Sort Of Appendix Research Articles

Thinking in Subversion

Sometime in 2001 I received an invitation to participate in a group poetry reading and panel on multilingual poets at a regional Modern Language Association conference. Being a member of the Onondaga Nation, raised on the Tuscarora Reservation, I am sure I looked attractive to the selection committee, but I immediately replied that I had no poems in either Onondaga or Tuscarora, beyond occasional words or phrases in the middle of poems composed otherwise entirely in English. I did, however, offer that it sounded like an interesting possibility and that I was willing to give it a try. Beginning to work on the piece, I realized that a poem composed primarily within a lexicon of animal and plant names, numbers, vulgarity, and meteorological conditions was not likely to be very interesting, but that was what I had at my disposal. It was a frustrating realization, remembering that at one point in my earlier life, I had been relatively fluent in the Tuscarora language; but as with so many elements of our lives for which we have no common application, like the complicated rules of long-dormant childhood games, the ability to use Tuscarora had fallen into some sort of appendix in my brain, atrophied to the point of sound memory. I had lost the ability to think in the language, beyond the occasional useful idiom.

Bolinger's challenge: melody, meaning and emotion

This book and its sibling volume of I986, Intonation and its parts (henceforth IU and IP respectively), form a monumental depository of Bolinger's current thinking on intonation.' Although he has published on the subject for decades, these books have been newly written and manifest the furthest development of his views on intonation as more a gestural than a grammatical phenomenon. One might make the mistake of inferring from the titles that IP treats form while IU deals with meaning, but in fact Bolinger's theoretical ideas on both form and meaning are most fully elaborated in the earlier volume. From the perspective of the intonologist, IU is a sort of appendix, though for Bolinger himself the prior groundwork of IP 'frees us to focus on the flesh and take the skeleton for granted' (IU: vii). The difference is one of organizational principles. IP was structured according to intonational categories, while IU has been largely divided up by grammatical and semantic/pragmatic categories. The book comes in four sections. The first fifty pages look at intonational variation by age, sex, dialect and language, and this is the most straightforwardly disappointing section: Bolinger's earlier work on intonation across languages (1978) and his universalist theoretical claims lead us to expect more than this cursory and anecdotal survey. The last fifty pages treat intonation and 'logic' (though 'semantics and pragmatics' might have been a better label). The central three hundred pages comprise two sections on intonation and grammar, ranging across sub-topics like 'Tag Questions', 'Cleft Sentences' and 'Exclamatory Idioms in Detail'. Given Bolinger's

"Repetition (In the Kierkegaardian Sense of the Term)"

Kierkegaard published Repetition in 1843; his pseudonym this time was Constantin Constantius. The Danish title is Gjentagelsen, meaning literally taking back. It is not easy to decide what sort of text this is: a narration or a philosophical essay or perhaps an ironic mixture of both. Kierkegaard has Constantin make fun of this problematic in a sort of appendix, where he turns to real reader of this book, called Mr. X, Esq.1 This real and ideal reader is apparently not a critic or an ordinary reviewer, since such a specimen would have taken the opportunity to elucidate that it is not a comedy, tragedy, novel, epic, epigram, story and to find it inexcusable that one tries in vain to say 1.2.3. Its he will hardly understand since they are inverse; nor will the effort of the book appeal to him, for as arule reviewers explain existence in such a way that both the universal and the particular are annihilated [190/226]. This is said in the final pages, retrospectively, like a repetition to remind the reader-Mr. X-in what way and genre he has notread and, perhaps, to hint at a failed dialectic (tries in vain to say 1.2.3.). And that the ways of the text are inverse. Inverse?

Some Applications of Stochastic Investment Models.

In November 1983 I gave a talk to the General Applications Section of the Royal Statistical Society jointly with the Institute of Actuaries Students' Society, entitled “Time-Series Analysis in Investment Models: Inflation and Share Prices”, in which I outlined the statistical derivation of a stochastic investment model. This model was presented to the actuarial profession in a paper “A Stochastic Investment Model for Actuarial Use” discussed at the Faculty of Actuaries in November 1984. The statistical background, and other information, is discussed in Occasional Actuarial Research Discussion Paper No. 36, “Steps Towards a Stochastic Investment Model”, which is a sort of Appendix to the Faculty paper. It contains most of the material presented to the Students' Society in 1983.The Faculty paper described a number of possible applications of stochastic investment models. I stated there that a “stochastic model for investments … can be used by actuaries in almost any circumstance where a rate of interest enters their calculations at present”. That is a pretty wide field. But I suggested that it opened up “wider possibilities for investigation too”. I intend in this paper to describe a number of simple applications of my stochastic investment model, in order to show the flavour of how such a model can be used. None of the topics has been comprehensively investigated, and I am sure that the reader will soon ask questions which I have not answered. I hope that he will be able to think of ways of answering them himself.

Immunology II

Bellanti's second edition of his textbook<i>Immunology II</i>is a delight, as was the first. There are relatively few textbooks that are so well written and illustrated as to be useful to a large number of students of medicine at all levels. Along with<i>Immunology II</i>, other such noteworthy textbooks of immunology and infectious diseases include<i>Infectious Diseases in Childhood</i>by Krugman et al, Hoeprich's<i>Infectious Diseases</i>, and Remington and Kline's<i>Infectious Diseases of the Fetus and Newborn Infant</i>. Immunology II is a multiauthored, 813-page text that is divided into three major areas: "Principles of Immunology," "Mechanisms of Response," and "Clinical Applications of Immunology." Within these sections, appropriate topics are included that are sufficient to cover the major areas, but they are not too detailed to detract from the explanation of the concepts explored. A sort-of appendix approach to the patient with immunologic diseases uses the last 20 pages of

Calderón and the "Décimas a la muerte"

Early texts of some poems attributed to Calderon are hard to find. The Decimas a la muerte (which begin: ‘i0 tu que estas sepultado …’), attributed to him by Hartzenbusch and by Picatoste, were printed in an unfindable collection of pious poems; another version of the same poem, but attributed to Lope de Vega, figures as a sort of appendix in some editions of a famous ascetic work by Father Eusebio Nieremberg; a manuscript copy from the Escorial provides a third text; there was also a now lost, undated broadside which stated that the poem was written by ‘vn hidalgo de la Ciudad de Cuenca’. Two early texts, then, are lost. The purpose of this article is to establish a provisional text, in the hope that the lost versions will be recovered, and to examine critically the attribution of these noble stanzas to Don Pedro Calderon de la Barca.

Some Aspects of Perception III: Addenda

In a pair of articles appearing in previous issues of the Journal of Music Theory, *1 the writer described the results of research, the purpose of which was to explore the relationship between intonation and interval sizes in ensemble string performance and certain specific aspects of musical composition. As a sort of appendix to these articles, he wishes to compare his results with those of others who have done research in the general field of tonal perception. It is convenient to divide this work into the two areas of laboratory testing of individuals and the actual measurement of musical performance. The first area provides information about the human perception of the tonal material of music in its unconnected and static condition, while the second studies this material as it is when it actually has become music.