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For one-of-a-kind production (OKP) manufacturers adopting an engineer-to-order or make-to-order marketing strategy, it is very important to set an appropriate due date. We design an incentive-compatibility due-date quotation procedure to help OKP manufacturers obtain the rational due-date quotation from OKP customers. Based on the rational due-date quotation decision-making, the performance of an OKP shop floor controlled by load-based pull systems is evaluated in simulation. Our findings show that if the collaboration of due-date quotations and load-based pull control is effective, the order profit of OKP manufacturers will not be reduced when the delivery delay occurs. This study can provide more insights on order quotation decision-making and pull production control for OKP manufacturers. [ABSTRACT FROM AUTHOR]

Boccalini's Ragguagli di Parnasso (1612) provides us with a satirically inflected view of how Tacitean quotation was used throughout the sixteenth century as a medium of political knowledge. A detailed analysis of some Tacitean scenes in Ragguagli will help us to elicit some of the issues underlying the turn to Tacitus in the intellectual climate of the period: the search for truth in a new era of moral relativism; debates about the applicability of ancient maxims to contemporary realities; and the connection between externally acquired techniques and internalized wisdom. In both Ragguagli and Comentarii Tacitus' characterization of the emperor Galba becomes emblematic of the gulf that can open up between theoretical knowledge and practical understanding. When the same model is used to measure Tacitus' own unsuccessful tenure of power over Lesbos in Ragguagli, Boccalini presents a case study of how 'properly' to make use of Tacitean political insight. [ABSTRACT FROM AUTHOR]

This paper examines a form of talking about speech acts, mental states, and other features so far unexplored in philosophy: quotative be like. Quotative be like is the use of like and to be that occurs in constructions such as “Ellen was like“I’m leaving!”” We argue that neglect of quotative be like represents a gap in our understanding of our ways of characterizing the minds and speech of ourselves and others. Further, we show that quotative be like is not reducible to more familiar forms of direct discourse or indirect discourse. Mapping out a number of different options for theorizing about quotative be like, we argue for an account on which the quoted material in quotative be like picks out properties. [ABSTRACT FROM AUTHOR]

The need for new insights to understand the effects of quoting slurs in linguistic communication has been evident over the past several years. Slurs seem to be capable of offending even when embedded in quotations or mentioned. This ability of the derogatory force of slurs to project out of embeddings like quotations is an instance of what I will call the 'projectible force' of slurs. This force is taken to be a particularly serious problem for content-based semantic theories, which claim that what makes slurring utterances offensive is their derogatory content. The inert content criticism claims that quotations should render the content of a slur inert as quotations draw our attention only to the properties of the word itself. However, quoted or mentioned slurs can still offend, so the truth-conditional account of slurs must be wrong. I take the inert content criticism to be a locus of confusion. This confusion can be eliminated if we (1) disambiguate two notions of offense, (2) replace our naïve understanding of quotation with a more precise theory of quotation, and (3) use the deliverances of such a theory of quotation to help explain the different kinds of offense that can result from different features of slurring utterances. While this is not an attempt to defend the truth-conditional account of slurs, I will deliver something that both truth-conditional and prohibitionist accounts of slurs have failed to deliver: an explanation of how slurs under quotation can cause moral offense. [ABSTRACT FROM AUTHOR]

This article is an assemblage of thematically inter-relatable quotations promoting critically oriented, non-linear complexity of thought. The quotes concern: recent derailments and safety protocols; what trains carry; ideas about linearity, sequence, and simultaneity; environmental issues; trains used in genocide, race-based segregation and exploitation, and immigration; trains communicating art, symbols, and meaning; and quotes from literary figures, artists, and social theory. A central question emerges: Do the contents and arrangements of our (ever longer) cause-and-effect chains together constitute globally indeterminate, unanticipated consequences and both random and systemic interconnectivity, bridging industrial and post industrial eras, networks, and concerns? [ABSTRACT FROM AUTHOR]

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Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a class belonging to phraseology, winged words are characterized above all by the fact they are also used in other contexts as quotations, especially from literary texts (e.g., Grau, teurer Freund, ist alle Theorie from Goethes Faust I), thus acquiring a life of their own. However, they can be referred to the original sources in the consciousness of the language user. Forms of expression from areas other than literary areas, such as movies and television, advertising, etc., are increasingly gaining a comparable status in public language use. The imprinting of these expressions often stems from the fact that winged words are not only or no longer used as quotations but also used as a means of commenting on facts, evaluating them, etc., and at the same time calling up knowledge scenarios that refer to the original context of use as backgrounds for understanding. Over time, new patterns of expression may be established by modifying parts of the original formulation so that – expressed in construction grammar – new situationally adaptable form-meaning pairs can emerge. Based on this "phraseologization mechanism", problematic aspects of phraseology theory are identified and discussed using the example of Das also war des Pudels Kern. Finally, suggestions are made for the conceptual sharpening of the category "winged words". [ABSTRACT FROM AUTHOR]

'Nothing of him that doth fade/But doth suffer a sea change/Into something rich and strange.' What are these lines from Ariel's song doing in this context and how does the repurposing affect the way we come to them in The Tempest? The story of Shelley's death has assumed such status it seems to shimmer like a meaningful dream in the collective memory of those of us who hold the history of literature to be important, rather as events on the enchanted island of The Tempest shimmer. Can we simply ascribe the decision to select lines from Shakespeare for Shelley's epitaph to the overwhelming presence of Shakespeare as the central canonical figure in English literature by the Romantic period? Why The Tempest and more specifically why Ariel's song? We can conjecture that one intention in the inclusion of the circumstantially apt quotation was to throw over Shelley's untimely death that atmosphere or mood which Dowden thought found its ideal expression in that play, 'The pathetic yet august serenity of Shakspere's final period.' The epitaph modifies for good the lines in question. The lines have accrued a part of Shelley's biography which will not be ignored. [ABSTRACT FROM AUTHOR]

This study was inspired by code-switching used by Farah Quinn, an influencer known for her cooking skills and unique communication style, including the use of a variety of languages in her YouTube contents. This is a descriptive qualitative study which technically collected the data through observation, and documentation. The data were then classified to further identify code switching types in Farah Quinn’s in YouTube. The results revealed that three types of code switching, intra-sentential code-switching, inter-sentential code-switching and tag switching were found Farah Quinn's YouTube videos. The speaker’s language use contains the most forms of code switching as referred to Hoffman's theory such as intra-sentential code switching appeared as many as 121 use with 73%, inter-sentential found 36 times with 22%, and the last most frequently appeared was tag switching found 9 times with 5%. Based on the functions. there were 148 quotations appear with 89%, 13 interjections with 8%, and 5 message qualification with 3%. The use of quotations was the first major style of code-switching used purposefully by Farah Quinn to satisfy her linguistic demands or preferences to the audience, making the discourse more inclusive and approachable. Interjections allow Farah Quinn to communicate her emotions or reactions, providing richness and dimension to the speech during the program.

Factor selection is crucial for any enterprise to make a quick and accurate quotation decision. For the objects of quotation with missing values, traditional rough sets construct their relations (e.g. tolerance, cover) either with objects having known values, or only with those that also include the missing values of the attribute domains. Such classifications may not work well for reduction in many real-world problems. In this paper, by measuring the similarity of objects, an incomplete covering rough set is proposed to derive a cover for attribute reduction. Firstly, a similarity relation is defined by an approximation degree that tunes the relation in line with the semantics of objects, and then a cover is induced. Secondly, a reduct is derived by the relations of objects with respect to covers; the properties of reduction are proven. Finally, an approach is developed by discernibility matrix. The experimental results of the UCI (University of California Irvine) Repository and real-life quotation data sets show the incomplete covering rough set outperforms the compared rough set in the accuracy of factor selection within the comparable computation time. It is also demonstrated that the proposed quotation model is effective in quote prediction with various proportions of missing data. [ABSTRACT FROM AUTHOR]

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Abu al-Atâhiyye, a poet who lived in the Abbasid Period, started writing poetry with ghazals. The poet, who later turned to asceticism and preferred such a lifestyle, changed his literary life accordingly. Afterwards, he stopped writing ghazals completely and wrote poems in the style called zühdiyyat. It is possible to see the simplicity that he tried to create in his life with his asceticism, in his language. The poet, who has a plain, simple and fluent style, wrote poems that are easily understood and memorized by the public. In his poems; He frequently dealt with the themes of death, the grave, the afterlife and the end of worldly blessings. He expressed these issues in his plain and simple style and made his poetry even more effective with verses or hadiths when appropriate. In the study in question, allusions and quotations made to verses and hadiths in Abu al-Atâhiyye's poems were identified and examined. [ABSTRACT FROM AUTHOR]

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The reader is offered a Ukrainian translation of the first chapter of the Śvetāśvatara-Upaniṣad. The Upaniṣads are a late Vedic genre of ancient Indian literature that completes the formation of the Vedic corpus of sacred texts. The first texts of the Upaniṣads appear around the 8th century BC. It is difficult to overestimate the importance of the Upaniṣads for the study of the origins of Indian religious and philosophical thought. Leading Indian philosophers developed the ideas of the Upaniṣads, quoted them in their own works, and, starting with Gauḍapāda, wrote their own commentaries on them. They are the first component of the triple canon (prasthānatrayī) of the Vedānta philosophical school. For more than a century, not only in world Indological circles, but also among much wider intellectual circles of various countries, primarily in Europe and North America, there has been a steady interest in the Upaniṣads. The Śvetāśvatara-Upaniṣad is one of the most authoritative and well-known Upaniṣads. It received its high recognition not only in Hindu, but also in scientific circles. And although its studies and translations have a long history, there are still many controversial and unresolved issues. Our publication is intended to renew the existing Ukrainian academic interest in the Upaniṣads, which was interrupted by the Soviet authorities in the 1920s and 1930s, and to draw attention to some still insufficiently researched aspects of the Śvetāśvatara-Upaniṣad. Thus, emphasis is placed on the features of the description of the Highest principle (reality), the soteriological component of the ancient Indian text, on the role played by sages in the Upaniṣad, on the features of text creation. [ABSTRACT FROM AUTHOR]

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We investigate experimentally whether the perceived offensiveness of slurs survives when they are reported, by comparing Italian slurs and insults in base utterances (Y is an S), direct speech (X said: "Y is an S"), mixed quotation (X said that Y is "an S"), and indirect speech (X said that Y is an S). For all strategies, reporting decreases the perceived offensiveness without removing it. For slurs, but not insults, indirect speech is perceived as more offensive than direct speech. Our hypothesis is that, because slurs constitute hate speech, speakers employ quotation marks to signal their dissociation from slur use. [ABSTRACT FROM AUTHOR]

Copyright of REMAH Journal is the property of Research & Development of Human Recourses Center (REMAH) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The need for new insights to understand the effects of quoting slurs in linguistic communication has been evident over the past several years. Slurs seem to be capable of offending even when embedded in quotations or mentioned. This ability of the derogatory force of slurs to project out of embeddings like quotations is an instance of what I will call the ‘projectible force’ of slurs. This force is taken to be a particularly serious problem for content-based semantic theories, which claim that what makes slurring utterances offensive is their derogatory content. The inert content criticism claims that quotations should render the content of a slur inert as quotations draw our attention only to the properties of the word itself. However, quoted or mentioned slurs can still offend, so the truth-conditional account of slurs must be wrong. I take the inert content criticism to be a locus of confusion. This confusion can be eliminated if we (1) disambiguate two notions of offense, (2) replace our naïve understanding of quotation with a more precise theory of quotation, and (3) use the deliverances of such a theory of quotation to help explain the different kinds of offense that can result from different features of slurring utterances. While this is not an attempt to defend the truth-conditional account of slurs, I will deliver something that both truth-conditional and prohibitionist accounts of slurs have failed to deliver: an explanation of how slurs under quotation can cause moral offense.

The “Little America” series aims at showing a personal and visual point of view on the United States in just a few selected photographs. It tries to condense an idea and a vast place into a few salient points without aiming at being exhaustive but at being relevant.

The formal inception of praiseful poetry commenced from the Arabic language and then Persian, Urdu, Punjabi, Sanskrit, Hindi, eastern and other languages have been influenced by this sacred genre. Therefore, the influence of Arabic literature and culture has also been transferred. Similarly, the basic source of Islamic law, the Quran and Hadith, have also been used by Naat poets in every age, Some of the Scholars and proficient not only taught the subjects/disciplines of the Prophet’s hadith directly in their work but also mentioned quotes from the hadiths, literally and semantically. Some professional Naat poets have even utilized the hadith word by word in their praiseful verses. The research paper under revision is an attempt to explore the Natia poetry as...., which further illustrates the prototypes of Arabic, Persian and Urdu Natia poetry in different eras in which the hadiths of the Prophet صلى الله عليه وسلم are quoted completely or sparingly. [ABSTRACT FROM AUTHOR]

Framed within the fields of applied linguistics and language play, the writing of three attainment groups of 9–11-year-old children was used to investigate their use of ludic (playful) punctuation in the composition of an imaginative narrative. The scripts were from a larger repeat-design study of writing development that addressed a range of linguistic features. It became apparent that the scripts contained a range of language play features, including the use of ludic punctuation, and these were then systematically studied. A total of 71 stories were analysed to identify and categorise the playful punctuation that the children used in this writing task. A range of ludic punctuation was found, most notably in the use of quotation marks, exclamation marks and question marks. In contrast, the asterisk, interrobang, underlining, brackets and dash were used infrequently. There were clear differences between the attainment groups in the content and range of these uses. The findings indicate that 10–11 year-old children find that narrative writing offers a range of opportunities for creative and playful uses of punctuation, even though they were not prompted to do this. The findings also suggest that such uses – like language play as a whole – warrant further investigation. [ABSTRACT FROM AUTHOR]

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Copyright of Kufa Studies Center Journal is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To enrich characterisation and bond with audiences, Jacobethan playwrights included Classical tags, Bible verses and vernacular quotations in their work. Borrowings from other plays were particularly effective: a line of dialogue could 'go viral' straight from the stage. This verbal network, linking hundreds of early modern plays by one-liners, names and catchphrases, can now be investigated through the WordWeb-IDEM database, which contains over ten thousand text extracts that quote each other. The part of John Marston in this dramatic intertextuality is as yet under-researched. He saturated his writing with others' words extensively and idiosyncratically; tracing these overlaps with Marston's unwitting 'collaborators' richly illustrates the research potential offered by the WordWeb-IDEM corpus and its search options. [ABSTRACT FROM AUTHOR]

In this article I model John Cage's pragmatics of silence using the mathematics of category theory with the framework of ontological logs. I use this approach in order to represent knowledge within Cage's so-called silent compositions – 4 $ ^{\prime } $ ′ 33 $ ^{\prime \prime } $ ′′ , 0 $ ^{\prime } $ ′ 00 $ ^{\prime \prime } $ ′′ (4 $ ^{\prime} $ ′ 33 $ ^{\prime \prime } $ ′′ No. 2), and One $ ^{3} $ 3 = 4 $ ^{\prime } $ ′ 33 $ ^{\prime \prime } $ ′′ (0 $ ^{\prime } $ ′ 00 $ ^{\prime \prime } $ ′′ ) +. I first generate a categorical schema $ \mathcal {F} $ F and an accompanying database that describes an instance of 4 $ ^{\prime } $ ′ 33 $ ^{\prime \prime } $ ′′ from its premiere in 1952 which is translated via two functors into the categorical schema $ \mathcal {Z} $ Z (0 $ ^{\prime } $ ′ 00 $ ^{\prime \prime } $ ′′ ) and $ \mathcal {O} $ O (One $ ^{3} $ 3 ). A pushout of $ \mathcal {Z} $ Z and $ \mathcal {O} $ O along $ \mathcal {F} $ F allows for the presentation of the categorical schema $ \mathcal {S} $ S and its accompanying ontological log as an enfolding of Cage's pragmatics of silence. I then introduce the score Listening to John Cage listening in order to conceptualize the category of instances $ \mathcal {S} $ S - $ \mathbf {Set} $ S e t , and further utilize it to investigate the language of $ \mathcal {S} $ S through its fibre order. I conclude by reporting on persistent spatio-temporal structures of Cagean silence embodied in $ \mathcal {S} $ S as meta-work. [ABSTRACT FROM AUTHOR]

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In this article I issue a challenge to philosophers engaged in constructing logical languages. Formal languages that have had a great influence on various areas of philosophy have ineffable statements that arise from metaphysical assumptions, thus limiting what we can do with them. I deal with two cases. The case of Frege known as “The paradox of the concept horse”, and that of Kripke that is not as famous as the Fregean problem, which I call “The necessary bearing of the name.” I briefly develop each case and show that together they give us sufficient evidence of the limits of what we can do with logic when the formal systems employ unexamined metaphysical assumptions.

The paper deals with Petr Rezek’s philosophy in relation to two of his central themes, matter-of-factness (Sachlichkeit) and conflict, through the prism of the problem of non-matter-of-fact (unsachlich) quoting and its manifestations. According to Rezek, these point to the defective forms of intersubjectivity. The dialectic of quoting reason begins with a critique of these forms in order to become a true dialectic of matter-of-factness, through contrasting structures and techniques of analysis, such as the so-called boundary approach or the method of repetition.

The study aims to employ the method of slow reading to analyze the short story authored by Haruki Murakami. Intertextuality is the predominant feature of the narrative, the references to the Beatles’ song and Ernest Hemingway’s collection of stories add to the subtext of the story. However, it is the allusion to Chekhov’s “Uncle Vanya” in the Meiji-era adaptation (translated by Senuma Kayō) that stands out among others as the basis for deeper understanding of the story’s nuances. The characters in the 2014 story encounter similar challenges as those in Chekhov’s 1890s play, where the inability to comprehend others raises a crucial question of how to continue living and for what purpose. Misaki’s articulation of the answer echoes Sonya’s words from “Uncle Vanya”, emphasizing the necessity of enduring difficulties and persevering in one’s trained and most proficient area. The literary work “Drive My Car” epitomizes the characteristic style of Haruki Murakami, as evidenced by his fondness for music and incorporation of songs and musical elements, his propensity for employing allusions, quotations, and other forms of intertextuality. The story is similar to Chekhov’s play in the melancholic tone of the narration, lack of action, loose plot structure, a metaphorical employment of mundane life events, the choice of words the text is made of. Chekhov and Murakami stand together in their refusal to judge or blame their characters, in their acceptance of life in all of its most complicated manifestations.

Starting from a possible allusion to Sentiero dei nidi di ragno (The Path to the Spiders’ Nest) detected in the first pages of Ventitre giorni della città di Alba (The Twenty-three Days of the City of Alba), this article focuses on the friendship between Beppe Fenoglio and Italo Calvino and their intellectual solidarity in the name of their shared search for an authentic literary representation of the Italian Resistance.

This article aims to throw light on the ways in which Derrida appropriates the device of quotation in an ambiguous and ambivalent text such as Glas. Through an analysis of the formal and textual functioning of literary quotations in Glas, this article aims to demonstrate that the idea of a kind of writing stripped of arché and models is belied by the circulation of hypertexts activating an interplay of echoes and references that can annul any hierarchy of writing.

This essay highlights how Fenoglio contrasts, on the one hand, the world of the resistance movement and, on the other, the world at the end of World War II. The first dimension is described as an “absolute” world, namely something that has taken place; the second dimension, instead, is the world of “repetition”, that is to say something that keeps repeating. This opposition is quite clear both in Fenoglio’s works and in Fenoglio’s literary evolution. Indeed, the writer represents daily life as a form of repetition. This contrast finds also a parallel in the two poets Fenoglio looks at in the post-war years: Hopkins, the partisan’s sublime poet, versus Martial, epigrammatic poet of everyday trifles.

One of the topics that has long received attention in our religious Quranic verses, and narrations, and has consequently found its way into our literary and mystical texts, is the subject of self-struggle. Examining Direct Quotes (DS) is one way of representing speech and thought. Asrar al-Tawhid, the subject of which is the sayings and states of Abu Sa'id Abu al-Khair, the prominent mystic of the fourth and fifth centuries (357-440), was written by one of his descendants named Muhammad ibn Munawwar. The book contains the accounts and statements either directly attributed to Abu Sa’id or reported by others about him, and includes important topics in Sufism. In this study, we aim to study the dialo

In "Toward an Ethic of Discussion," Jacques Derrida returns to the controversy with Jonathan Searle to clarify his position but above all because he "would have wished to make legible the (philosophical, ethical, political) axiomatics hidden beneath the code of academic discussion." I intend, in turn, to return to this text in order to find in it not only the conditions of an ethics of academic discussion but also of interpretation in a deconstructive perspective. In "Toward an Ethic of Discussion," in fact, it is possible to point out the necessity of a certain ethical treatment of the texts. In particular, how can we determine the conditions of an ethical use of quotation against the always possible manipulation of the text that quotation makes possible? I attempt to answer this question claiming that the reading protocol of deconstruction meets these conditions showing us at the same time the ethical conditions of scientific discourse in general, beyond any scientific claim of objectivity. [ABSTRACT FROM AUTHOR]

In this article, I analyze the material and technical means employed in a Jasper Johns painting in relation to its imagery and semantics. I suggest viewing the multiple quotations, the references to the printing procedures, and the ventriloquist motif as Johns's unique way of dealing with the concept of artistic originality. The vast majority of scholarship on Johns's Ventriloquist associates the references in the painting with the work's title--in both cases (of the references and ventriloquism), it appears that the voice comes from other sources. The emphasis there is on the act of cultural borrowing, a consideration of the painting as a Barthesian text, a "tissue of quotations." Accordingly, Johns's reference to Barnett Newman in 1983 was read in light of the "Death of the Author," similarly to the way his work was interpreted three decades earlier, as a revolt of a Neo-Dadaist against a central figure in Abstract Expressionism. Ventriloquism, however, not only problematizes authorship and originality, it also brings to mind the act of mediating the physical aspects and material means that are involved in expressing ideas through a medium. In this article, I show how Johns dealt with originality not as an abstract entity but as an element embodied in the medium of printing. By focusing on Johns's reference to Newman, I propose an additional perspective to the encounter between two artists in which "originality" finds itself in the material aspects of the artistic medium. [ABSTRACT FROM AUTHOR]

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Essentially grounded in Cognitive Semantics and conceived to capture fundamental compositional properties inscribed in (written) text and (spoken) discourse, this study proposes a unifying account of parenthesis and quotation in English. Understood as determinants of conceptual structure in language, these two categories, though ubiquitous in all forms of language use, but so far entirely missing from the Cognitive Semantics, research agenda, are (re-)conceptualized under the aegis of Bakhtin's polyphony and voice, and Goffman's decomposition of the speaker as 'fictive' polyphony. In achieving this goal, the paper explores via dense, multimodally informed micro-studies of authentic text and discourse how voices are made salient to readers and hearers, scrutinizing various categories of cuing devices. As a corollary, Cognitive Semantics is seen to be developed and enriched, opening it up to transcend the language system, thus paying respect to the 'total linguistic fact' in the sense of Silverstein. [ABSTRACT FROM AUTHOR]

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Copyright of Fabula - LhT is the property of Fabula and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)