Inserção da questão filosófica na história

A filosofia, particularmente em fase crítica como a atual, se apresenta como questão. Mas, a questão atual da filosofia é simultaneamente a questão da tradição que produziu a filosofia. Questionada a partir do seu interior, a filosofia persevera, renovando-se; questionada a partir de fora, de uma posição cética, não só sua existência, mas toda a problemática dela decorrente, são recusadas. No entanto, na instância da ciência, pretensamente erigida em bastião do ceticismo, descobre-se a urgência daquilo mesmo que em seu nome é negado. A história da filosofia é o espaço onde ecoa e prolifera a questão da filosofia. em seu contexto, por meio desta, a filosofia é sempre atual, transforma-se, pluraliza-se.

Agreement Patterns in English : Diachronic Corpus Studies on Common-Number Pronouns

This study reports a diachronic corpus investigation of common-number pronouns used to convey unknown or otherwise unspecified reference. The study charts agreement patterns in these pronouns in various diachronic and synchronic corpora. The objective is to provide base-line data on variant frequencies and distributions in the history of English, as there are no previous systematic corpus-based observations on this topic. This study seeks to answer the questions of how pronoun use is linked with the overall typological development in English and how their diachronic evolution is embedded in the linguistic and social structures in which they are used. The theoretical framework draws on corpus linguistics and historical sociolinguistics, grammaticalisation, diachronic typology, and multivariate analysis of modelling sociolinguistic variation. The method employs quantitative corpus analyses from two main electronic corpora, one from Modern English and the other from Present-day English. The Modern English material is the Corpus of Early English Correspondence, and the time frame covered is 1500-1800. The written component of the British National Corpus is used in the Present-day English investigations. In addition, the study draws supplementary data from other electronic corpora. The material is used to compare the frequencies and distributions of common-number pronouns between these two time periods. The study limits the common-number uses to two subsystems, one anaphoric to grammatically singular antecedents and one cataphoric, in which the pronoun is followed by a relative clause. Various statistical tools are used to process the data, ranging from cross-tabulations to multivariate VARBRUL analyses in which the effects of sociolinguistic and systemic parameters are assessed to model their impact on the dependent variable. This study shows how one pronoun type has extended its uses in both subsystems, an increase linked with grammaticalisation and the changes in other pronouns in English through the centuries. The variationist sociolinguistic analysis charts how grammaticalisation in the subsystems is embedded in the linguistic and social structures in which the pronouns are used. The study suggests a scale of two statistical generalisations of various sociolinguistic factors which contribute to grammaticalisation and its embedding at various stages of the process.

THE AINU LANGUAGES: TRADITIONAL RECONSTRUCTION, EURASIAN AREAL LINGUISTICS, AND DIACHRONIC (HOLISTIC) TYPOLOGY

El objetivo principal de esta tesis doctoral es, en primer lugar, ofrecer una reconstrucción alternativa del protoainu para, en segundo lugar, aplicar conceptos de tipología diacrónicaholística con el fin de discernir algún patrón evolutivo que ayude a responder a la pregunta:¿por qué la lengua ainu es como es en su contexto geolingüístico (lengua AOV con prefijos),cuando en la región euroasiática lo normal es encontrar el perfil 'lengua AOV con sufijos'? En suma, se trata de explorar las posibilidades que ofrece la tipología diacrónica holística,combinada con métodos más tradicionales, en la investigación de las etapas prehistóricas delenguas aisladas, es decir, sin parientes conocidos, como el ainu, el vasco, el zuñi o elburushaski. Este trabajo se divide en tres grandes bloques con un total de ocho capítulos, unapéndice con las nuevas reconstrucciones protoainúes y la bibliografía.El primer bloque se abre con el capítulo 1, donde se hace una breve presentación delas lenguas ainus y su filología. El capítulo 2 está dedicado a la reconstrucción de la fonologíaprotoainu. La reconstrucción pionera pertenece a A. Vovin (1992), que de hecho sirve comobase sobre la que ampliar, corregir o modificar nuevos elementos. En el capítulo 3 se describela morfología histórica de las lenguas ainus. En el capítulo 4 se investiga esta opción dentrode un marco más amplio que tiene como objetivo analizar los patrones elementales deformación de palabras. El capítulo 5, con el que se inicia el segundo bloque, da cabida a lapresentación de una hipótesis tipológica diacrónica, a cargo de P. Donegan y D. Stampe, conla que especialistas en lenguas munda y mon-khmer han sido capaces de alcanzar unreconstrucción del protoaustroasiático según la cual el tipo aglutinante de las lenguas mundasería secundario, frente al original monosilábico de las lenguas mon-khmer. En el capítulo 6se retoma la perspectiva tradicional de la lingüística geográfica, pero no se olvidan algunas delas consideraciones tipológicas apuntadas en el capítulo anterior (el hecho de que la hipótesisde Donegan y Stampe no funcione con el ainu no significa que la tipología diacrónica nopueda ser todavía de utilidad). En el capítulo 7 se presentan algunas incongruencias queresultan tras combinar las supuestas evidencias arqueológicas con el escenario lingüísticodescrito en capítulos anteriores. Las conclusiones generales se presentan en el capítulo 8. Elapéndice es una tabla comparativa con las dos reconstrucciones disponibles a fecha de hoypara la lengua protoainu, es decir, las propuestas por A. Vovin en su estudio seminal de 1992y en el capítulo 3 de la presente tesis. Dicha tabla incluye 686 reconstrucciones (puedehacerse una sencilla referencia cruzada con Vovin, puesto que ambas están ordenadasalfabéticamente).

Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”

Reflecting on Gus Van Sant’s films Gerry (2003) Elephant (2004) and Last Days (2005), the director’s long-term sound-designer Leslie Shatz observed that “You have to get into the totality of the experience and not just the dialogue”. Shatz’s comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the “Death Trilogy”. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly “auteurist” leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the “Death Quartet”, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities.

Diachronic Change in Verbal Agreement Patterns with Majorité

This article is concerned with the description of data relating to a case of morphosyntactic variation and change in French: verbal agreement patterns with the noun majorité (‘majority’). Quantitative analysis of apparent-time data from cloze (‘gap-fill’) tests suggests that plural agreement with this noun is increasing; data from a diachronic corpus study confirm that this is the case. A number of factors are found to constrain this variation and change, including most importantly the presence and number of a post-modifying noun phrase (e.g. la majorité des hommes). The implications of these findings for the definition of collective nouns in French are discussed.

[Ressenya del llibre] Fischer, Susann: The Catalan Clitic System: A Diachronic Perspective on its Syntax and Phonology, Berlín, Mouton de Gruyter, 2002

Comentari al llibre de Susann Fischer, 'The Catalan Clitic System: A Diachronic Perspective on its Syntax and Phonology', que segons les autores de la ressenya constitueix una bona introducció a un tema de gran interès per als estudis històrics: la posició dels pronoms àtons en català i en altres llengües romàniques

[Ressenya del llibre] Susann Fischer: The Catalan Clitic System. A Diachronic Perspective on its Syntax and Phonology (Mouton de Gruyter, Berlín,2002)

Comentari al llibre de Susann Fischer, 'The Catalan Clitic System: A Diachronic Perspective on its Syntax and Phonology', que segons les autores de la ressenya constitueix una bona introducció a un tema de gran interès per als estudis històrics: la posició dels pronoms àtons en català i en altres llengües romàniques

What is poverty? A diachronic exploration of the discourse on poverty from the 1970s to the 2000s

Poverty is central to the concept of development. However, the relevance given to particular aspects of poverty has changed over the years and with it the manner in which poverty has been represented. The following paper explores how concepts of poverty within the 'poverty discourse' have altered over a 30-year period. A diachronic analysis is performed to explore changes in the topical and thematic composition of the definitions, in addition to the manner in which poverty has been 'framed'. The results illustrated that poverty was variably framed across the decades ranging from a 'neutral' fact to a highly contested state with little agreement over causes and consequences. Nevertheless, the relational analysis revealed the de-problematization of poverty over time. The finding has clear implications for development praxis: poverty needs to be 'attacked', but the root causes, at least from a discursive perspective, may be ignored.

The politics of slowness and the traps of modernity

This chapter re-evaluates the diachronic, evolutionist model that establishes the Second World War as a watershed between classical and modern cinemas, and ‘modernity’ as the political project of ‘slow cinema’. I will start by historicising the connection between cinematic speed and modernity, going on to survey the veritable obsession with the modern that continues to beset film studies despite the vagueness and contradictions inherent in the term. I will then attempt to clarify what is really at stake within the modern-classical debate by analysing two canonical examples of Japanese cinema, drawn from the geidomono genre (films on the lives of theatre actors), Kenji Mizoguchi’s Story of the Late Chrysanthemums (Zangiku monogatari, 1939) and Yasujiro Ozu’s Floating Weeds (Ukigusa, 1954), with a view to investigating the role of the long take or, conversely, classical editing, in the production or otherwise of a supposed ‘slow modernity’. By resorting to Ozu and Mizoguchi, I hope to demonstrate that the best narrative films in the world have always combined a ‘classical’ quest for perfection with the ‘modern’ doubt of its existence, hence the futility of classifying cinema in general according to an evolutionary and Eurocentric model based on the classical-modern binary. Rather than on a confusing politics of the modern, I will draw on Bazin’s prophetic insight of ‘impure cinema’, a concept he forged in defence of literary and theatrical screen adaptations. Anticipating by more than half a century the media convergence on which the near totality of our audiovisual experience is currently based, ‘impure cinema’ will give me the opportunity to focus on the confluence of film and theatre in these Mizoguchi and Ozu films as the site of a productive crisis where established genres dissolve into self-reflexive stasis, ambiguity of expression and the revelation of the reality of the film medium, all of which, I argue, are more reliable indicators of a film’s political programme than historical teleology. At the end of the journey, some answers may emerge to whether the combination of the long take and the long shot are sufficient to account for a film’s ‘slowness’ and whether ‘slow’ is indeed the best concept to signify resistance to the destructive pace of capitalism.

Denominal Verbs in Brazilian Portuguese: distinguishing between diachronic and synchronic structures within Distributed Morphology approach

Recent work on argument structure has shown that there must be a synchronic relation between nouns and derived verbs that can be treated in structural terms. However, a simple phonological/morphological identity or diachronic derivation between a verb and a noun cannot guarantee that there is a denominal structure in a synchronic approach. In this paper we observe the phenomenon of Denominal Verbs in Brazilian Portuguese and argue for a distinction between etymological and synchronic morphological derivation. The objectives of this paper are 1) to identify synchronic and formal criteria to define which diachronic Denominal Verbs can also be considered denominal under a synchronic analysis; and 2) to detect in which cases the label "denominal" can be justifiably abandoned. Based on results of argument structure tests submitted to the judgments of native speakers, it was possible to classify the supposed homogenous Denominal Verbs class into three major groups: Real Denominal Verbs, Root-derived Verbs, and Ambiguous Verbs. In a Distributed Morphology approach, it was possible to explain the distinction between these groups based on the ideia of phases in words and the locality of restriction in the interpretation of roots.