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Freezing in it-clefts
(2013)
This paper alms to conceptualize the notion of music performance drawing on concepts from the sociology of knowledge and culture respectively the social phenomenology tradition as well as concepts from performance and theatre studies. Thereby music is grasped as a social event Insofar as music needs an intermediating instance to get perceptible as music. In other words: There is no (auditive perceptible) music without making music. Thus music performance can be understood as a sort of node bringing together the different realms of the musical process. This in mind the present paper discusses first music (performance) as action and interaction arguing that music (making) has an immanent tendency to be perceived as performance. Consequently the notion of performance and the Interrelated notion of staging are considered in the second part of the paper showing what is meant with the terms performance and performance frame. These insights lead to the third and last part which discusses the notion of theatricality to identify features specific for music performances and to show that and how music (performance) is best understood as an »artistic« process.
The present paper provides a new approach to the form-function relation in Latin declension. First, inflections are discussed from a functional point of view with special consideration to questions of syncretism. A case hierarchy is justified for Latin that conforms to general observations on case systems. The analysis leads to a markedness scale that provides a ranking of case-number-combinations from unmarked to most marked. Systematic syncretism always applies to contiguous sections of the case-number-scale (‘syncretism fields’). Second, inflections are analysed from a formal point of view taking into account partial identities and differences among noun endings. Theme vowels being factored out, endings are classified on the basis of their make-up, e.g., as sigmatic endings; as containing desinential (non-thematic) vowels; as containing long vowels; and so on. The analysis leads to a view of endings as involving more basic elements or ‘markers’. Endings of the various declensions instantiate a small number of types, and these can be put into a ranked order (a formal scale) that applies transparadigmatically. Third, the relationship between the independently substantiated functional and formal hierarchies is examined. In any declension, the form-function-relationship is established by aligning the relevant formal and functional scales (or ‘sequences’). Some types of endings are in one-to-one correspondence with bundles of morphosyntactic properties as they should be according to a classical morphemic approach, but others are not. Nevertheless, endings can be assigned a uniform role if the form-function-relationship is understood to be based on an alignment of formal and functional sequences. A diagrammatical form-function relationship is revealed that could not be captured in classical or refined morphemic approaches.