Functional Entities -and that ain't the half of it!

Like many other languages, Spanish may specify fractionary nouns with definite articles (cf. la mitad). This fact seems to violate the presupposition of uniqueness generally assigned to the definite article, as no fraction may exist without another one (halves, in particular, come in pairs). But this violation is only apparent-at least if we assume that these fractionary nouns denote fractioning operations (rather than the results thereof) and occur in partitive (rather than attributive) constructions. These proposals can be justified independently, and extend to numeral noun constructions that did not survive into Contemporary Spanish

OJEDA, Almerindo. Project for the Engraved Sources of Spanish Colonial Art (PESSCA), 2005-2021.

El Proyecto para el Estudio de las fuentes grabadas del arte colonial (PESSCA por sus siglas en inglés) busca identificar los grabados que sirvieron de modelos al arte producido en las colonias hispano-portuguesas de los siglos XVI y XIX. PESSCA es parte las Humanidades Digitales, pues es un proyecto humanístico que emplea herramientas digitales. Y lo hace en todas las fases de la investigación (búsqueda, adquisición, almacenamiento, procesamiento, y recabación de imágenes, así como la difusión, actualización, y preservación de sus hallazgos). A futuro, PESSCA busca desarrollar un sistema de reconocimiento automático de imágenes que asista en el descubrimiento de los grabados que inspiraron obras de arte coloniales, quizás empleando sistemas de reconocimiento facial o anotación automática de imágenes

Tres álbumes de grabados antiguos en la Biblioteca Nacional del Perú

The Peruvian National Library holds today in its vaults three valuable albums of Old Master prints which still await proper catalogation. The prints of these albums come from the Low Countries, Paris, Rome, Cologne, and Augsburg, and were produced in the sixteenth, seventeenth, and eighteenth centuries. Taken together, these albums offer an encompassing view of the prints that circulated in Colonial Peru, thus contributing to the formation of the visual culture of the country. The purpose of this essay is to reveal the wealth of the Old Master print collection in the Peruvian National Library. One of the noteworthy fruits of our labors will be the discovery of the only known impressions of a couple of prints of Thomas de Leu (ca. 1555-ca. 1612), a prominent Parisian printer of great significance for Colonial Art.La Biblioteca Nacional del Perú alberga hoy en sus bóvedas tres valiosos álbumes de grabados antiguos que están todavía por catalogar a cabalidad. Los grabados de estos álbumes provienen de los Países Bajos, París, Roma, Colonia, y Augsburgo, y fueron producidos entre los siglos XVI y XVIII. Tomados en conjunto, estos álbumes ofrecen una vista panorámica de las distintas épocas y procedencias de los grabados que circularon por el Perú Colonial, contribuyendo así a la formación de la cultura visual del país. El propósito de este ensayo es difundir la riqueza de los materiales gráficos de los fondos antiguos de la Biblioteca Nacional del Perú. Entre los frutos de nuestros esfuerzos destacará el descubrimiento de las únicas impresiones conocidas de un par de grabados de Thomas de Leu (ca. 1555-ca. 1612), prominente impresor parisino de gran importancia para el arte colonial

The fundamental left-right asymmetry in the Germanic verb cluster

Cinque (2005, 2009, 2014a) observes that there is an asymmetry in the possible ordering of dependents of a lexical head before versus after the head. A reflection on some of the concepts needed to develop Cinque’s ideas into a theory of neutral word order reveals that dependents need to be treated separately by class. The resulting system is applied to the problem of word order in the Germanic verb cluster. It is shown that there is an extremely close match between theoretically derived expectations for clusters made up of auxiliaries, modals, causative ‘let’, a main verb, and verbal particles. The facts point to the action of Cinque’s fundamental left-right asymmetry in language in the realm of the verb cluster. At the same time, not all verb clusters fall under Cinque’s generalization, which, therefore, argues against treating all cases of restructuring uniformly

Invenção e inventividade na arte colonial: uma aproximação ao corpus da Nova Granada

it is well known that engravings provided the fundamental models for Spanish American colonial art. But colonial art was not limited to copying engravings. The purpose of this article is to demonstrate that New Granadan colonial art, like the other regional variants of colonial art previously studied by the author, applied a series of inventive mechanisms to the engravings that served as a model, namely, printing, reproduction, translation, installation, combination, adaptation, reinterpretation, and invention. It is to be hoped that this study of New Granadan art contributes both to clarifying the specific contribution of colonial art to the universal history of art, and to identifying its true originality or autonomy.es bien sabido que los grabados proporcionaron los modelos fundamentales para el arte colonial hispanoamericano. Pero el arte colonial no se limitó a copiar grabados. El propósito de este artículo es demostrar que el arte colonial neogranadino, al igual que las otras variantes regionales del arte colonial previamente estudiadas por el autor, aplicó una serie de mecanismos de la inventiva a los grabados que le sirvieron de modelo, a saber, impresión, reproducción, traducción, instalación, combinación, adaptación, reinterpretación, e invención. Es de esperar que este estudio del arte neogranadino contribuye, tanto al esclarecimiento de la contribución específica del arte colonial a la historia universal del arte, como a la identificación de su verdadera originalidad o autonomía.é sabido que as gravuras forneceram os modelos fundamentais para a arte colonial hispano-americana. Mas a arte colonial não se limitava a copiar gravuras. O objetivo deste artigo é demonstrar que a arte colonial neogranadense, como as outras variantes regionais da arte colonial anteriormente estudadas pelo autor, aplicava uma série de mecanismos inventivos às gravuras que serviam de modelo, a saber, impressão, reprodução, tradução , instalação, combinação, adaptação, reinterpretação e invenção. Espera-se que este estudo da arte neogranadense contribua tanto para esclarecer a contribuição específica da arte colonial para a história universal da arte, quanto para identificar sua verdadeira originalidade ou autonomia

Funcional entities: and that aint`t the half of it !

Like many other languages, Spanish may specify fractionary nouns with definite articles (cf. la mitad). This fact seems to violate the presupposition of uniqueness generally assigned to the definite article, as no fraction may exist without another one (halves, in particular, come in pairs). But this violation is only apparent�at least if we assume that these fractionary nouns denote fractioning operations (rather than the results thereof) and occur in partitive (rather than attributive) constructions. These proposals can be justified independently, and extend to numeral noun constructions that did not survive into Contemporary Spanis

The Semantics of Number in Arabic

No abstract

Functional Entities -and that ain't the half of it!

Like many other languages, Spanish may specify fractionary nouns with definite articles (cf. la mitad). This fact seems to violate the presupposition of uniqueness generally assigned to the definite article, as no fraction may exist without another one (halves, in particular, come in pairs). But this violation is only apparent-at least if we assume that these fractionary nouns denote fractioning operations (rather than the results thereof) and occur in partitive (rather than attributive) constructions. These proposals can be justified independently, and extend to numeral noun constructions that did not survive into Contemporary Spanish

The historical reconstruction of colonial art through its engraved sources: the case of PESSCA

El propósito de este ensayo es presentar el "Proyecto para el Estudio de las Fuentes Grabadas del Arte Colonial" (PESSCA), delinear las contribuciones que hace este proyecto a la catalogación, hermenéutica, ontología, restauración, reconstrucción, y recuperación del arte colonial, e ilustrar, en mayor detalle, las contribuciones que ofrece dicho proyecto a la "reconstrucción virtual" o "histórica" de obras coloniales que se encuentran demasiado dañadas para emprender su restauración. Aquí presentaremos la reconstrucción histórica de lienzos de la Catedral y de San Francisco de Quito (Ecuador) y Santa Catalina de Arequipa (Perú), de un cuero del Museum of International Folk Art de Nuevo México (Estados Unidos), y de varias pinturas murales de los estados de Hidalgo y Oaxaca (México).The purpose of this essay is to present the Project for the Engraved Sources of Spanish Colonial Art (PESSCA), outline the contributions this project makes to the catalogation, hermeneutics, ontology, conservation, reconstruction, and recuperation of colonial art, and to illustrate, in greater detail, the contributions this project makes to the virtual or historical reconstruction of colonial artworks which are too damaged to restore. Here we shall present the historical reconstruction of canvases from the Cathedral and of San Francisco de Quito (Ecuador) and Santa Catalina de Arequipa (Perú), of a hide painting of the Museum of International Folk Art of New Mexico (USA), and of several mural paintings of the States of Hidalgo and Oaxaca (México).peerReviewe