.3.2 Intersective Levin Classes . 33 4.4 Spanish: verbs of change and verbs of path . 35 4.4.1 Verbs of change . 35 4.4.2 Verbs of path . 37 4.4.3 Discussion . 39 4.5 Lexicographical databases . 40 1 4.5.1 WordNet . 40 4.5.2 VerbNet . 41 4.5.3 FrameNet . 42 5 Subcategorization Acquisition 44 5.1 Evaluation measures . 45 5.1.1 Precision, recall and the F-measure . 45 5.1.2 Types and tokens . 46 5.2 SF acquisition systems . 47 5.2.1 Raw text .
    [Show full text]
  • Features from Aspects Via the Minimalist Program to Combinatory Categorial Grammar
    Á. Gallego & D. Ott (eds.). 2015. 50 Years Later: Reflections on Chomsky’s Aspects. Cambridge, MA: MITWPL. Available for purchase at http://mitwpl.mit.edu © The Authors FEATURES FROM ASPECTS VIA THE MINIMALIST PROGRAM TO COMBINATORY CATEGORIAL GRAMMAR NEIL SMITH ANNABEL CORMACK University College London 1 Background One major contribution of Aspects (Chomsky 1965)1 was to initiate the development of a theory of syntactic features. There is no use of features, either syntactic or morphophonemic, in Chomsky’s earliest work The Morphophonemics of Modern Hebrew (1951/79); they do not appear in his monumental The Logical Structure of Linguistic Theory (1955/75); nor in Syntactic Structures (1957) (except for category labels); nor, except for phonological distinctive features, in Current Issues in Linguistic Theory (1964). In Aspects features play a crucial role. Chomsky suggests (p.214) that “We might, then, take a lexical entry to be simply a set of features, some syntactic, some phonological, some semantic”. But even here the use of features was somewhat haphazard, apparently unconstrained, and a terminological mess. In this contribution we want to trace – in broad outline – the development of a theory of morphosyntactic features and propose a fully Merge-based and parsimonious version of such a theory. Our work is intended as a contribution to Chomsky’s Minimalist Program, pursuing the same ends on the basis of some different background assumptions. These assumptions and the specific analyses derived from them have been developed using an austere version of Combinatorial Categorial Grammar, but are of wider applicability. All current theories use phonological features and ‘semantic’ features which we will largely ignore except to point out that the term ‘semantic’ is used in radically different ways to cover truth-theoretic, conceptual or encyclopaedic distinctions.
    [Show full text]
  • System Guide
    System Guide Adaptable MIS solutions for an evolving practice SURGEON DESIGNERS CONTENTS D. Greg Anderson, MD SYSTEM OVERVIEW 2 Thomas Jefferson University Hospital Rothman Orthopaedics LUMBAR DEGENERATIVE 5 Philadelphia, PA DEFORMITY 9 Robert Heary, MD University of Medicine & Dentistry New TRAUMA 13 Jersey Newark, New Jersey TUMOUR 17 Carl Lauryssen, MD SURGICAL TECHNIQUE GUIDE 21 Tower Orthopedic & Neurosurgical Spine Institute PRODUCT CATALOGUE 47 Beverly Hills, CA Tony Tannoury, MD Boston University Medical Center Boston, MA Professor Cornelius Wimmer, MD Behandlungszentrum Vogtareuth (Vogtareuth Treatment Center) Vogtareuth, Germany CONTRIBUTING SURGEONS Dirk Alander, MD Steve Ludwig, MD John Asghar, MD Paul Park, MD Eric Belanger, MD Kees Poelstra, MD Randal Betz, MD Khalid Sethi, MD Ashok Biyani, MD John Shiau, MD Andrew Cannestra, MD Harry Shufflebarger, MD Mitch Hardenbrook, MD Jonathan Song, MD Bradley Heiges, MD Mike Wang, MD Marty Herman, MD Faissal Zahrawi, MD Doug Linville, MD 1 System Overview VIPER® 2, the evolution of minimally invasive spine surgery. Building upon the groundbreaking design and intuitive techniques established by the original VIPER® System, VIPER 2 empowers Spine Surgeons to treat an unparalleled range of pathologies with a single platform solution. By delivering a comprehensive range of instrumentation and implant options, VIPER 2 provides surgeons with the confidence and control required to address more advanced indications with a less invasive approach. Born from EXPEDIUM®, evolved from VIPER, VIPER
    [Show full text]
  • Art Encounters on the Uses of Theory in Art Studies
    F REDERIK TYGSTRUP Art Encounters On the Uses of Theory in Art Studies According to the editors of Theodor Adorno’s posthumous Aesthetic Theory, the book should have had, as an epigraph, a fragment by Friedrich Schlegel: »In what is generally known as philosophy of art, usually one of the two is missing; either philosophy or art.«1 To Adorno, both alternatives are equally invalidating to a puta- tive theory of art. When philosophy is missing, we might get an authentic and even enthusiastic report of an experience of art, but without the conceptual scaffolding needed to articulate it. And when art is missing, we are left – as is usually the case in philosophical aesthetics – with consistent and often admirable conceptual sys- tems which remain nonetheless incapable of assessing the singular experience of an artwork. When art eventually makes its way into philosophical aesthetics, it is usu- ally in the humble role of an example of some philosophical point; and when art critics and practitioners approach philosophy, it is more often to pick a concept than to engage with a discursive argument. From this vantage point, the beauty of theory would reside in its ability to embrace both philosophy and art and to bring them into a productive interaction. Theory, then, would have to transgress the disciplinary forms of reasoning laid down by institutionalized philosophy in order to somehow accommodate aesthet- ic experience, whereas aesthetic experience in turn should be articulated in a way that would be compatible to philosophical thinking. What is at stake here is the ability to make the experiential impact issued by an encounter with an artwork accessible to conceptual thinking, and to make the philosophical concepts useful for the articulation of this experience.
    [Show full text]