CTRL+V is an investigation of one folklore jacket in many pieces, aiming to find out what that jacket is all about. / Program: Modedesignutbildningen

abstract: This dissertation investigates the precise degree to which prosody and syntax are related. One possibility is that the syntax-prosody mapping is one-to-one (“isomorphic”) at an underlying level (Chomsky & Halle 1968, Selkirk 1996, 2011, Ito & Mester 2009). This predicts that prosodic units should preferably match up with syntactic units. It is also possible that the mapping between these systems is entirely non-isomorphic, with prosody being influenced by factors from language perception and production (Wheeldon & Lahiri 1997, Lahiri & Plank 2010). In this work, I argue that both perspectives are needed in order to address the full range of phonological phenomena that have been identified in English and related languages, including word-initial lenition/flapping, word-initial segment-deletion, and vowel reduction in function words, as well as patterns of pitch accent assignment, final-pronoun constructions, and the distribution of null complementizer allomorphs. In the process, I develop models for both isomorphic and non-isomorphic phrasing. The former is cast within a Minimalist syntactic framework of Merge/Label and Bare Phrase Structure (Chomsky 2013, 2015), while the latter is characterized by a stress-based algorithm for the formation of phonological domains, following Lahiri & Plank (2010). / Dissertation/Thesis / Doctoral Dissertation English 2019

No description available.

El objetivo de esta tesis es explorar la Teoría de Fases de Chomsky (cf. Chomsky 2000; 2001; 2004; 2005; 2007; en preparación) y sus conexiones con la variación paramétrica. El estudio considera la hipótesis de que la computación sintáctica opera a través de pequeñas etapas derivacionales (las fases), prestando especial atención a los sistemas de Caso y concordancia, y al papel que desempeña la morfología en relación con la variación lingüística. El Capítulo I presenta las bases generales del marco teórico que se asume a lo largo de la tesis (el llamado Programa Minimista; cf. Chomsky 1993a hasta el presente), concentrándose tanto en las operaciones computacionales centrales (Fusión y Acuerdo) como en la naturaleza cíclica del sistema.El Capítulo II se dedica a la noción de fase, cuyos criterios de identificación son considerados con detenimiento. Se adopta la hipótesis de Pesetsky & Torrego (2001) de que lo que normalmente se llama 'Caso' es en realidad un rasgo no interpretable de 'aspecto'/'tiempo' codificado en la categoría D y se explora la idea (presente en el sistema de Chomsky, así como en el de Pesetsky & Torrego) de que la morfología no interpretable puede usarse para procesos sintácticos solo durante un breve período de tiempo, que precisamente coincide con las fases. Junto con Uriagereka (1999b), también se propone que las Lenguas de Sujeto Nulo (LSNs) recurren a un proceso adicional de Transferencia que es responsable de un macro-parámetro desencadenado por el movimiento del verbo, denominado aquí Corrimiento de Fase. Plausiblemente, este mecanismo explica el status particular de los sujetos en las LSNs (e.g., extracción, borrado del complementante, inversión obligatoria, etc.), además de otros fenómenos que previamente habían sido analizados en términos de nudos frontera, marcaje-L, rección o la distinción A/A-barra. En el Capítulo III, la atención se centra en un micro-parámetro relacionado con la arista de los núcleos de fase (su Periferia Izquierda). Se discute un corte paramétrico que implica a lo que Uriagereka (1995a; 1995b; 2002b) llama "FP", una proyección relacionada con la semántica de corte discursivo (anteriormente, "interpretación superficial"). Se defiende que la actividad sintáctica 'caliente' de la F de Uriagereka no se limita a la capa SC, extendiéndose también al Sv*, de una manera paralela (de hecho, tal y como predice el análisis de Uriagereka 2002b, el patrón se extiende a entornos nominales): aquellas lenguas con un SC más activo tienen un Sv* más activo. Esta 'activación' del margen periférico se relaciona con la morfología explícita, una idea tradicional que se refina y relaciona con la morfología temporal y el movimiento de núcleos. La segunda parte del capítulo aborda las estructuras VOS en las LSNs, para cuya formación se arguye que hay dos estrategias: batido de objeto o topicalización de SV (cf. Belletti 2004, Cardinaletti 2001b y Ordóñez 1997; 1998b). Con Ordóñez (1997; 1998b), se asume que el VOS del español se deriva mediante batido de objeto, se consideran las consecuencias para la asignación de Caso nominativo en términos de minimidad y, finalmente, se recupera un análisis basado en la equidistancia de Chomsky (1993a).El Capítulo IV se dedica a la (sub-)extracción. En él se sostiene que una aproximación a las islas en términos estructurales (cf. Chomsky 1986a; 2004; en preparación) no es totalmente satisfactorio, siendo más adecuado tratar este fenómeno como una consecuencia de los efectos de paralización que surgen de la interacción entre el Caso y la concordancia (cf. Boeckx 2003a). / The goal of this dissertation is to explore Chomsky's Phase Theory (see Chomsky 2000; 2001; 2004; 2005; 2007; to appear) and its connections with parametric variation. The study considers the hypothesis that syntactic computation operates through small derivational leaps (the phases), paying special attention to the Case/agreement systems, and the role of overt morphology for linguistic variation. Chapter I presents the general guidelines of the framework that shall be assumed throughout the dissertation (the so-called Minimalist Program; see Chomsky 1993a through the present), concentrating on both the core computational operations (Merge and Agree) and the cyclic nature of the system.Chapter II is devoted to the notion of phase, whose identification criteria are considered at length. I adopt Pesetsky & Torrego's (2001) hypothesis that what is normally referred to as 'Case' is actually an uninterpretable 'aspect'/'tense' feature on D heads, and entertain the idea (present in Chomsky's system, as well as in Pesetsky & Torrego's) that uninterpretable morphology can be used for syntactic processes only within a short, phase-based, time span. In line with Uriagereka (1999b), I further propose that Null Subject Languages (NSLs) resort to an additional process of Transfer that is responsible for a macro-parameter triggered by verb movement, which I call Phase Sliding. Plausibly, this mechanism explains the particular status of subjects in NSLs (e.g., subject extraction, that-deletion, obligatory inversion, etc.) and additional empirical facts, previously framed in terms of bounding nodes, L-marking, government, or the A/A-bar distinction.In chapter III, attention is shifted to a micro-parameter related to the edge of phase heads (their Left Periphery). I argue for a parametric cut that concerns what Uriagereka (1995a; 1995b; 2002b) calls "FP," a projection related to discourse-oriented semantics (formerly, "surface interpretation"). I claim that the 'hot' syntactic activity of Uriagereka's F is not limited to the CP layer, but is actually found in the v*P too, in a parallel fashion (actually, as predicted by Uriagereka 2002b, the pattern extends to nominal environments): those languages with a more active CP, have a more active v*P. I relate this peripheral boost to overt morphology, a traditional idea that is sharpened and connected to tense morphology and head movement. The second part of the chapter focuses on VOS structures in NSLs, for which I argue that there are two strategies: object scrambling and VP topicalization (see Belletti 2004, Cardinaletti 2001b, and Ordóñez 1997; 1998b). With Ordóñez (1997; 1998b), I take Spanish VOS to be derived through object scrambling, consider its consequences for nominative Case assignment in minimality terms, and eventually revamp an equidistance-based analysis, in the sense of Chomsky (1993a).Chapter IV is dedicated to (sub-)extraction. I argue that islandhood cannot be entirely accounted for in structural terms (see Chomsky 1986a; 2004; to appear), being better understood if related to freezing effects that emerge from the interaction between Case and agreement (see Boeckx 2003a).

This thesis statement is about the ongoing examination of the relationship between my mother and myself as viewed through works of art. I will explore the parallel actions we take in our daily lives that are obsessive and escapist in nature. My mother’s obsession is her passion for reading Romance novels, while mine is the repetition and labour-intensive quality of using domestic craft as a medium in my studio practice. For us, the escapism is two-fold: both can, and often do, serve as an escape from the struggles of daily life. At the same time, however, each medium allows time for reflection on life and the ability to process issues in a non-linear fashion. The following paper will explore the functions of the Romance Novel and domestic craft and will analyze various elements of both my art and other contemporary artists working in similar themes.

This thesis introduces a Dutch construction, called the Transition to Location Construction (TLC). The TLC is parallel to the way-construction in English. A second Dutch equivalent of the way-construction, called the weg-construction, is investigated in this thesis as well. The two Dutch constructions have a different meaning and syntax: the weg-construction is ditransitive and denotes motion along a path, whereas the TLC is transitive and denotes a transition to a location, which does not involve the traversal of a path. This thesis gives a detailed description of both Dutch constructions and demonstrates that they represent a mismatch in the syntax-semantics mapping: the verb has two syntactic complements, but these are not semantic argument of the verb. Moreover, the syntactic head of the sentence is not the semantic head, because the main verb is subordinate to a GO or CAUSE function. Both constructions are very productive and should therefore be taken seriously by any theory of syntax. The Minimalist Program currently does not incorporate constructions. In the Minimalist account offered here, several additional assumptions are made to account for the fact that it is not the verb that determines the complement configuration of the weg-construction and the TLC. In the literature, the English way-construction is considered to denote motion along a path. Based on the two Dutch constructions investigated here, the way-construction will be shown to be in fact ambiguous between a motion along a path reading and a transition to a location reading. Furthermore, this path/transition distinction is present in other Germanic languages as well, which has previously not been recognised.

During the last several years, a fast growing interest in minimalist chic has been observed among fashion bloggers around the world. Many of them mention being tired of trends, a shift to inner values and a desire for more simplicity as a moving cause. Buying behaviour that is assumed to be sustainable requires a paradigm shift away from unbridled consumerism towards more mindful consumption. Understanding the current minimalist trend is a key to determining if in fact a paradigm shift is taking place, since that would have direct relevance for future fashion business models. This research aims to research and identify the motivations behind the changed way of dressing. It is discussed whether the new aesthetic is an indicator of an actual cultural shift. Finally, real minimalism is differentiated from the phenomenon of “faux-minimalism”. Specific attention is paid to the question whether a more simplistic wardrobe can lead to emotional liberation and increased happiness. 30 fashion blogs associated with minimalist style were observed to gather data that can give insights into the motivating causes for the phenomenon. To answer further questions, eight bloggers were interviewed. The gathered data from both observations and interviews was analysed and showed that the main reasons for minimalist style are both practical as well as emotional. On one hand, the bloggers cited limited space and finite financial resources. On the other hand, they discussed a desire to live a decelerated, simpler, more “authentic” life that prioritizes “being” rather than “having”.

This thesis statement is about the ongoing examination of the relationship between my mother and myself as viewed through works of art. I will explore the parallel actions we take in our daily lives that are obsessive and escapist in nature. My mother’s obsession is her passion for reading Romance novels, while mine is the repetition and labour-intensive quality of using domestic craft as a medium in my studio practice. For us, the escapism is two-fold: both can, and often do, serve as an escape from the struggles of daily life. At the same time, however, each medium allows time for reflection on life and the ability to process issues in a non-linear fashion. The following paper will explore the functions of the Romance Novel and domestic craft and will analyze various elements of both my art and other contemporary artists working in similar themes.

abstract: The historical study of sentence adverbs has, before now, been based mostly on models that emphasize the pragmatic and discourse-based motivations of processes of grammaticalization. This dissertation breaks from such tradition by exploring diachronic adverb development through syntactic and morphological lenses. A generative, feature-based approach is used that incorporates the cartographic architecture developed by Cinque and combines it with a more phenomenological approach to both grammaticalization and lexicalization. Cinque's hierarchy of speech-act, evaluative, evidential, and epistemic adverbs is analyzed. It is determined (through corpus data) that these subcategories have grown in use primarily during the Modern English era, and particularly during the nineteenth and twentieth centuries. These four subcategories can be divided into two groups that are more general: speech-act adverbs, which arise from a (conditional) speech-act clause that undergoes ellipsis, and the other three types, which all arise from copula clauses. Each of these two groups is considered, and different methods of reanalysis by speakers are proposed for each. In addition, a revised model for categorizing adverbs is proposed. This model is based on morphological lexicalization (or univerbation) processes, thus accounting for the wide variety of adverbial source materials. Such lexicalization offers a pattern for sentence adverbial formation. Finally, Standard Chinese adverbials are briefly examined, with results indicating that they show very similar signs of lexicalization (within the limits of the writing system). / Dissertation/Thesis / Ph.D. English 2011

stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice-led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing. The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole. It sets out how stack belongs to a strand of minimalist poetry that evolved out of imagism and objectivism, and whose key practitioners include Robert Grenier, Robert Lax and Aram Saroyan. Subsequently, the thesis outlines the methods that were used to generate the creative portfolio. Effectively these latter sections present a manual for making minimalist poetry. Aside from exploring the written elements of stack, the thesis also examines my practice of conducting what I refer to as ‘minimalist interventions’ (embodied, micro-actions). These interventions, which have taken place in a range of environments, generally function as stimuli for the written aspects of the poem.