By JACOB BEAN
Hardback artwork booklet discussing 18th century Italian artists drawing kinds and methods .
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Additional info for 18th Century Italian Drawings in the Metropolitan Museum of Art
If you think of meanings as “semantic representations” or “logical forms at LF”, that is as like formulas in some formal language, then this constraint is puzzling: if meanings have this form, then consider that if representations 46 David Dowty · and ‚ diﬀer at any point whatsoever, no matter how deeply “embedded” the diﬀerence may be, then · and ‚ are ipso facto not the same semantic representation. But, if a semantic rule can depend on what a meaning is, and if no subpart of that formula should be exempted from helping to determine what that meaning is, why should a semantic rule be prohibited from being sensitive to all the details of it?
This prevalence of straightforwardly compositional linguistic data is a reason to take as our default assumption, when we investigate a new construction, that its interpretation will be compositional in a more obvious than obscure way. : in short, language is adaptive because it conveys meaning. Recursively formed syntactic structure is obviously necessary to make it possible to create an unlimited variety of linguistic messages. At a minimum, for each way of forming a syntactic unit there must be a way to determine the meaning of the unit from the meanings of its parts.
G. the equivalent (1b)): (1) (a) CAKpqNrs (b) (( p ∧ q ) ∨ ¬r ) → s The former syntax is more economical than the latter in that most complex formulas have fewer symbols in them, yet for purposes of human parsing, most people ﬁnd that this extra economy makes parenthesis-free formulas harder to grasp than with inﬁx notation (though not necessarily harder for computers of course). The a priori arguments in this section imply that, all other factors being equal, we should expect that the combination of syntax and compositional semantics that natural languages employ will tend to maximize compositional transparency and syntactic economy.
18th Century Italian Drawings in the Metropolitan Museum of Art by JACOB BEAN