“…8 The 2PL imperative ending, like in standard Italian, is homophonous with the corresponding person of the indicative seen in (3). In both cases, in free variation with the forms in (4a), alternative shortened forms can occur, exemplifi ed in (i) with regular conjugations and an irregular verb: Rosen (1981Rosen ( [1988:88-122) and Perlmutter (1983) on the structural difference between the two -for the (fi rst person) plural (inclusive) is found in languages from different families (cf. Siewierska 2004:211 fn.…”
This paper proposes an explanation for the rise and fall of a 1PL imperative ending in the dialect of Mesocco, a Northern Italo-Romance variety from southern Switzerland. This ending cannot be explained with inherited 1PL morphology: rather, it is best accounted for by assuming the reanalysis of a 2PL imperative hosting a 1SG pronominal object clitic. This reanalysis, it is suggested, must have occurred in the syntactic context provided by the 'ethical' dative construction. It has been prompted by several factors, among which the crucial one is functional in nature, viz. the pragmatic homology between 1PL imperative -unmarkedly inclusive in meaning -and the ethical dative construction with a 2PL imperative. Comparative evidence is also adduced from studies in linguistic typology, showing that similar crossovers between 1st and 2nd person plural morphology, although unattested in Romance (or, more precisely, in the better-known standard Romance languages), are not without parallels cross-linguistically. Finally, a functional motivation is provided for the deacquisition of this 1PL imperative form in the dialect of the younger generations.
“…8 The 2PL imperative ending, like in standard Italian, is homophonous with the corresponding person of the indicative seen in (3). In both cases, in free variation with the forms in (4a), alternative shortened forms can occur, exemplifi ed in (i) with regular conjugations and an irregular verb: Rosen (1981Rosen ( [1988:88-122) and Perlmutter (1983) on the structural difference between the two -for the (fi rst person) plural (inclusive) is found in languages from different families (cf. Siewierska 2004:211 fn.…”
This paper proposes an explanation for the rise and fall of a 1PL imperative ending in the dialect of Mesocco, a Northern Italo-Romance variety from southern Switzerland. This ending cannot be explained with inherited 1PL morphology: rather, it is best accounted for by assuming the reanalysis of a 2PL imperative hosting a 1SG pronominal object clitic. This reanalysis, it is suggested, must have occurred in the syntactic context provided by the 'ethical' dative construction. It has been prompted by several factors, among which the crucial one is functional in nature, viz. the pragmatic homology between 1PL imperative -unmarkedly inclusive in meaning -and the ethical dative construction with a 2PL imperative. Comparative evidence is also adduced from studies in linguistic typology, showing that similar crossovers between 1st and 2nd person plural morphology, although unattested in Romance (or, more precisely, in the better-known standard Romance languages), are not without parallels cross-linguistically. Finally, a functional motivation is provided for the deacquisition of this 1PL imperative form in the dialect of the younger generations.
“…In her view, Atkins flouted the norms of positivist science, overturning the conventions of “biotaxic visuality” (1998, p. 251) through a self‐referential, amateur practice that meditated on the ontology of the incipient medium of photography. “Less botanical illustrations” than “illustrations of what kind of illustration a photograph is,” Atkins's cyanotypes “bring the discursive fields of botanical science and photography together to strip both of the power to organize the world and make it yield meaning from within itself” (Armstrong, 1998, p. 270). Photographs therefore represents, she argues,a photographic detour and a scientific dead end…Atkins wandered into a photographic and scientific cul‐de‐sac, and liking it there, stayed to entertain herself by problematizing the system of positivist classification and the apparatus of the illustration.…”
Section: Figurementioning
confidence: 99%
“…To this reading Armstrong's work stands in clear contrast. Her more theoretically oriented studies of Atkins, pursued in Scenes in a Library: Reading the Photograph in the Book, 1843–1875 (1998) and Ocean Flowers: Impressions from Nature (2004), co‐edited with Catherine De Zegher, grounds her discussions of the ontology of Atkins's photographs and their relationship to other visual traditions, especially drawing, in her socially and scientifically marginal position as an amateur photographer and lady botanist. In her view, Atkins flouted the norms of positivist science, overturning the conventions of “biotaxic visuality” (1998, p. 251) through a self‐referential, amateur practice that meditated on the ontology of the incipient medium of photography.…”
Section: Figurementioning
confidence: 99%
“…Her more theoretically oriented studies of Atkins, pursued in Scenes in a Library: Reading the Photograph in the Book, 1843–1875 (1998) and Ocean Flowers: Impressions from Nature (2004), co‐edited with Catherine De Zegher, grounds her discussions of the ontology of Atkins's photographs and their relationship to other visual traditions, especially drawing, in her socially and scientifically marginal position as an amateur photographer and lady botanist. In her view, Atkins flouted the norms of positivist science, overturning the conventions of “biotaxic visuality” (1998, p. 251) through a self‐referential, amateur practice that meditated on the ontology of the incipient medium of photography. “Less botanical illustrations” than “illustrations of what kind of illustration a photograph is,” Atkins's cyanotypes “bring the discursive fields of botanical science and photography together to strip both of the power to organize the world and make it yield meaning from within itself” (Armstrong, 1998, p. 270).…”
This essay reads Anna Atkins's Photographs of British Algae: Cyanotype Impressions (1843–1853) as an example of Victorian imitative art by reading it through the lens of Victorian domestic handicraft. It does so in order to resituate Atkins's work within the history of scientific visualization and to contribute to the increasing complexity scholars of visual culture and of the scientific image have added to prevailing accounts of the rise of the “objective” scientific image in the nineteenth‐century. Building on the work of historians of photography, art, science, and literature, it argues that her cyanotypes point toward an alternative history of scientific image as a form of craft and collection that resonates with recent calls in the study of the scientific image and scientific practices to move “beyond representation.”
“…However, the UH had several flaws, for example mismatches across unaccusativity diagnostic tests, difficulty in explaining the differences between the patienthood of the subject of an intransitive inaccusative and that of the subject of a transitive verb in the passive, inconsistencies in the alignment between the syntactic and semantic properties of split intransitivity, some verbs being unable to satisfy unaccusativity diagnostics in consistent ways while other verbs display either unaccusative or unergative syntax, etc. (see Rosen 1984;Levin and Rappaport Hovav 1995;Alexiadou et al 2004;McFadden 2007;Giancarli 2011).…”
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