Reference to Abstract Objects in Discourse presents a novel framework and analysis of the ways we refer to abstract objects in natural language discourse. The book begins with a typology of abstract objects and related entities like eventualities. After an introduction to `bottom up, compositional' discourse representation theory (DRT) and to previous work on abstract objects in DRT (notably work on the semantics of the attitudes), the book turns to a semantic analysis of eventuality and abstract object denoting nominals in English.
This is the second edition of the introduction to abstract algebra. In addition to introducing the main concepts of modern algebra, the book contains numerous applications, which are intended to illustrate the concepts and to convince the reader of the utility and relevance of algebra today. There is ample material here for a two semester course in abstract algebra.
Based on a systematic analysis of a very large corpus, this book introduces a conceptual and terminological framework for the linguistic description of abstract nouns. The uses and meanings of 670 abstract English nouns are described and their semantic, pragmatic, rhetorical, textual and cognitive functions are discussed, always with reference to authentic corpus data. This way a link between the corpus method and functional and cognitive theories of language is established. The book includes an appendix giving statistical information on the lexico-grammatical usage of the 670 nouns.
Most journals allow 100-150 words. Obey this limit now. The main function of the abstract is to communicate the one central and novel contribution, which you just figured out. You should not mention other literature in the abstract. Like everything else, the abstract must be concrete. Say what you find, not what you look for. Here too, don’t write “data are analyzed, theorems are proved, discussion is made..”
Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. Michaelangelo's David was attacked with a hammer in 1991.
