Showing papers on "Antisymmetry published in 2001"

The clause structure of Malagasy : a minimalist approach

Abstract: This thesis explores the clause structure and word order of Malagasy within the framework of Chomsky’s (1995) Minimalist Program and Kayne’s (1994) Antisymmetry Theory. In particular, I focus on the status of the clause-final external argument (EA), conventionally analyzed as a nominative case-marked subject. I consider two major questions about this constituent: What hierarchical position does the EA occupy in the clause structure, and why does it surface in a right-peripheral linear position, following the predicate? With regard to its syntactic status, I argue that the EA is not a subject, but a topic, similar in its distribution to clause-initial topics in verb-second languages like Icelandic. I propose that EAs undergo A′-movement to the specifier of a TopP (topic phrase) projection, located above tense and below the position of the complementizer. Concerning word order, I show that the right-peripheral position of the EA can be derived via leftward movement of the predicate phrase over the EA in SpecTopP, in a manner consistent with Kayne’s Linear Correspondence Axiom. I suggest that predicate-fronting is triggered by the same lexical requirements responsible for T-toC raising in Icelandic and other languages. The difference is that in Malagasy, unlike in Icelandic, T does not constitute an independent morphological word, and so it cannot be moved without causing the derivation to crash at PF. Since T-movement is unavailable, TP-movement is employed instead. Malagasy may thus be regarded as the phrasal-movement analogue of a verb-second language. The manuscript is divided into four chapters. In chapter 1 I summarize my analysis and discuss my theoretical assumptions. In chapter 2 I give an overview of Malagasy word order, clause structure, and morphology. I also offer a tentative treatment of the Malagasy voicing system, which I equate with wh-agreement in Chamorro and other languages. In chapter 3 I present evidence from reconstruction and locality effects to show that the EA position behaves as an A′position rather than a case position, strongly suggesting that the EA is a topic-like element rather than a subject. I also provide an alternative analysis of the well-known wh-extraction restriction in Malagasy. Finally in chapter 4 I discuss my XP-movement analysis of EA-final word order. I cite evidence in favor of this analysis from two domains, speech-act particle placement and word order in embedded clauses.

Antisymmetry and verb-final order in West Flemish

Abstract: This paper focuses on the derivation of the verb-final pattern in West Flemish, a West Germanic OV language. The paper compares antisymmetric approaches which assume short or no V-movement and antisymmetric approaches which postulate double movement: V-to-I movement + remnant movement. The data discussed concern (i) the position of the verb, (ii) the observed correlation of V-movement with certain patterns of argument distribution (object shift, the transitive expletive construction), and (iii) the expression of sentential negation. The data suggest that a double movement analysis is preferable to accounts without V-to-I movement.

Antisymmetry and the Leftness Condition: leftness as anti-c-command.

Abstract: This paper proposes a restatement of the Leftness Condition on quantifier binding in configurational terms in the framework of Kayne's (1994) Antisymmetry Theory. The Leftness Condition is reduced to an anti-c-command condition whereby a syntactic constituent that depends on a variable for its denotation cannot asymmetrically c-command that variable. It is argued that this condition also constrains denotational equality between two R-expressions that independently denote the same referent, thus subsuming Principle C. This proposal yields a unified account of strong, weak, weakest, and secondary crossover. I also take into account Culicover & Jackendoff's (1995) argument that binding is sensitive to Conceptual Structure superiority; I argue that in the framework of Representational Modularity (Jackendoff 1997) CS-superiority, asymmetric c-command, and PF precedence may correlate in virtue of correspondence rules. This suggests that the syntactic component may be thought of as mediating between the inherently linear nature of PF and the inherently recursive nature of Conceptual Structure.

Thai Classifiers and the Structure of Complex Thai Nominals

Abstract: This paper aims to posit a functional category for Thai classifiers and demonstrate the analysis of Thai complex nominals adopting the antisymmetry framework (Kayne 1994). It proposes that Thai classifiers have an independently functional status and project the Classifier Phrase (ClassP) basically because they work in the same way as agreement. Evidence supporting their functional status includes properties of classifiers in forming their own word class distinct from the category of nouns, their non-modificational property by adjectives, and multiple occurrences. The underlying structure of Thai nominals is constructed in terms of the DP analysis. To derive a Thai nominal word order, it is argued that classifiers features are strong and there exist a combination of raising operations regulated by asymmetrical c-command relation (Kayne 1994) as well as feature checking (Chomsky 1995). The analysis suggests that Thai nominals possess a commonly underlying head-initial structure in which movement plays a key role in deriving the surface word order.

Antisymmetry and Modularity in Ornamental Art

Abstract: BRIDGES Mathematical Connections in Art, Music, and Science A recapitulation of the development of anti symmetry theory is given in the introduction. "Black-white" ornamental motifs occurring in ornamental art are classified by using symmetry criteria, according to the corresponding anti symmetry groups. Antisymmetry groups of rosettes, friezes and ornaments are illustrated by examples from Neolithic and ancient ornamental art. The principle of modularity is used in order to explain possible methods of construction of certain ornaments, and to reconstruct some of them only from their parts preserved in archaeological material. 1. Antisymmetry Historical Remarks All kinds of art use geometry directly or indirectly. Even the most complicated painting composition may have a geometric structure in its basis. Sometimes, this structure is static, stable, based mostly on bilateral symmetry, but in many situations a rhythm of forms, lines and colors is an element or even the background of a whole structure. According to M. Ghyka [1], rhythm is observed and recorded periodicity. One of the simplest tools to suggest rhythm and contrast is the use of alternating black and white patterns. Periodical repetition is often used in decorative arts. A separated motif is static, but by repetition it imposes itself and creates a dynamic structure. Every periodical repetition suggests some kind of motion. We distinguish several types of periodic patterns: 1. Basic repeation (rotation, translation), suggesting oriented motion; 2. Alternation (glide reflection), producing stronger dynamic visual effect of double motion; 3. Inversion (convex-concave alternation); 4. Overlapping and interlacing (mostly alternating), which introduce a space component. Alternatively, a very strong dynamic component may be introduced by coloring. Using contrast, complementary colors, "black-white", "light-dark", "over-under", "above-below", "positive-negative", "convex-concave", the same object can be turned into its opposite, increasing the rhythm and dynamics. 56 Ljlljana Radovic and Slavik Jablan The idea of studying ornaments of different cultures from the point of view of the theory of symmetry originated with A. Speiser (1927) [2]. Among the early works in that field we can distinguish the analysis of Alhambra patterns given in the Ph.D. Thesis by E. Muller (1944) [3] and the papers of A Shepard (1948) [4]. The very influential monograph "Symmetry" by H. Weyl [5] inspired the appearance of a whole series of works dedicated mostly to the ornamental art of ancient civilizations, to the cultures which contributed the most to the development of ornamental art (Egyptian, Arab, Moorish, etc.), and to ethnic ornamental art. Only in some recent works (e.g., by D.K. Washburn [6,7]), and S. Jablan [8]) has research turned to the very roots, the origins of ornamental art to the ornamental art of the Paleolithic and Neolithic, or to ethnic ornamental art. Thanks to the intensive development of the theory of symmetry and mathematical crystallography, the analysis of ornamental art completely followed this development. The more recent generalizations of the theory of symmetry, antisymmetry and colored symmetry are present in the graphic work of M.C. Escher [9, 10], as well as in several symmetry-related books and papers (e.g., in the books "Symmetry in Science and Art" by AV. Shubnikov & V.A Koptsik [11], "Symmetries of Culture" by D.K. Washburn & D.W. Crowe [12], etc.). Beginning with intuitively recognized regularities, and probably from very simple construction methods based on several basic (antisymmetric) prototiles (e.g., from Truchet tiles [13, 14] or similar elements), the historical development of antisymmetry ornaments proceeds by the use of modularity [15]. This is reason to believe that the theory of symmetry, literally taken from mathematical crystallography is probably not the only way, and maybe not the best explanation for the constructioll of ancient antisymmetric patterns. We believe that their basic concept and construction method was mostly derived from such usual working technologies, as matting, weaving, printing, and production of textiles or fabrics, rather then from the regular multiplication of a fundamental region by some (anti)symmetry group. Antisymmetry introduced in ornamental art the possibility of expressing, in a symbolical sense, a dynamic conflict, duality, and illustrated alternating natural phenomena (day-night, tides, phases of the Moon, a change of seasons). Treating the color change "black-white" as a space property, a suggestion of "two-sidedness" (over-under, above-below) antisymmetry introduces also a 3D space component in ornamental art. This way, in both cases, as a kind of time component or space component, it introduces a new dimension, making possible a dimensional transition from a 2D plane image to 3-dimensionality. If we identify the color reversing transformation with reflection in the plane of the pattern, 2D anti symmetry groups of rosettes, friezes and plane ornaments are models of 3D symmetry groups of tablets, bands and layers, respectively. Exactly that idea was the origin of the mathematical theory of antisymmetry. Such visualization in a 2D plane, using black-white diagrams, was proposed in 1927 by A Speiser, and presented by L.Weber in 1929 [16]. The black-white diagrams of bands from his paper (Fig. 1), where the alternation of colors is used to denote figures above and below the invariant plane of the pattern, suggested the possibility for a more general dimensional transition from the symmetry groups of n-dimensional space, using the antisymmetry groups, to the symmetry groups of (n+ 1 )-dimensional space. That natural idea of a more sophisticated dimensional transition from 3D to 4D space resulted in one of the first and the most remarkable early results of H. Heesch [17] the approximate number of fourdimensional groups preserving invariant 3D-space (less then 2000). The 1651 3D-space antisymmetry groups, modeling the mentioned four-dimensional groups, were derived for the first time more then 30 years later by A.M. Zamorzaev in 1953 [18]. Unfortunately, the work of H. Heesh published in a crystallographic journal, as well as the paper of H.J. Woods [19] giving the derivation of the 46 blackwhite symmetry groups of plane patterns, published in the Manchester Journal o/the Textile Institute in 1935, never attracted the attention of readers they deserved. ~~~ ~~~~ -4<1-4<1 Antisymmetry and Modularity in Ornamental Art 57

Anomalies of the magnon spectrum of a bounded antiferromagnet with a center of antisymmetry. I. Zero-exchange approximation

Abstract: It is shown that if the magnetic structure of an infinite antiferromagnet has a center of antisymmetry rather than a center of symmetry, then in a slab of such a crystal the formation of propagating nonexchange bulk spin waves of a previously unknown type can occur. The relationship between the Neel and Debye temperatures of the antiferromagnetic crystal is of fundamental importance for the structure of the spectrum of these magnons.

Derivation of multidimensional superperiodic symmetry groups by using Mackay groups

Abstract: The geometrical application of multiple antisymmmetry groups and Mackay groups for the derivation of multidimensional subperiodic groups is considered and illustrated by the direct derivation of 4-dimensional groups of the category G4321 from the category G21 by using Mackay 2-multiple antisymmetry groups. In general, symmetry groups of the category G(r+2)(r+1)r::: treated as a subcategory of the category G(r+2)r::: can be derived directly by using Mackay 2-multiple antisymmetry groups. 1

Anomalies of the magnon spectrum of a bounded antiferromagnet with a center of antisymmetry. II. Effects of the inhomogeneous exchange interaction

Abstract: By simultaneously taking into account the electric-dipole, magnetic-dipole, and inhomogeneous exchange interactions, it is shown that the spectrum of propagating bulk magnons in a thin-film tetragonal antiferromagnet with a center of antisymmetry can exhibit anomalies that do not exist in either the model of an infinite magnet or in thin films of centrosymmetric antiferromagnets.