Final Phrase Research Articles

Anecdotes with “<i>Yes</i>” and “<i>No</i>” in the final phrase: interpretive mechanisms of the comic

Anecdotes with “<i>Yes</i>” and “<i>No</i>” in the final phrase: interpretive mechanisms of the comic

The Concept of Legal Certainty in The Final and Binding Decision of The Election Manager Honorary Council (DKPP)

The final and binding phrase on the DKPP decision in the provisions of Article 458 paragraph (13) of the Election Law was submitted for judicial review through the Constitutional Court decision Number RI 32/PUU-XIX/2021. In the provisions of Article 458 paragraph (13), the phrase final and binding means that the DKPP's decision can’t be submitted for legal effort. However, from the case of Evi Novida Eka Ginting, the Election Organizer Ethics Council (DKPP) decision can be submitted for legal effort. This has implications for the legal certainty of the final and binding phrase in the provisions of Article 458 paragraph (13). This research aims to analyze the final and binding decisions of the Election Organizer Ethics Council in terms of the Constitutional Court Decision Number.32/PUU-XIX/2021 and Law Number 7 of 2017 concerning Elections and to analyze the Election Organizer Ethics Council decisions. which is final and binding in terms of the aspect of legal certainty. The research method used is normative juridical. Based on the results of the research and discussion, First, viewed from the Constitutional Court decision no. 32/PUU-XIX/2021 the phrase "final and binding" in Article 458 paragraph (13) can be an object in the Administrative Court. What can be submitted is a legal effort, a lawsuit to the Administrative Court (PTUN) to cancel the Presidential Decree. Reviewed according to Law No.7 of 2017 concerning General Elections, Article 458 paragraph (13), the Election Organizer Ethics Council (DKPP) decision is final and binding, this means that the decision cannot be made to legal effort and directly can be held. Second, according to the principle of legal certainty, final and binding phrases cause legal uncertainty. Because the phrase is final and binding on the DKPP decision, it is interpreted that the Election Organizer Ethics Council (DKPP) decision can’t be made due to legal effort and must be held. So the final phrase in Article 458 paragraph (13) should be removed cause the meaning has multiple interpretations.

Переписка Л.Н. Толстого и А.И. Герцена: дополнения к научному комментарию

The article examines in detail the correspondence between L.N. Tolstoy and A.I. Herzen by analysis of all publications, in which this correspondence appeared, clarification of the errors that were made when commenting on the letters, and search for a new interpretation of some places of Tolstoy’s and Herzen’s epistolary heritage. The author of the article finds the true name of the French revolutionary chemist Tessier du Motay, who was a close friend of Herzen and was with him in London during Tolstoy’s stay there. The article offers several options for reading the final phrase of Tolstoy’s last letter addressed to a London emigrant, and provides a number of arguments refuting the previous reading. The author of the article proves that the correspondence between Tolstoy and Herzen to this day has a number of “difficult” places, commenting on which can give new information not only about their personal and literary relationships, but also about the realities of that time, the circle of communication between the two thinkers and the historical and social context in which the correspondents were immersed.

Following Leaders: Deconstructing the Narrator, Deposition, and Figureheads of "Benito Cereno"

Following Leaders:Deconstructing the Narrator, Deposition, and Figureheads of "Benito Cereno" Christopher Morris (bio) In its anticipation of contemporary debates over American racism, "Benito Cereno" (1855) deserves attention from all critical perspectives. At the same time—and despite the occasional mention of deconstruction or Derrida by critics—reception of the novella has remained steadfastly hermeneutic in attempting to define a unified Melvillean point of view from which to judge the story's attacks on innate evil, Southern apologists for slavery, Catholic theologians, readers, manifest destiny, Spanish and American imperialism, the Enlightenment, Althusserian ideology, and heteronormativity.1 While there are many overlaps in critical perspectives on the text—no one has yet consolidated them into 'Western phallogocentrism'—their proliferation mirrors a history of disputes over key passages.2 Early critics disagreed about Cereno's last words—that the pall cast over him was on account of "the negro" ("Benito Cereno" 116).3 And for years questions have arisen about the referent of the word "leader" in the story's last sentence: "Benito Cereno, borne on the bier, did, indeed, follow his leader" (117).4 Identifying an antecedent, or leader, epitomizes the hermeneutic drive to answer the question, 'What does it mean?' With regard to Cereno's "leader," some critics have proposed a specific character; others, despite the singular, argue for plural antecedents, including abstractions as well as characters, in readings that make 'leader' a metonymy. And because the story's final phrase is only the last of its several key appearances in the tale, these disagreements put at an additional [End Page 133] remove the hermeneutic grail of Melville's overall point of view—whether on racism or any other topic. For the time being, the necessity to 'follow a leader' may be understood as a shorthand for hermeneutics itself—the idea that all quests for the truth are 'guided' by some acknowledged or unacknowledged hypothesis, some assumption about the world. At the same time, "Benito Cereno" may have anticipated the persistence and futility of hermeneutics—a depressing result that may persist in this essay, too, whose deconstructive 'alternative' can suggest some of its limits, but only after having recapitulated its findings and recommitted its errors. Even Ishmael's dreamy, mostly self-effacing writing can't dispel the implication that readers will always be Ahabs, driven to pin things down. At the end of The Confidence-Man (1857), the elusive narrator says, "something further may follow of this Masquerade"; if that is to be the case in future criticism of "Benito Cereno," the inscrutability of what might 'follow' may be evident in that word's vexed sense of 'to conclude' (251). For it's inevitable that 'following' authors-as-leaders requires first reading them, then articulating the meaning of their words. But if reading vitiates belief in a unitary author with a point of view, then the conclusiondrawing operation that must follow, modeled on grammar, will be disabled, too, before it can get very far. Paul de Man and J. Hillis Miller thought that a potential for such a structural disillusionment may exist in every narrative.5 From this perspective, the last line of "Benito Cereno" might be taken to mean, "Not even death could divert Benito Cereno from the mistaken course of 'following' that his future critics, too, would be doomed to repeat." Nevertheless, the story can be said to have achieved something, after all, if only as a performative, by dramatizing such cognitive paralysis: readers would at least be warned, Cassandra-like, even if they could never be expected to believe they might undergo a disastrous fate like Ahab's. In this impasse, any 'options' traditionally sought within the work—Cereno's religious withdrawal and death, Babo's silence, or Delano's deeply compromised 'normal' life—would all be rendered equally unacceptable. And if hermeneutics must at all costs find an antecedent, a referent, or a leader to believe in so as to 'follow,' so must deconstruction in the beginning, at least, as the preceding allusions to de Man and Miller already make clear. In this outcome, "Benito Cereno" would do or say little except for disabusing readers of the illusion that those verbs could describe its purpose [End...

A Machine Learning Methodology for Diagnosing Chronic Kidney Disease

Chronic kidney disease is otherwise known as chronic kidney failure or chronic renal disease is a worldwide issue which causes the kidney to get damaged and it eventually leads to gradual loss of the purification function of blood which has to be done by the kidney, causing multiple complications as well as death rates. This failure of kidney is mentioned as “chronic” because the kidney will get damaged in due course of time, may be in a month to years. So, if the process of filtration and purification gets stop or slower, eventually it leads to the storage of waste matters, by the by it causes other indirect problems as well, such as development of kidney stones, heart disease, etc. People who are suffering from diabetics or high blood pressure are most probability get affected by this chronic renal disease. If the disease gets to its final phrase, the only way to save the patient is to make kidney transplantation or dialysis. Because this disease usually has no recognizable symptoms in the early stages, patients may be unaware of it until it's progressed to chronic kidney disease. Some commonly known symptoms pointed out by the experts are swelling of anklets, legs and feet, feel of itchiness at back of arm, inadequate sleep, toughness in breathing, nausea and vomiting. Early diagnosis allows patients to take action to help avoid chronic kidney disease.

Сон разума: экзистенциальные мотивы в рассказе В.М. Шукшина «Думы»

Shukshin’s characters tend to reflect on problems that cannot be called otherwise than philosophical. For example, in the film There Is Such a Lad, the characters indulge in arguments about death, love, and the meaning of life more than once. So, already in Shukshin’s early works, two poles - love and death - that determine the themes of his characters’ philosophical reflections were identified. Despite the abundance of thanatological motifs and symbols in the film, the director rejects the philosophy of pessimism. The final phrase of the film is permeated with a life-affirming pathos: “So, we will live!” Later, Shukshin became less optimistic. The feeling of the total loss of meaning, characteristic of the heroes of Shukshin’s stories of the late 1960s -early 1970s, turned out to be akin to an existentialist experience of the absurdity of being. Night memories and reflections of Matvey Ryazantsev, the protagonist of the story “Thoughts”, provoke the accordion of the enamored Kolka Malashkin. The completely non-melodic sounds of Kolka’s accordion are functionally akin to the alarming hum of the alarm bell with the invariably accompanying screams. Kolka Malashkin not only violates public order, he also breaks the unconsciously automatic order of existence of his fellow villagers. The radical change in the outlook of Matvey Ryazantsev, who has followed social rituals all his life, begins with surprise, with the discovery of the strange in the usual. Matvey Ryazantsev’s nocturnal thoughts about love and death are close to the philosophy of Nietzsche and Camus, and also organically correlate with the concept of Shklovsky. The most important semantic core of the story “Thoughts” is the motif of haymaking. Three scenes of haymaking simulate three types of attitude to life. It is senseless to hope to continue to exist in the memory of descendants. Human life is like a fleeting footprint on the grass. A purely utilitarian approach to absolutely everything is absurd. Matvey Ryazantsev appears in the story as a modern Sisyphus with his meaningless work. And only the “wild delight” of the memorable night, when the thirteen-year-old Motka reaches the Nietzschean “Dionysian ideal”, is able to justify the absurdity and tragedy of human existence. Without waiting for Kolka’s accordion on one of the nights, Matvey falls into despondency, returns to a boring routine. If in the film There Is Such a Lad death is reincarnated into love, in the story “Thoughts” everything is the other way around, love turns into death. For Kolka, marriage, in his own words, is not the beginning of a new life, but a stop, the end of the road. The final “terrifying silence” is the silence of death. The author declares no conflicts of interests.

Dream, Bliss, and the Shaping of Emotional Meaning in Beowulf

<i>Dream</i>, <i>Bliss</i>, and the Shaping of Emotional Meaning in <i>Beowulf</i>

Semantic and Syntactic Processing During Comprehension: ERP Evidence From Chinese QING Structure

Previous studies used BA and BEI structures as stimuli to infer that syntax-first models seemed not applicable in Chinese. However, there were inconsistent results of both within same structures and between different structures. Since sentence structures of stimuli were non-canonical as well as lacking wide representativeness in Chinese, we examined the processing mechanism of a more representative structure in Chinese, QING (QING + NP1 + V + NP2) structure in the current study. Four conditions, including correct sentences (CORRECT), semantic-violated sentences (SEMANTIC), syntactic-violated sentences (SYNTACTIC), and combined violated sentences (COMBINED), were composed by manipulating the V between NP1 and NP2. Results with respect to three types of violation were as follows. In the initial phrase (100–300 ms), there existed an interaction between SEMANTIC consistency and the SYNTACTIC category. In the intermediate phrase (300–500 ms), the interaction continued with similar negative waves evoked by three types of violated sentences. In the final phrase (500–700 ms), both SYNTACTIC or COMBINED evoked obvious negative waves. The current research of Qing structure provided new evidence for the processing mechanism of Chinese sentence patterns. Specifically, we found that the interactive model rather than the syntax-first model may apply to the processing of this specific structure of Chinese sentences and compared the results with those reported in previous studies that examined other types of sentence structures.

RECEPTIONS OF ECLESIAST IN THE WORKS OF R. KIPLING AND I. SHOW

The article examines the biblical image from Ecclesiastes «Bread upon the Waters», used by R. Kipling and I. Shaw as a title to their works. For the Ukrainian reader, this biblicalism does not evoke strong allusions or associations, which is explained by its spread only in English-speaking countries. This article attempts to analyze the works of English-language writers in view of the functioning of the biblical motif of «letting your bread on the water», the ambiguity of which was used differently, but in both cases the author’s dialogue with the reader gained spiritual meaning. R. Kipling as a master of narrative uses a system of narrators: the narrator-witness and the narrator-participant. Both, according to the classification of W. Schmid, did not acquire «omniscience and ubiquity», so the biblical truth is interpreted in a straight forward manner. Only the author’s strong position – the title of the work and the final phrases of the work, clarify the meaning of the images of water and bread. A comparison of the principle of the author’s vision of R. Kipling and I. Shaw leads to the conclusion of different artistic systems of the authors. For Kipling, the dialogue of the narrators is important, for I. Shaw – the hero’s self-absorption. In I. Shaw’s novel, biblicalism is also stated in the title of the work, but its hidden meaning is divided between the characters depending on their charitable deeds. Teacher Allen Strand’s Confession Diary is an author’s credo, as the call for mercy, for selfless help in spite of circumstances and results, is consistent with the title of the work. Comparison of two works of different writing times, artistic styles and genres prove the ambiguity and complexity of the biblical image, which combined the natural element and the measure of human labor – water and bread.

What Is That To You?

What Is That To You?

О неявных проявлениях поэтической функ­ции: переводческий взгляд

The paper examines the interaction of the poetic function with the emotive and expressive functions in belles-lettres texts. The authors attempt to prove that the poetic function should not be equated with the aesthetic one. The former overlaps all the above-mentioned func­tions, but alone bears the responsibility for the form-content fusion. The paper focuses on the less evident mechanisms of the poetic function, beyond the obvious effect of tropes and figures of speech. Not unlike meiosis, its allegedly weaker ‘voice’ is capable of producing a much strong­er effect, which can be discerned in rhythm and punctuation, in the absence of rhyme to in­duce an implicit rhymed word, in “elaborately monotonous” language, in textual opposi­tion of synonyms, in expressly neutral and unemotional final phrases to evoke a train of emo­tive or intellectual reactions. The authors also suggest a functional approach to the notion of “poetic device”, which gives the translator more freedom in selecting expressive means with­out dis­torting the conceptual sphere of the original. An inter-semiotic view of literary devices bor­rowed from cinematic art proves the inimitability of the effect of the same device within the total conceptual structure of each text. Some of the propositions suggested are il­lustrated by excerpts of poetic translation done by the authors of the paper.

Combined Laparoscopic-Hysteroscopic Isthmoplasty Using the Rendez-vous Technique Guided Step by Step

To demonstrate the surgical technique of Rendez-vous isthmoplasty for the treatment of symptomatic cesarean scar defect. In this video, the authors show the complete procedure in a step-by-step manner to standardize and facilitate the comprehension and performance of the procedure in a simple and safe way. Step-by-step video demonstration of the surgical technique. Private hospital in Curitiba, Paraná, Brazil. The patient is a 36-year-old woman without any comorbidities, G3 C3, and with radiologic transvaginal ultrasound diagnosis of isthmocele grade 3 (over 25 mm) identified in the superior third of the cervical canal. The main steps of combined laparoscopic-hysteroscopic isthmoplasty using the Rendez-vous technique are described in detail. A combined laparoscopic-hysteroscopic approach was performed. Under general anesthesia, the patient was placed in 0° supine decubitus, with her arms alongside her body. Operative setup included 15 mm Hg pneumoperitoneum, created using the closed Veress technique, and 4 trocars: a 10-mm trocar at the umbilicus for a 0° laparoscope, a 5-mm trocar in the right iliac fossa, a 5-mm trocar in the left iliac fossa, and a 5-mm trocar in the suprapubic area. The procedure begins after a systematic exploration of the pelvic and abdominal cavities. Step 1: Identification of key anatomic landmarks and exposure of the operation field. Step 2: By carrying out blunt and sharp dissection with cold scissors or a harmonic scalpel, the visceral peritoneal layer over the isthmus area is opened, a vesicouterine space is developed, and the bladder is pushed down at least 2 cm from the lower edge of the isthmocele. Step 3: Final Phrase: By hysteroscopic exploration of the cervical canal using the vaginoscopic approach, identification and delimitation of the isthmocele its performed by recognizing the diverticular mucosal hyperplasia, and then the hysteroscopic light is pointed directly toward the cephalic limit of the scar defect. Step 4: Laparoscopic lights are decreased in intensity and the "Halloween sign" is identified (hysteroscopic transillumination). The light of the hysteroscope is pointed to the top of the cesarean scar defect allowing the laparoscopist to identify the upper and lower edges of the scar. Step 5: Laparoscopic resection of all scar tissue, excision of all the edges of the pseudo cavity. Step 6: Adequate intracorporeal suturing technique, with a 2-layer myometrial repair using intracorporeal running and interrupted stitches of polydioxanone 2-0, is done, while ensuring preservation of the cavity by not including the endometrial tissue in the myometrial suture [1-3]. Step 7: Installation of the methylene blue dye to locate any leakage. The surgery ended without any intraoperative complications and within 60 minutes. The patient was discharged on the first day postoperatively and became pregnant 6 months after surgery, with a final C-section delivery of a healthy term newborn at 39-weeks gestational age. Combined Rendez-vous isthmoplasty is feasible, safe, and effective in experienced hands, giving the surgeon a comprehensive evaluation of the anatomy of the isthmocele, and increasing the odds of a complete resection and restoration of the anatomy [4-7]. In this patient, the procedure was uneventful, without any intra- or postoperative complications, and the symptoms were completely controlled.

Systems of Life: Biopolitics, Economics, and Literature on the Cusp of Modernity ed. by Richard A. Barney and Warren Montag

Reviewed by: Systems of Life: Biopolitics, Economics, and Literature on the Cusp of Modernity ed. by Richard A. Barney and Warren Montag Robert Mitchell Richard A. Barney and Warren Montag, eds., Systems of Life: Biopolitics, Economics, and Literature on the Cusp of Modernity (New York: Fordham Univ. Press, 2018). Pp. 280. $35.00 paper. Richard A. Barney's and Warren Montag's Systems of Life: Biopolitics, Economics, and Literature on the Cusp of Modernity consists of a substantive introduction and nine essays, which focus primarily on eighteenth-century European and colonial American texts by well-known authors such as Anna Barbauld, William Blake, Edmund Burke, Thomas Paine, Jean-Jacques Rousseau, Adam Smith, John Thelwall, and Phillis Wheatley. However, as suggested by the final phrase of its subtitle ("on the cusp of modernity"), this book aims to trace multiple ways in which eighteenth-century "systems of life," and especially the new science of political economy, established assumptions, aspirations, fears, norms, and institutions that continue to structure ways in which life—both individual and collective life, and human and non-human—is "systematized" in our moment. This is an admirable aspiration, even if one that is difficult to achieve, and perhaps especially tricky to pursue by means of an edited volume, which draws together the different, inevitably somewhat divergent, projects of multiple contributors. Yet Systems of Life seems to me largely to succeed in achieving its goal of establishing how eighteenth-century systems of life have set the basic terms for contemporary systems of life. My review aims both to clarify why this is the case, and to put this judgment to work by connecting Barney's and Montag's volume to several recent trends and projects within literary and cultural theory with which the volume is implicitly in conversation. I. SYSTEMS, THEN AND NOW A significant strength of Systems of Life is that its key words—"systems," "life," "biopolitics," "economics," and "literature"—are all carefully chosen, and a majority of the essays take up at least two (and often three or four) of these [End Page 481] terms. The importance of "system" for this volume is underscored by Barney and Montag in their introduction, where they suggest that the concept of 'system' can help specify all the more concretely the ways that the 'bio' was articulated in relation to the 'political' in late eighteenth- and early nineteenth-century biopolitics, with 'economy' serving as a useful mediating term between them by offering a way to articulate their 'order' as a matter of exchange, valuation, or management. (2) Barney and Montag note that system had come, by the eighteenth century, to denote both the "features of a natural or material phenomenon—for instance, astronomical orbits, climate, or human social behavior," and "the analytic discourse aiming to organize what may otherwise seem to be incongruous elements" (3). That system referred both to something naturally given and its discursive representation encouraged suspicions on the part of some eighteenth-century authors that discursive systems were "invented formulas rather than found artifacts" (4). (It was this sense of system as an illusion, for example, that motivated Edmund Burke's contention that the revolutionary "French system" was serving as "the bank of deposit and the bank of circulation of all the pernicious principles that are forming in every state.")1 Yet, Barney and Montag continue, "it is precisely system's dual conceptualization that ideally qualifies it to serve as the mediating term in the biopolitical imagination, since it promises to bridge the formidable gap between 'natural and 'artificial' registers—between the biological patterns that have been observed and the political gambits that motivate the desire to govern" (4). Before considering the ways in which Systems of Life helps us to understand the productive functions of the semantic ambiguity of the term system, it is worth recalling ways in which earlier literary criticism has refracted contemporary concerns through reflections on the eighteenth-century fortunes of this term. In the 1990s, for example, David Simpson made a compelling case that "theory" was our contemporary synonym for system, and that the theory wars that dominated literary criticism in the 1980s and '90s could be productively understood within a much longer history...

Stool pigeon parrots

Stool pigeon parrots

Songbird presumed to be age‐limited learner may change repertoire size and composition throughout their life

AbstractSongbirds learn to sing by imitating their conspecific songs through social learning. It is commonly thought that in species with small repertoires, so‐called crystallization of the song repertoire takes place before the first breeding attempt and afterwards their repertoires remain unchanged. However, the number of studies in which individual song repertoires have been tracked longitudinally under natural conditions is still small. The ortolan bunting (Emberiza hortulana) is a small Eurasian passerine species. Studies on this species have shown that males have small song repertoires (usually 2–3), share the same final phrase within a local dialect area, and their repertoires remain unchanged during their lifetimes. We studied the whole, isolated Norwegian population of this species with 100–150 individually marked males. We compared repertoire sizes and contents using cross‐sectional and longitudinal approaches. We focused on marked males aged 2–10 years and recorded in up to five breeding seasons between 2001 and 2006. There was no local dialect because songs with different final phrases occurred both within and between males. Repertoire size varied between 1 and 24 (4.7 ± 3.4) song types per male. Longitudinal analysis showed an increase in repertoire size in 29% and a decrease in 21% of males. Males whose repertoires remained the same in size between years often substantially changed in contents. New song types appeared in almost 70% of males, and over 30% of males started singing new syllable types after the second calendar year. In almost 50% of males, new song types appeared that were built as new combinations of syllables shown in previous years. In 30% of males, the song complexity increased with age. Simultaneously, over 60% of males selectively ceased singing some song types. We suggest that these repertoire alterations are linked to the isolation and fragmentation of this population, which may affect song learning patterns through increased breeding dispersal and a strongly male‐biased sex ratio. Similar studies from abundant and continuous populations of the species are needed to test this idea.

Publisher Correction: Cancer genetics, precision prevention and a call to action.

In the version of this article originally published, there was an error in the second-to-last sentence of the abstract. In this sentence, the final phrase "to identify carriers of first-wave gene mutation carriers" should have instead read "to identify carriers of first-wave gene mutation." The error has been corrected in the HTML and PDF versions of the paper.

SO WHAT DO WOODCOCKS AND WALLENSTEIN HAVE IN COMMON? ON PUSHKIN’S OVERLOOKED PUN

Following his trip to Orenburg, Pushkin wrote to V. Perovsky attaching four copies of his History of Pugachev’s Revolt [Istoriya Pugachevskogo bunta], asking him to forward those to ‘Dahl, Pokotilov, and that hunter who likes to compare woodcocks with Wallenstein or the Caesar’.This hunter’s identity has long since been revealed by V. Dahl in his Notes on Pushkin [Zapiski o Pushkine]: it is K. Artyukhov, director of the Orenburg-based Neplyuev military school, who once played host to Pushkin in his bathhouse and entertained him with a dialogue about woodcocks (Waldschnepfe) - gamebirds who proudly fly towards the deadly lead, wings spread widely. In Pushkin’s pun, the dying woodcock is likened to the Caesar in his composure, and to Wallenstein in his final gesture, according to Artyukhov’s impression. In Europe and Russia, the memory of A. von Wallenstein was revived after F. Schiller’s trilogy (1799). The prince apparently spread his arms and offered his unprotected chest to the murderer’s halberd. A similar description is provided by Schiller, but in his History of the Thirty Years’ War, rather than in his play Wallenstein’s Death. This history was missing from Pushkin’s library, although he may have found out about the prince’s final gesture elsewhere.Pushkin’s pun is unique in its two-layer structure: the phonetic likeness reaches into a non-verbal, pantomimic level. In addition, the quip and the final phrase in the letter provide an example of metered prose.

Detailed large‐scale mapping of geographical variation of Yellowhammer Emberiza citrinella song dialects in a citizen science project

Song dialects, as a special case of geographical variation in vocalization, are useful tools in the study of a number of topics ranging from cultural evolution to the emergence of reproductive barriers, and thus continue to be the focus of many bird‐song studies. The Yellowhammer Emberiza citrinella is a common Palaearctic bird with a long breeding season and song period, whose distinctive song exhibits clearly distinguishable dialects differing in the composition of the final phrase. The species is therefore particularly suitable for large‐scale studies of dialect distribution involving not only experts but also members of the public. Here we demonstrate that citizen science can indeed allow mapping of songbird dialect distribution on a national scale in unprecedented detail. During the project Dialects of Czech Yellowhammers, which collected almost 4000 recordings over 6 years (2011–2016), we obtained information on dialect distribution for almost 90% of the territory of Czechia. We detected most of the common dialect types known elsewhere in Europe, and these were distributed in a fragmented fashion, with several unusual and rare dialects also detected in small areas. However, the highly scattered distribution of birds using some final phrases traditionally assigned to distinct dialects suggests that classification of Yellowhammer dialects warrants a thorough re‐assessment based on quantitative data. Successful involvement of the public in this and other ongoing citizen science projects has contributed to the establishment of the Yellowhammer as a model species for dialect research. The dataset will serve as a foundation for future studies investigating processes responsible for the origin and maintenance of avian dialects, and may be particularly useful for evaluating their spatial and temporal stability.

Μὴ ἐκλυόμενοι in Galatians 6:9

The final phrase of Galatians 6:9, μὴ ἐκλυόμενοι, is today almost universally understood as a conditional participle, placing a strong warning on the end of Paul’s encouragement to persist in doing good. This article argues on grammatical, contextual, and historical grounds that the participle would be better understood as having a ‘manner’ shading and as expressing the ceaseless nature of the eschatological harvest as an exhortation to ceaseless service in the present.

Análisis filológico de S. Ireneo «Adversvs haereses» 3,3,2b

The philological analysis of a scriptural or patristic text is the proper starting-point for its theological study and interpretation. Here are the principal conclusions of the syntactic and stylistic analysis of the famous text of S. Irenaeus: 1. The hanc enim ecclesiam is the Church of Rome, which is mentioned immediately before (3,3,2a). This is demanded a) by the deictic reference normally inherent in hic as adjective to the object last named, and b) by the explanatory significance of enim. 2. Necesse est expresses the obligation arising from the nature of things; in this case, from the constitution of the Church. Its subject in omnis Ecclesia, where omnis has both its collective and its distributive value: i. e. all the local Churches together and every one in particular. The expression necesse est convenire makes of the Church of Rome the centre of gravity and the key to unity of the whole Church. 3. The antecedent of the adjectival relative clause in qua etc. is the Church of Rome. This is demanded a) by the immediate context, b) by the text itself, c) by the function of the phrase hoc... fideles, d) by the necessity of avoiding a tautology, and e) by the stylistic devices employed. 4. The phrase ab his qui etc. is comparative in significance. 5. The whole period is built up in accordance with the rules of rhythmic prose as regards a) the beginning, b) the end of each member and phrase, and c) the number of syllables. Its stylistic structure is made up of two members: I) Ad hanc... fileles, and II) In qua... traditio. Each member is divided into four phrases. 6. Syntactically, they are both members of a single period: stylistically, they have their own substantive character and independence. This is shown a) by the beginning of each member; b) by the total parallelism in the structure of the final phrases, with the adjectival relative clause between the demonstrative adjective (eos, ea) and the antecedent (fideles, traditio); c) by the symmetrical parallelism of the two members, so that all their phrases can be superimposed; d) by the identical alternation of accented and non-accented syllables in the final clausulae, absent at the end of the six remaining phrases; and e) by the equality or quasi-equality of syllables (isocratic school) of the first member, not to be found in the second (demosthenic school). All this being so, one of the two members cannot depend upon an element present only in the other; that is to say, the relative in qua has as its antecedent, not omnis Ecclesia in 3,3,2b, but Romae Ecclesia in 3,3,2a, through the intermediary of hanc Ecclesiam in 3,3,2b. 7. Here, then, is the translation of the passage according to the syntactico-stylistic requirements and the genius of the Spanish language: For with this Church (of Rome), on account of its supreme principality, all the Church must concur, that is, the faithful from (on) every side. It has always conserved the apostolic tradition better than the (faithful, Churches) on every side. In a second article, entitled The 'Principalitas' and the 'Principatus' of the Episcopal See of Rome and its Bishop, I shall sketch the semantic field of principalitas, literally translated here by 'principality', and its theological result (the Primacy of the Pope).