Punctuation Signs Research Articles

On Some Possible Differences between Punctuation Marks in the Chinese and Spanish Languages

Languages vary in spelling and grammar. Starting from Didactics in the field of Language and Applied Linguistics, our research is conducted on suprasegmental features: contrastive analysis for future Spanish teachers to native Mandarin speakers. Punctuation marks are essential for correctly understanding any written text in any language. However, they are not the same for each language, nor do they have the same usage or form. This work formulates a research proposal to compare the following punctuation marks in Chinese and Spanish: period or full stop, comma, question marks, and hyphen, which are the most commonly used and, above all, because the differences between them are more representative. To achieve this objective, it starts from the deficiencies in the use of these marks in both languages and reflection on the historical ignorance regarding their usage, form, and possible similarities between Chinese and Spanish segments. We conclude with the idea that the formal dissimilarity between certain Spanish and Chinese punctuation marks, such as the full stop and the question mark, does not cause extraordinary difficulties for Chinese speakers in acquiring their correct use in Spanish. Those signs whose forms share similarities, such as the comma and quotation marks, do represent acquisition difficulties. In order to specify the scope of this phenomenon on punctuation, in the future it will logically be necessary to study more punctuation signs, such as semicolons, colons, as well as ellipses.

Punctuating the other: Graphic cues, voice, and positioning in digital discourse

This article investigates the nested relationship between graphic cues, voice, and positioning in digital discourse. The focus is on the ‘indignation mark’, or <!!1!>, an allographic sign used in German-language discussion boards on Reddit. The study's theoretical backdrop brings research on graphic practices in digitally-mediated communication into dialogue with sociolinguistic approaches to the enactment of group relations in discourse, in particular double-voicing, stylization, and positioning, thereby aiming to foster theory-building on both sides. Data is extracted from a large German-language forum (‘subreddit’) on Reddit and subjected to computational, sequential, and microlinguistic analysis. The findings show how participants in public online discussions use punctuation signs and other graphic cues to animate voices, i.e. ways of speaking that index recognizable social positions and ideologies; how these stylized voices provide a resource for positioning; and how participants display recognition of and alignment to this feature's indexical meaning. The findings also suggest that the ‘indignation mark’ is part of a wider ecology of graphic cues, which evolve constantly to enable multi-voicedness in public digital discourse. Overall, this paper aims to advance our understanding about how graphic elements of digital discourse are indexically and ideologically connected with positioning activities in online communities of practice.

Native Dialect Influence Detection (NDID) differentiating between Mexican and Peninsular L1 Spanish in L2 English

The current investigation addresses a vital lacuna in forensic author-ship studies, and more concretely, in Native Language Influence Detection (NLID)research: narrowing down a speaker’s native dialect instead of only their nativelanguage (L1), which might not be enough when carrying out sociolinguistic pro-filing tasks. Native Dialect Influence Detection (NDID), the focus of our study,can thus greatly aid at the investigative level. We approach this topic by pro-viding a comprehensive analysis of linguistic features that serve to identify twonon-contact dialects of L1 Spanish (i.e., Mexican and Peninsular varieties) whendealing with data written in L2 English, which come from Tripadvisor. Our mainaim is to investigate if an author’s L2 features can point to their L1 native di-alect, rather than only to their native language. Findings point to L1 dialectaltransfer of punctuation signs, adjectives of affect, and intensifiers: these linguisticfeatures, even when expressed in an L2, show a culturally bound use. Addition-ally, we implemented an automatic classifier that achieved an accuracy of 69% incategorizing test data, using only linguistic features that have explanatory powerand can aid linguistic theory. This is key for explainability in the forensic con-text, which Native Language Identification (NLI) studies tend to neglect (Kingston2019). Results show that L1 Spanish dialects can be differentiated by analyzing L2English text, pointing to NDID as a fertile approach for narrowing down candidateL1 dialects of a language when analyzing L2 data.

Signs of the Times: Medieval Punctuation, Diplomatic Encoding and Rendition

Digitally managing punctuation in the editions of medieval manuscripts is one of those issues that initially looks like a minor detail, but later reveals itself as a tangled web of problems spanning from computer science (how to represent punctuation signs?) to philology (what types of signs exist?) through epistemology (is the processing of punctuation a mere technical transformation or a valuable part of the scholarship?). The aim of this paper is to address the theoretical aspects of these questions and their practical implications, providing a couple of solutions fitting the paradigms and the technologies of the TEI. This paper describes how we dealt with the encoding and transformation of the punctuation in the Early New High German edition of Marco Polo’s travel account. Technically, we implemented a set of general rules (as XSLT templates) plus various exceptions (as descriptive instructions in XML attributes), and applied them in an automated fashion (using XProc pipelines). In addition to this, we discuss the philological foundation of this method and, contextually, we address the topic of the transformation of a single original source into different transcriptions: from a highly diplomatic edition to an interpretative one, going through a spectrum of intermediate levels of normalization. We also reflect on the separation between transcription and analysis, as well as on the role of the editor when the edition is the output of a semi-automated process.

The interactional principle in digital punctuation

While early CMC research already mentioned the repetition and omission of certain punctuation signs as salient features of digital interactional writing (cf. Crystal, 2001; Runkehl et al., 1998; Werry, 1996), the theoretical perspective on punctuation was mostly limited to noting down these phenomena in their deviations from an orthographic norm and interpreting them as emulation of spoken language features. In contrast, this paper adopts a graphocentric approach and argues for investigating digital punctuation with regard to its emergent interactional principle: While the rhetorical principle (marking intonational structures) and the grammatical principle (marking syntactical structures) of punctuation are well known in the history of writing (cf. Parkes, 1992), digital punctuation appears as an innovative extension to these functional realms in that it is used by co-participants to shape and organize their mediated interactional order. When punctuation is deployed in an interactional mode, it structures primarily neither intonational patterns nor grammatical patterns, but interactional patterns such as shaping sequential organization and stance-taking. Drawing on a data set of 47 text-messaging threads by German adolescents, the paper investigates the interactional principle of punctuation by frequency analyses as well as by in-depth sequential analyses of <.>, <:>, <!>, <?>, and <…>. The findings suggest that even punctuation signs whose codification in descriptive and prescriptive grammars is based on pure syntactic criteria are utilized to achieve interactional goals. It shows that by following the interactional principle, punctuation establishes collaborative interactional management and serves participants as a graphic means of communicative and social contextualization in digital interactions.

Mastery of Articulation in the Piano Performance

Based on the scientific research devoted to the problem of articulation in the piano performing art, the article summarizes its main provisions. The author identifies two interrelated aspects of achieving performance articulation. The different functionality of these aspects allows us to present musical articulation in two types: as an author’s (or editor’s) one and as a performer’s one. The author's articulation is the primary basis, objective and unchangeable reality, the idea encoded in the musical text by the composer, and the performer’s articulation is a derivative, subjective art infinitely cognoscible and recreated by the performer.The purpose of the article is to study the problem of articulation in the performing activities of the modern pianists of Azerbaijan.Research Methodology. The articulation research process has been carried out through methods of analysis, synthesis, and generalization based on listening to performers’ recordings of piano works of various styles and forms.The scientific novelty is that for the first time, the concept of articulation is formulated as an objective reality of a musical text and as a subjective recreation in the music interpretation process, that is, as an author’s, editor’s and performer’s one according to the historical and scientific-theoretical analysis of this problem.For the first time, the analogy is drawn between the speech punctuation marks against the musical punctuation signs making by a pianist during a performance. The punctuation signs such as musical ones: dot, ellipsis, comma, exclamation and question are introduced.Conclusions. The leading role of the author’s (editor’s) and performer’s articulation in the music interpretation process, as well as the musical punctuation tools, which significantly influence and determine the mastership in achieving the dramatic integrity of the work, are specified.The special creative role of the musician in creating a performing articulation based on a deep knowledge of the author’s or editor's articulation given in the musical text (legato, legatissimo, non-legato, staccato, marcato, tenuto, accent) is emphasized.It has been proved that the performing articulation mastership is directly and consistently dependent on the study and analysis of the musical text, the deeper and wider the knowledge of the performer, the more options for creative readings and interpretations are created by the performer.

Critical Edition of a Fragment of Ramon Llull's Centum Formae in the Introductorium Magnae Artis Generalis

Critical Edition of a Fragment of Ramon Llull's Centum Formae in the Introductorium Magnae Artis Generalis Ilil Baum This appendix accompanies the essay by Ilil Baum, "Jewish Lullism around the Expulsion A Spanish-Catalan Fragment in Hebrew Characters from Ramon Llull's Introductorium Magnae Artis Generalis," JQR 110.3 (2020): 553–573. The following critical edition presents a late fifteenth- or early sixteenth-century fragment from the Vatican Library (MS Vat. ebr. 375, ff. 50r–51r), written in Catalanized Castilian in Hebrew script. It contains seventeen philosophical definitions that I identify as part of Ramon Llull's lists of centum formae (hundred forms) in his Introductorium magnae artis generalis (Introduction to the great general art; also known as Liber de universalibus, The book of universals). The edition is meant to make this material accessible to researchers interested in the study of Jewish-Christian intellectual relations in the Iberian Peninsula, particularly with regard to the reception of the work of Ramon Llull. It includes a reproduction of the Hebrew text, a transcription and critical edition with comparison to the known Latin manuscripts in the footnotes, and an English translation. Editorial Criteria I have interfered with the texts as little as possible. I have also tried to represent the visual appearance of the manuscript as closely as possible. Hence, I have tried to maintain the spaces between the rows and parts of the sentences. I have marked the definitions in bold, as these are highlighted in the original fragment by a stretched line between two arrows ←→ above each definition (except that of infinity). In order to facilitate [End Page A1] the reading of the translation, I have preferred a consecutive form of translation, wherein the rows of the original fragment are separated by a sign. The English translation is quite literal in order to maintain the original language as much as possible.1 The purpose of the transcription into Latin characters is to reflect the rendition of the Hebrew text as closely as possible, without making it unreadable. Some evident mistakes by the copyist that could confuse the reader are corrected in the edition, followed by an explanatory footnote. In other cases, I have preferred to maintain the original "errors," while commenting on them in the footnotes. Graphic signs used in the edition of the text: • [abcd] Square brackets mark doubtful readings. When the reading is even less clear a question mark is also added abcd[?]. • (abcd) Parentheses include some interpretative proposals lacking in the text, including the elaboration of abbreviations. In the English translation, these are used for additions that improve the sense of the text. • Additions in the manuscript above the line are inserted as \bcd/. • Hebrew elements are marked with italics. • Forms that are exceptional for medieval Catalan and medieval Castilian or that might cause reading confusions are indicated in the footnotes. Among these are the forms with initial h-. No accents are added. Capital letters are added according to modern Spanish. All punctuation signs are my own additions, as the Hebrew text generally lacks any punctuation marks. The Hebrew manuscripts, like other medieval Catalan and Castilian manuscripts, in many cases agglutinate words or else misdivide them. The agglutinated words are separated by the interpunct sign (·). Some concrete remarks regarding the transcription of the consonants are due: Since the matrix language seems to be Castilian rather than Catalan, [qwa] and [qwo] are transcribed as cua, cuo (for example, cual, cuando etc.), and not as qua, quo as in Catalan texts. The sound [g] is transcribed as g before a, o, u, and gu before e and i. Since the use of the apostrophe (or rafe) with gimel and peh is not systematic, I have interpreted it either as g, p or rather j, f, according to the context. Bet and consonantal vav are transcribed as b and v, respectively. Samekh is transcribed as c (before e, i) and ç (before a, o, u). Tsade is attested only in a couple of occurrences at the end of the word. These are also transcribed by ç. Shin is generally transcribed by s (equivalent to s [End Page A2] and intervocalic -ss-in medieval Castilian and medieval Catalan). The text supplies many...

Авторские знаки пунктуации как способ создания редакции текста. На примере поэмы В. Маяковского «150 000 000»

Авторские знаки пунктуации как способ создания редакции текста. На примере поэмы В. Маяковского «150 000 000»

An analysis of the punctuation of the Middle English "Letter of Ipocras" in London, Wellcome Library, MS 405

Punctuation in early English has been traditionally considered to lack consistency and systematicity, as shown in the relevant literature. Yet, recent research has uncovered that individual texts followed particular punctuation practices regarding signs and functions that were relatively systematic and consistent, even if they were also quite frequently text-based. In line with this, the present article explores the punctuation practice found in a copy of the Middle English medical text called Letter of Ipocras, the one held in London, Wellcome Library, MS 405. This contribution first reviews research on punctuation practices in Middle English texts and discusses the functions that historical punctuation has been reported to perform. Then, a cursory description of both the manuscript and the text is offered. Next, the punctuation signs found in the text are described and discussed, and their various functions at different levels illustrated with the help of examples. The article closes with a reflection on the global function of the pointing practice of the text, which veers towards the grammatical and pragmatic functions.

A cognitive pragmatic approach to punctuation

A cognitive pragmatic approach to punctuation

A self-referential model for the formation of the genetic code

A model for the formation of the genetic code is presented where protein synthesis is directed initially by tRNA dimers. Proteins that are resistant to degradation and efficient RNA-binders protect the RNAs. Replication becomes elongational producing poly-tRNAs from which the mRNAs and ribosomes are derived. Attributions are successively fixed to tRNAs paired through the perfect palindromic anticodons, with the same bases at the extremities (5'ANA: UNU 3'; GNG: CNC; principal dinucleotides, pDiN). The 5' degeneracy is then developed. The first pairs to be encoded correspond to the hydropathy correlation outliers (Gly-CC: Pro-GG and Ser-GA: Ser-CU) and to the sector of homogeneous pDiN, composed by two pyrimidines or two purines. These amino acids are preferred in the N-ends of proteins, stabilizers of proteins against catabolism and strong RNA-binders. The next pairs complete the sector of homogeneous pDiN (Asp, Glu-UC: Leu-AG and Asn, Lys-UU: Phe-AA). This set of nine amino acids forms the protein cores with the predominant aperiodic conformation. Next enter the pairs with mixed pDiN (one purine and one pyrimidine), the RY attributions composing the protein N-ends and the YR attributions the C-ends. The last pair contains the main punctuation signs (Ile, Met, iMet-AU: Tyr, Stop-UA). The model indicates that genetic information emerged during the process of formation of the coding/decoding system and that genes were defined by the proteins. Stable proteins constructed the nucleoprotein system by binding to the RNAs that produced them. In this circular rationale, genes are memories in a metabolic system for production of proteins that stabilize it. The simplicity and the highly deterministic character of the process suggest that the Last Universal Common Ancestor populations could be composed, in early stages, of lineages bearing similar genetic codes.

Les doubles signes de ponctuation et l’inclusion du discours en anglais

This article aims at defining the relationship between the use of double punctuation signs — the double comma, the double parenthesis and the double dash — and the concept of location developed by Antoine Culioli within the framework of his utterer-centered theory. We posit that the use of commas is related to a location in identification, that the use of parentheses is related to a location in disconnection, and finally that the use of dashes is related to a location in differentiation. Prior to examining how this hypothesis can be applied to the use of these linguistic signs, this article analyses the relationship between notions such as aside, commentary and explanation and these signs. It appears that the notion of inclusion stems from the relationship between the use of the double punctuation signs and the type of location considered. The examples examined here are sufficiently diverse as to suggest that this hypothesis might well apply to just any text.

Names of Accents and Diacritical Punctuation Signs in Poems by North African Jewish Poets

In several Sephardi printed editions of the Pentateuch one can find a list of thirty-four names of accents and diacritical punctuation signs. This list is called the Zarca List, named after its opening accent. I have come across four poems based on this list:פלאד קיוויחי, written by the Tunisian poet Fradji Shawat (sixteenth century);וי כי חזקה האמה, written by the Moroccan poet Shmu'el Elbaz (nineteenth century);קודר הילכחי , probably written by the Moroccan poet Amram Bar-Yehuda Elbaz (nineteenth century); and אהה עלי כי נקף, written by the Moroccan poet Rafael Aaron Monsonego (nineteenth century). In all four poems both literal and figurative meanings may be ascribed to the names of the signs. The first three poems follow the Zarca List almost accurately; «form» is an important element in these poems, and it seems as if their purpose is to help memorize the Zarca List. As for אהה עלי כי נקף the poetic freedom concerning the order of the sign names (and to a certain extent their contextual interpretation) creates a more balanced poem in terms of relationship between «form» and «content».

Language, education &amp; society in a changing world (review)

BOOK NOTICES 195 as Bloomfield never fathomed the profoundness of Prague doctrine' (55). In 'Ferdinand de Saussure and the Prague School of linguistics' (2.59-72), Frantisek Cermák points out that the relationship between the two is more complicated than the commonplace statement that 'de Saussure's influence in Prague is undisputable and clear'. Certain Saussurean principles were notreflected in the writings ofthe members of the Circle, while on the contrary, some linguistic concepts and methods originated in Prague—e.g. the notions of function and of the potentiality of linguistic phenomena. Edwin Battistella contributes two articles on markedness. In 'Jakobson and Chomsky on markedness' (1.55-72), he compares the concept in the Jakobsonian and the Chomskyan traditions, and in 'Marked and unmarked punctuation signs in English ' (2.235-48), he argues that 'punctuation can be understood in terms of a system of marked and unmarked oppositions among punctuation signs. . . [and that] the process of analyzing the binary relations among punctuation signs is itself useful' (2.246). Several generalizations concerning the development of unrelated and typologically distant languages are made by Zuzanna Topoliñska m 'Convergent evolution, creolization and referentiality' (1.239-47), using the Balkan Sprachbund as her source of data. An attempt to show that distinctive feature analysis can successfully be applied also to the study of asymmetrical semantic relationships is the subject of Yishai Tobin's 'Focusing on the negative: A neoPraguean approach' (2.121-55), with Hebrew as the source of examples. The concept of discourse is taken up in several papers. Frantisek Danes in his article "A static view and a dynamic view on text and discourse' (1.185-99) compares and contrasts the two views and in conclusion stresses the importance of a multidisciplinary approach to the study of language in communication. Frantisek Stícha presents a contrastive view on implicitness in language and discourse in a paper by the same title (2.331-46). In it he distinguishes several types ofimplicitness, among them juxtaposition of two nouns to express attributive relation (car door), elliptical construction (she is expecting), and context-bound implicitness (open up). In 'Iconicity m the lexicon' (2.251-84), Linda R. Waugh discusses the relevance of such iconicity for morphology and its relation to semantics; she concludes by stating that 'our theory of language must be close to that with which the Prague School began' (2.277). In reading these and other contributions to the two volumes one is reminded over and over again how much and how well some topics of contemporary linguistics were foreshadowed in the works of the original members of the Prague Circle. These brief comments should indicate that in this series of Travaux linguists of different specialization will find many things of interest to them. The volumes are well produced, butfuture ones would be more helpful if indexed. [Zdenek Salzmann, Northern Arizona University.] Language, education & society in a changing world. Ed. by Tina Hickey and Jenny Williams. Clevedon: Multilingual Matters, 1996. Pp. 287. This volume of proceedings consists of 29 contributions selected from over a hundred papers given at a conference with the same theme. Held in Dublin in June 1994, the conference was hosted by the Irish Association for Applied Linguistics. Both the conference and the volume received financial support from the Commission of the European Community within the framework of the LINGUA program The contributions to this volume cover widely different topics. The editors organized them into nine general areas: language and education (a paper by Rosamond Mitchell and a response by Mary Ruane), language and society (a paper by John Edwards and a response by Helen O Murchú), language planning (with papers by Bernard Spolsky, Sean Farren, Muiris O Laoire, Anneli Sarhimaa, Svetlana Ter-Minasova, Charles Mann, and Katherine Langan), bilingualism (with papers by Marc Spoelders et al., and Ad Backus), translation (with papers by Gunilla Anderman, Maeve Olahan & Christoph Zähner, and Eithne O'Connell), discourse analysis (with papers by Britt-Louise Gunnarsson and Margaret Gibbon), cultural awareness (with papers by Liam Mac Mathúna, and Peter Hefferman), second language learning acquisition (containing papers by Andrew Cohen, John Harris & Lelia Murtagh, Edith Buchholz & Antje Düsterhöft, Angela Chambers, Ema Ushioda...

The inscription at RA Tshag Dgon-pa

In Tibetan Studies, Peking, 1990, there was an article on an early inscription on a stone pillar at Ra Grwa dgon-pa in the Tolung valley west of Lhasa. Unfortunately I have mislaid it apart from a copy of the inscription which, as the authors say, contains words that are difficult to read and others which are completely illegible. In addition, as in all eye-copies, I found dubious readings; also there appeared to be a lack of punctuation signs, and the text was shown continuously, not divided into lines. It was, therefore, desirable to obtain a photographic record and this has been generously supplied by Mr Anthony Aris who visited the place in 1992. His assistant also made an eye-copy of the text.

The beginnings of music-writing in the west: Historical and semiotic aspects

The earliest systems of European musical notation were Carolingian inventions, accomplished, like the Carolingian Miniscule hand and the full array of Carolingian punctuation signs, as products of a concentrated drive toward an augmented role for writing and reading that was energized and directed from the centers of Carolingian political power. To us musical notation is an autonomous sign-system sufficiently capable of encoding the essential sound features of musical works so that musical texts (scores) both convey the structures and qualities of such works—in effect, stand for works—and constitute prescriptive programs for their performance. Initially European notations were conceived in neither sense. They were marks added to language texts, to serve as guides in their oral performance; in that respect their function was a further refinement and specialization of the function of the punctuation signs. That the repertory of notational signs was substantially an adaptation of the repertory of punctuation marks is the obverse side of that functional continuity. The texts to which musical signs were added are principally scriptural, performed within the ritual practice of the Roman church, and the signs had reference to the oral-formulaic melodic tradition for the ritual performance of those texts. But it was at least two generations before one began to think of them in the sense of an autonomous and prescriptive system of musical notation; and that was a radically new way of thinking that engendered fundamental changes in the notation and in the nature of its signification.

Principles of signal coding by the discharge pattern of a neuron population.

The principles of information coding by "rings" of stochastic dependence, formed by neuron populations, are described. Such a population was shown to be capable of existing only in strictly definite stochastic states, determined by a certain number of "rings" of stochastic dependence. A system consisting of a fixed number of neurons was shown to be able to code and transmit a number of different messages equal to the square of the number of stochastic states permitted for that system. The number of messages differing from each other either in the number of letters or their order in the word was equal to the number of permitted stochastic states, whereas the number of messages containing the same number of letters in the word was equal to the difference between the number of permitted stochastic states and the number of neurons in the system. The alphabet consists of two letters: A for assembling of the ring of stochastic dependence, and B for breaking of this ring, together with punctuation signs indicating neither assembling nor breaking (compared with the initial state) of stochastic dependence rings.

A general theory of linear sets

Section I of the following paper, though using the postulational method, is motivated by the consideration of classes of vectors, on a finite range PI (1, 2, ...* n), whose elements belong to a general division or, as we shall say, number system. Section II deals only with vectors oni a finite range. Section I is also of use as giviing a general basis preliminiary to tlle more intensive study of (a) classes of vectors on a general range, (b) number systems over a division numbersystem; that is, to the initiation of a theory analogous to that of an algebra over a field, where the field is replaced by an associative division number system. Notation. Throughout the paper certain logical notationst will be used as follows: logical idenitity t logical diversity definitional identity definitional identity between statements implies is equivalent to .3. such that 31 there exists is unique, used before the element which is unique: thus, I a means a is unique. and U or not . : .: :: etc. punctuation signs; the principal implication of a sentence has its signi accompanied by the largest number of periods, thus a :): b .). c is a statement that a implies that (b implies c) whereas a.). b :): c states that the implication a implies b, implies the fact c. We may also use punctuation to show continued implication, thus a.). b .). c means a.). b and b .). c.