Tense And Spaced Out

Monograph covering the last ten years of the artist Blake Rayne's output, a mode of abstract painting irrevocably marked by conceptual art. Blake Rayne's paintings stem from the generative duplicity of words like Script, Folder, Application, Dissolve, and Screen. These operative terms situate the work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms “painter” and “painting” as fictions. They have no stable material definition, but rather are shaped by evolving social, institutional, and physical relations. Conceived as a work, this monograph covers the last ten years of the artist's output and culminates in his first survey exhibition at the Blaffer Art Museum in Houston, Texas. Shifting sequences of varying material treatments guide us through the linguistic, institutional, and physical relations that have shaped Rayne's painting practice. The book is united under the structuring sign of cinema, with each section existing like a shot in a film, if you will, that is necessarily informed by and in dialogue with those that come before and after it. The main essays by John Kelsey and Jaleh Mansoor respectively situate Rayne's art within the urban cultural circumstances of New York during the last decade, and his specific position as a painter in relation to other painters of his generation, such as Cheyney Thomson. Mansoor further skillfully places the artist in a wider historical context. Shorter texts by gallerist David Lewis, artists Laura Owens and Sean Paul, as well as curator Javier Sánchez Martínez, illuminate other aspects of Rayne's work, and weave together a range of ideas and tones, from the history of corporate design to the rise of automation; from a lighthearted intervention about “The Rule of Blake” to a museum catalogue introduction.

This monograph explores the tense, aspect, mood, and evidentiality of Korean, which has a rich verbal inflectional system, and proposes novel treatments within the framework of compositional semantics. One of the major contributions is the demonstration that Korean has two types of deictic tense—simple deictic and spatial deictic tense. Spatial deictic tense refers to the notion of the speaker’s ‘perceptual field’ (or deictic range), as well as to temporality, functioning to set up a condition for a systematic evidential distinction. The research in this volume shows that the basic paradigm of evidentiality of Korean derives from the standard TMA system combined with the notion of space. This volume also shows that perfect and past tense utilize different primitives. The intended readership of this volume extends beyond Koreanists to scholars interested specifically in tense, mood, aspect, and evidentiality as well as in general theories of grammar and semantics-pragmatics.

Research Design and Methodology in Studies on Second Language Tense and Aspect provides an up-to-date review of past and current methodologies for the study of the L2 acquisition of tense and aspect. More specifically, the book addresses the following issues related to the design of studies for research in tense and aspect: Theoretical frameworks (e.g., Are research questions investigated within one theoretical approach incompatible with other approaches?) Elicitation procedures (Do different types of tasks elicit different types of tense-aspect data?) Coding of data (e.g. How are lexical categories defined and coded?) Data analysis (e.g., What statistical tests are more appropriate to analyze language data?) The volume provides new insights into the study of L2 tense-aspect by bringing together well renowned scholars with experience in the research design of research this area of the field.

The invention of the present-tense novel is a literary event whose importance is on par with the discovery of perspective in painting. From the first novels shaped by interior monologues and the use of the present tense in the tradition of modernism, the present tense has, over the course of its century-long evolution, changed the conditions of fictional narration, along with our conceptions of time in a philosophical and linguistic framework. Indeed, to understand the work of an increasing number of contemporary writers – J.M. Coetzee, Tom McCarthy, Thomas Pynchon, to name only a few – it is necessary to both understand the distinct linguistic and literary qualities of the present tense as well as its historical transformation into a genuine tense of contemporary storytelling. For the first time in literary scholarship, Present Tense: A Poetics offers an account of a profound development in 20th- and 21st-century fiction.

This volume addresses problems of semantics regarding the analysis of tense and aspect (TA) markers in a variety of languages, including Arabic, Croatian, English, French, German, Russian, Thai, and Turkish. Its main interest goes out to epistemic uses of such markers, whereby epistemic modality is understood as indicating “a degree of compatibility between the modal world and the factual world” (Declerck). All contributions, moreover, tackle these problems from a more or less cognitive point of view, with some of them insisting on the need to provide a unifying explanation for all usage types, temporal and non-temporal, and all of them accepting the premise that the semantics of TA categories essentially refers to subjective, rather than objective, concerns. The volume also represents one of the first attempts to gather accounts of TA marking (in various languages) that are explicitly set within the framework of Cognitive Grammar. Ultimately, this volume aims to contribute to establishing an awareness that modal meaning elements are directly relevant to the analysis of the grammar of time.

This book presents an extended analysis of the development of L2 Spanish past tense morphology among L1 English-speaking learners. The study addresses three major questions: (1) what is the developmental pattern of acquisition of past tense verbal morphology among tutored learners? (2) what are the relevant factors that may account for the particular distribution of morphological endings (especially at the beginning stages)?, and (3) how does instruction affect the movement from one stage to the next? The analysis provides a reassessment of the general claim of Andersen's lexical aspect hypothesis and proposes minor changes that may render the hypothesis more appropriate for, especially, L2 classroom learning. The study includes an overview of theoretical positions on the notion of lexical versus grammatical aspect, and a comparison of the findings from previous empirical studies on the development of past tense verbal morphology among both classroom and naturalistic learners.

Surveying both historical debates and modern physics, Barry Dainton evaluates the central arguments in a clear and unintimidating way that keeps conceptual issues comprehensible to students with little scientific or mathematical training and makes the philosophy of space and time accessible to anyone trying to come to grips with the complexities of this challenging subject. With over 100 original line illustrations and a full glossary of terms, Time and Space keeps the requirements of students firmly in sight and will continue to serve as the ideal textbook for philosophy of time and space courses.