Determining the Scope of English Quantifiers

How can one represent the meaning of English sentences in a formal logical notation such that the translation of English into this logical form is simple and general? This report answers this question for a particular kind of meaning, namely quantifier scope, and for a particular part of the translation, namely the syntactic influence on the translation. Rules are presented which predict, for example, that the sentence: Everyone in this room speaks at least two languages. has the quantifier scope AE in standard predicate calculus, while the sentence: At lease two languages are spoken by everyone in this room. has the quantifier scope EA. Three different logical forms are presented, and their translation rules are examined. One of the logical forms is predicate calculus. The translation rules for it were developed by Robert May (May 19 77). The other two logical forms are Skolem form and a simple computer programming language. The translation rules for these two logical forms are new. All three sets of translation rules are shown to be general, in the sense that the same rules express the constraints that syntax imposes on certain other linguistic phenomena. For example, the rules that constrain the translation into Skolem form are shown to constrain definite np anaphora as well. A large body of carefully collected data is presented, and used to assess the empirical accuracy of each of the theories. None of the three theories is vastly superior to the others. However, the report concludes by suggesting that a combination of the two newer theories would have the greatest generality and the highest empirical accuracy.

Diastratische und Diaphasische Variation: Normierungstendenz und Unabh?ngigkeit in lothringischen Dokumenten des Mittelalters

Trotter, David, 'Diastratische und 'Diaphasische Variation: Normierungstendenz und Unabh?ngigkeit in lothringischen Dokumenten des Mittelalters', In: ?berlieferungs- und Aneignungsprozesse im 13. und 14. Jahrhundert auf dem Gebiet der westmitteldeutschen und ostfranz?sischen Urkunden- und Literatursprachen', (ed.) Kurt G?rtner, Kliomedia, pp.245-322, 2005

Projekty rozwojowe w tubylczej społeczności Meksyku i ich społeczno-kulturowe konsekwencje

Wydział Historyczny

Copper mining in Ireland during the later Bronze Age

Accepted Version

Induction of the mucosal immune response

info:eu-repo/semantics/published

DEGENERATE MUSIC?! MUSICAL CENSORSHIP IN THE THIRD REICH

In 1938, in Düsseldorf, the Nazis put on an exhibit entitled "Entartete Musik” (degenerate music), which included composers on the basis of their “racial origins” (i.e. Jews), or because of the “modernist style” of their music. Performance, publication, broadcast, or sale of music by composers deemed “degenerate” was forbidden by law throughout the Third Reich. Among these composers were some of the most prominent composers of the first half of the twentieth-century. They included Stravinsky, Schoenberg, Webern, Berg, Mahler, Ernst Krenek, George Gershwin, Kurt Weill, Erwin Schulhoff, and others. The music of nineteenth-century composers of Jewish origin, such as Mendelssohn and Meyerbeer, was also officially proscribed. In each of the three recitals for this project, significant works were performed by composers who were included in this exhibition, namely, Mendelssohn, Webern, Berg, Weill, and Hans Gal. In addition, as an example of self-censorship, a work of Karl Amadeus Hartmann was included. Hartmann chose “internal exile” by refusing to allow performance of his works in Germany during the Nazi regime. One notable exception to the above categories was a work by Beethoven that was presented as a bellwether of the relationship between music and politics. The range of styles and genres in these three recitals indicates the degree to which Nazi musical censorship cut a wide swath across Europe’s musical life with devastating consequences for its music and culture.

MUSICAL EXOTICISM EXPLORED IN PIANO WORKS FROM THE EIGHTEENTH CENTURY THROUGH THE EARLY TWENTIETH CENTURY

Musical exoticism is the evocation of a culture different from that of the composer. It occurs anytime a composer tries to conjure up the music of a country not his own. Although there have been studies of exoticism in the piano works of an individual composer, namely Debussy, there has not been a comprehensive study of musical exoticism in the piano literature as a whole. Upon chronological examination of the piano repertoire, general trends exhibiting exoticism become evident. The first general trend is the emergence of the Turkish style (alia turca) in the eighteenth century. Turkish style soon transmuted to the Hungarian-Gypsy style (all 'ongarese or style hongrois). [In Beethoven's Op. 129, it is alia ingharese.] Composers often alternated between the two styles even in the same composition. By the late nineteenth century, style hongrois was firmly entrenched in the musical language of Austro-German composers, as seen in the works of Brahms. In the nineteenth century, composers turned to the Middle East, North Africa and Spain for inspiration. In particular are several compositions emulating Spanish dance music, culminating in the Spanish works of Debussy and Ravel. The gamelans from Indonesia and objects from the Far East of Japan and China, brought by advances in trade and transportation, captivated the imagination of composers at the turn of the twentieth century. Also in the early twentieth century, composers tried emulating dance and jazz music coming from the Americas, such as the cakewalk, minstrelsy, and the blues. One sees the ever widening sphere of exotic inspiration for western music composers: from the Turkish invasions to the traveling Gypsies of Hungary; to the captivating dance rhythms, soulful cante jondo sections, and guitar flourishes of Spain; expanding further to the far reaches of Asia and the jazzy rhythms of the Americas. This performance dissertation consists of three recitals presented at the University of Maryland, and is documented on compact disc recordings which are housed within the University of Maryland Library System. The recordings present the music of Balakirev, Beethoven, Brahms, Chopin, Debussy, Haydn, Hummel, Milhaud, Moszkowski, Mozart, Ravel, and Schubert.

Fast divide-and-conquer algorithms for preemptive scheduling problems with controllable processing times - a polymatroid optimization approach

We consider a variety of preemptive scheduling problems with controllable processing times on a single machine and on identical/uniform parallel machines, where the objective is to minimize the total compression cost. In this paper, we propose fast divide-and-conquer algorithms for these scheduling problems. Our approach is based on the observation that each scheduling problem we discuss can be formulated as a polymatroid optimization problem. We develop a novel divide-and-conquer technique for the polymatroid optimization problem and then apply it to each scheduling problem. We show that each scheduling problem can be solved in $ \O({\rm T}_{\rm feas}(n) \times\log n)$ time by using our divide-and-conquer technique, where n is the number of jobs and Tfeas(n) denotes the time complexity of the corresponding feasible scheduling problem with n jobs. This approach yields faster algorithms for most of the scheduling problems discussed in this paper.

A comparison of the degree of implementation of marine biodiversity indicators by European countries in relation to the Marine Strategy Framework Directive (MSFD)

The degree of development and operability of the indicators for the Marine Strategy Framework Directive (MSFD) using Descriptor 1 (D1) Biological Diversity was assessed. To this end, an overview of the relevance and degree of operability of the underlying parameters across 20 European countries was compiled by analysing national directives, legislation, regulations, and publicly available reports. Marked differences were found between countries in the degree of ecological relevance as well as in the degree of implementation and operability of the parameters chosen to indicate biological diversity. The best scoring EU countries were France, Germany, Greece and Spain, while the worst scoring countries were Italy and Slovenia. No country achieved maximum scores for the implementation of MSFD D1. The non-EU countries Norway and Turkey score as highly as the top-scoring EU countries. On the positive side, the chosen parameters for D1 indicators were generally identified as being an ecologically relevant reflection of Biological Diversity. On the negative side however, less than half of the chosen parameters are currently operational. It appears that at a pan-European level, no consistent and harmonized approach currently exists for the description and assessment of marine biological diversity. The implementation of the MSFD Descriptor 1 for Europe as a whole can therefore at best be marked as moderately successful.