Title from title page of PDF (University of Missouri--St. Louis, viewed March 8, 2010). Includes bibliographical references (p. 29).

This dissertation investigates, within a Government-Binding framework, the licensing mechanisms which regulate the distribution of sentence-internal constituents. It is proposed that the licensing requirements apply across components, in the spirit of the Projection Principle of Chomsky (1981). Under the extended view of licensing proposed here ("Universal Licensing"), maximal projections must comply with the appropriate licensing requirements at every syntactic level of representation. / This allows for a more constrained model of grammar, under which a number of facts follow in a principled way; this is the case particularly with respect to constructions involving null operators. Thus, from the D- and S-Structure conditions on null operator licensing, we derive the cross-linguistic as well as the language-internal distribution of resumptive pronouns. Furthermore, some of the well-known, but so far stipulated, constraints on parasitic gap (PG) constructions are shown to follow from general principles: we explain for instance the fact that PGs must be sanctioned at S-Structure, as well as the inability of adjunct movement to license PGs. / The consequences of Universal Licensing on the distribution of PGs are examined with particular reference to adnominal PGs in French genitival relatives. It is shown that the properties displayed by these little-studied ("double dont") constructions, in conjunction with the Universal Licensing Principle, shed significant light on a number of issues, among which the thematic structure of nominals, and the nature of the locality constraints on null operator identification.

Thesis (Ph. D.)--University of Massachusetts, 1981. / Includes bibliographical references (p. 129-134).

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Political Science. / Typescript. Includes bibliographical references (leaves 190-206). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11627

Γίνεται αναφορά στην Ιστορία της έννοιας του καθολικού, του συγκεκριμένου καθολικού, και της Θεωρίας Κατηγοριών. Κατόπιν, παρουσιάζεται η απόπειρα τυποποίησης μέσω της Θεωρίας των Κατηγοριών εννοιών με το οντοτολογικό status του συγκεκριμένου καθολικού, όπως και η χρήση της έννοιας του συγκεκριμένου καθολικού ως ερμηνείας κάποιων καθολικών κατασκευών που απαντώνται στη Θεωρία Κατηγοριών. / Category theory as mathematical theory of concrete universals and concrete universality as an interpretation of universal objects in special categories.

The aim of this thesis is to increase our ontological understanding of musical works in two ways. We’ll increase our understanding of their categorial nature and we’ll increase our understanding of what the identity of each musical work consists in. In chapter 1, I introduce the basic question of the thesis: what are musical works? This question is broken down into four separate questions which guide the structure and argument of the thesis. One question asks if musical works exist, the other asks about the ontological category to which musical works belong. In the first half of the thesis, I argue that musical works exist and that the best explanation of their features is given by assigning them to the category of universals. I argue for this conclusion by elaborating and defending a view according to which musical works are properties. I then show that this conception is superior to the strongest rivals. One rival takes musical works to be historical individuals (Rohrbaugh 2003). The other takes them to be actions of composition (Davies 2004). In chapter 6, I turn to two questions about identity. One question asks about the identity criteria for musical works, the other question asks for an explanation of musical work identity. In the remainder of chapter 6, I argue by reference to contextualist intuitions that a superficially appealing view, sonicism is problematic. The critique of sonicism is used to draw out certain contextualist assumptions that our ontology of music ought to explain. In chapter 7, I examine a family of Levinsonian contextualist proposals. I argue that the original formulations (Levinson 1980) give incorrect results, and that attempts to modify them (Davies, S: 2001) slip into obscurity, or undermine the aims of the project (Levinson 1992). I end chapter 7 by presenting the performance theory in a more flattering light. I argue that as a theory of musical work identity, the performance theory is the best on the market because it overcomes the problems associated with the Levinsonian views and deepens our understanding of contextualist intuitions. In chapter 8, I present an account of the ontology of music which integrates the property theory of category with the performance theory of identity by construing musical works as impure relational properties. I then defend the integrated account against various objections. In this defence, I elaborate a view of compositional actions as belonging to the ontological category of processes.

Recent trends in scholarship on Plato’s philosophy have shifted emphasis from an almost exclusive focus on inductive and deductive logical techniques, and even ethics, to the treatment of image, myth and the literary dimension, above all in the work of scholars such as Kahn, Rowe and Gonzalez. In keeping with this trend, recent scholars, like Gill, Notomi and Collobert, have postulated the need for a philosophical image on the basis of a reading of the Sophist and Statesman. This thesis examines the unique significance given to the term ‘paradigm’ in Plato’s Sophist and Statesman. Paradigm is Plato’s term for image. A close reading of these dialogues shows, however, that such an image is “philosophical” or dialectical only insofar as it leads to a proportionate grasp of higher, invisible, ethical realities. This is the connection the specialist work on image in the Sophist and Statesman bears to wider scholarship on the literary dimension of Plato. Plato provides, in the Sophist and Statesman, three ways of making use of paradigms: (1) the use of an analogy, like the city and the soul and the weaving analogy, which is functionally equivalent to the analogy of the city and the soul, (2) an inductively defined universal essence, for example, the universal essence of a human being, like Socrates, and (3) an ethical character, like the Socrates Plato presents in his dramatic composition, or other characters presented in myth. The distancing effect Plato uses in the Sophist and Statesman suggests that Plato, himself, is the philosophical artist or image-maker. This is an important topic for one unifying reason. The question of a philosophical image in Plato remains unanswered or inadequately answered. Although the Sophist and Statesman treat this question, the exceeding technicality of these dialogues has lead commentators, unanimously, to treat the exploration of image and essence in these Eleatic dialogues, as a kind of island, separated from Plato’s work. My study, by leading readers of Plato to a greater awareness of the importance of these works for Plato on image and Plato as artist, turns this island into a peninsula.

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