This paper explores the use of bound forms in coordination constructions and ʔijjā and ʔijja in Modern Standard Arabic (MSA) and Jordanian Arabic (JA), respectively. Using the Minimalist Program (Chomsky 1995, 2000, 2005) as a theoretical framework, the paper proposes that the use of bound forms in such constructions is ruled by a Phonetic-Form constraint that prohibits cliticization of a bound form onto another bound form, i.e. the combination of two bound forms does not result in a free form; hence it is blocked. The paper demonstrates that the use of ʔijjā and ʔijja in MSA and JA, respectively, is a direct consequence of this constraint, so that ʔijjā/ʔijja is a Phonetic-Form object used to serve as a lexical host of bound forms (cf. Fassi Fehri 1993). The use of ʔijjā/ʔijja is also shown to be prosodically ruled; it is prosodically dependent so that ʔijjā/ ʔijja should be a member of the prosodic unit which also includes the preceding word.
In many of his poems, Robert Frost deploys space, rather than time or the narrative episode, to anchor the tragic, which we define as the lack of the habitable attributes of the dwelling space. Frost brings the domestic tragic into a high degree of prominence, sketching for his readers a spatial reality that is situated within the parameters of the dwelling space. To him, this interaction with space defines a permanent struggle on the part of human beings to create a habitable environment, one that embodies the true essence of dwelling. Following from a critical conversation on spatiality and dwelling, we appropriate Gaston Bachelard's and Martin Heidegger's phenomenological notions of homeness and non-homeness to interpret Frost's nuanced spatial dramatizations and his poetics of dwelling. Informed by the critical insights of these two thinkers, we argue that Frost's spatial dramatizations describe a polarized, irrational environment where the notion of homeness is built upon non-homeness and where the dweller is unable to understand his/her relationship with the dwelling space. We thus bring attention to Frost as a modernist poet significantly contributing to the critical conversation and phenomenological tradition on modern spaces and the modern experience of homeness/nonhomeness.
This research investigates the functions of the verb ‘to say’ in the Jordanian Arabic dialect of Irbid (JADI). Relying on a 250,000-word corpus, we propose that the speech verb ‘to say’ in JADI has one main lexical function (i.e. introducing direct or indirect speech) in addition to three functions which the verb develops, i.e. expressing the speaker’s mental state, signalling indirect evidentiality, and revealing the speaker’s incredulity towards the accompanying utterance. We show that in these three developed functions, the verb lost one or more of its lexical properties, because of an (initial or advanced) grammaticalization process whose effects are clearly manifested by the function of the verb as an incredulity marker, in which case the verb is semantically bleached, phonologically reduced, and de-categorized. Following Traugott (1989), Wang et al. (2003) and Hsieh (2012), among others, we propose that the grammaticalization path of the speech verb in JADI into these three functions are motivated by pragmatic inference and (inter)subjectification. The directionality of the grammaticalization process is also shown to be implemented from propositional (through textual) to expressive functions.
The manipulation of gender in Chaucer's The Canterbury Tales is utterly opaque. While "The Knight's Tale" potentially entices readers to think that Chaucer defines a woman regarding her relationship to man, "The Wife of Bath's Prologue and Tale" suggests that the poet views a woman as an independent figure whose identity has nothing to do with man. This apparently controversial portrait of gender causes some critics to read Chaucer as a pro-woman individual; simultaneously, it inspires other critics to view the poet as anti-feminist. Such debate may cause readers to misjudge Chaucer's multifaceted approach towards gender as well as other hypersensitive topics, thus adding to the atmosphere of complexity and lack of clarity that dominates The Tales.Accordingly, this paper revisits Chaucer's gender-oriented philosophy in The Tales sieving what is conjectured by the poem's critics from what is said by the poet himself regarding gender. The paper concludes that Chaucer has never had the choice to overtly be or not to be the friend of woman but has always adopted a fence-sitting strategy concerning the question of gender due to his sociopolitical status.The paper confirms that Chaucer's viewpoint of women is neither feminist nor anti-feminist but a realistic amalgamation that mirrors the opaque gender culture of England in the fourteenth century.
The episode of Chauntecleer's dream found in Chaucer's "The Nun's Priest's Tale" is a controversial topic for Chaucer critics. Some critics argue that the downfall-escape experience of Chauntecleer is worthy of investigation because animal figures in fables symbolize people (Finlayson, 2005, 495) and thus their rise and downfall sometimes allude to certain theological or philosophical issues such as the original Fall of Adam and Eve (Payne, 1976, 211-112).Other critics propose, on the contrary, that the episode of Chauntecleer is a "joke" and therefore should not be overestimated (Eliason, 1972, 172). These two opposing perspectives have their own rationale; nevertheless, the centrality of Chauntecleer's dream to the narrative of "The Nun's Priest's Tale" is hard to ignore. Considering the philosophical reverberations of the tale concerning the medieval concepts of destiny and free will, this paper argues that the Chauntecleer episode is not a "joke" but a philosophical exemplar that proposes the absence of any demarcating lines between destiny and free will, bearing in mind that destiny refers to the many options decreed by the deity to be available in every single situation for each individual, while free will refers to humans' freedom to decide what to say and do. The paper contends that Chauntecleer's dream shows how free will and destiny-though they are "inconsistent" forces (Boethius, 1785, 195)-mysteriously connive together to form what can be called conditional free will.
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