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Journal articles on the topic 'Classics; Endings'

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Published: 4 June 2021

Last updated: 15 February 2022

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1

Holmes, Nigel. "Gaudia nostra: a hexameter-ending in elegy." Classical Quarterly 45, no. 2 (December 1995): 500–503. http://dx.doi.org/10.1017/s000983880004355x.

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In an earlier article in Classical Quarterly, S. J. Harrison explored the varying frequency of hexameter-endings of the type discordia taetra, where a noun that ends in short a is followed by its epithet with the same termination. It appears from this that while most pre-Augustan poets allow a fairly high frequency of such verse-endings (e.g. Lucretius 1:130, Catullus 1:204), some Augustan poets and their imitators show a distinct tendency to avoid them (e.g. Vergil, Georgics 1:547), while some almost exclude them altogether (e.g. Ovid, Metamorphoses 1:4999, Statius, Thebaid 1:1948). The hexameters of elegiac poetry might be subject to the same restriction; the following are figures for elegy from Catullus to Martial.

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2

Biddulph, Edward. "What's in a Name? Graffiti on Funerary Pottery." Britannia 37 (November 2006): 355–59. http://dx.doi.org/10.1017/s0068113x00001847.

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ABSTRACTFascicules 7 and 8 of Roman Inscription of Britain II, dealing with samian and coarse pottery respectively, contain some 60 examples of graffiti associated with funerary contexts. Most graffiti are personal names and traditionally these were thought to record the names of the deceased. Analysis has revealed, however, that the names are more likely to be those of mourners or gift-givers. This is suggested by case-endings (graffiti that indicate possession are relatively few), the presence of multiple names in single graves, and the observation that many names were inscribed on ancillary vessels, rather than cinerary urns.

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3

Harrison, S. J. "Discordia Taetra: The History of a Hexameter-Ending." Classical Quarterly 41, no. 1 (May 1991): 138–49. http://dx.doi.org/10.1017/s0009838800003621.

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In Latin Hexameter Verse, his 1903 manual for composers of Latin hexameters which is still useful as a guide to Vergil's metrical and prosodic practices, S. E. Winbolt states that a hexameter ‘must not end with an adjective preceded by a noun with a similar short ending, e.g.…flumina nota’ unless the adjective is emphatic, ‘i.e. strongly distinctive, predicative or antithetical’. Whether or not his distinction between emphatic and non-emphatic adjectives in this position is wholly workable (predicative adjectives are clearly distinguishable, but it is not clear that the other types are), Winbolt here rightly detects a strong tendency in Vergil and other Latin poets towards avoiding endings of this general kind, which we can conveniently call the ‘Discordia taetra’ type after one of its earliest and best-known instances in the Annales of Ennius (225–6 Skutsch ‘postquam Discordia taetra/Belli ferratos postes portasque refregit’). The rarity of this type of line-ending is clear in Vergil; there are only 16 examples, regardless of whether the adjective is emphatic or not, in the 9890 lines of the Aeneid. Such a select and easily-defined phenomenon might prove a yardstick of some interest in the history of the Latin hexameter, for it seems to raise a number of questions to which the answers would be significant and useful. Is this type of ending avoided equally by all poets? Is there an increasing tendency to avoid it as time goes on? Is it associated with any particular genres of hexameter poetry? Do poets tend to use in it the same words or phrases as their predecessors? To discover the answers, this article will look at the ‘Discordia taetra’ phenomenon in Latin hexameter poetry, defining it as the instance where a noun ending in a short vowel (in practice, in ‘-a’) is immediately succeeded by an adjective of similar ending and in agreement at the end of the hexameter, and where such a noun is not a substantivised adjective and such an adjective is neither predicative nor a participle.

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4

Valente, Simona. "le desinenze personali nella morfologia verbale delle carte cavensi (IX secolo)." Acta Antiqua Academiae Scientiarum Hungaricae 59, no. 1-4 (September 25, 2020): 305–15. http://dx.doi.org/10.1556/068.2019.59.1-4.27.

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Summary:This paper aims to examine some aspects of the verbal inflectional endings found in a corpus of 9th-century legal documents produced in the Lombard duchy of Salerno, in the South of Italy. Compared to nominal inflection, verbal inflection endings display a stronger continuity with the Latin of previous stages. Nevertheless, different types of innovations are observable. On the basis of data from present indicative and subjunctive, two of them will be analysed: 1) innovative forms explicable in terms of well-known morpho-phonological processes and showing convergence with the Romance outcomes 2) innovative variants, that can be interpreted in different ways, diverging both from previous stages of the Latin and from the Romance outcomes. To interpret both these kinds of variation, a crucial role is played by external factors such as the cultural level of the authors of the documents and their capability to conform to the traditional linguistic models.

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5

Gibson, Roy. "BOOK ENDINGS IN GREEK POETRY AND ARS AMATORIA 2 AND 3." Mnemosyne 53, no. 5 (2000): 588–91. http://dx.doi.org/10.1163/156852500510796.

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6

Nikolaev, Alexander. "The Aorist Infinitives in -EEIN in Early Greek Hexameter Poetry." Journal of Hellenic Studies 133 (2013): 81–92. http://dx.doi.org/10.1017/s0075426913000050.

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AbstractThis paper examines the distribution of thematic infinitive endings in early Greek epic in the context of the long-standing debate about the transmission and development of Homeric epic diction. There are no aorist infinitives in -έμεν in Homer which would scan as ◡◡ – before a consonant or caesura (for example *βαλέμεν): instead we find unexplained forms in -έειν (for example βαλέειν). It is argued that this artificially ‘distended’ ending -έειν should be viewed as an actual analogical innovation of the poetic language, resulting from a proportional analogy to the ‘liquid’ futures. The total absence of aoristic -έειν in Hesiod is unlikely to be coincidental: the analogical form must have been the product of a specifically East Ionic Kunstsprache, and so could have been simply unknown in some other Ionian school of epic poetry where Hesiod was trained. Finally, the striking avoidance of anapaestic aorist infinitives in -έειν is argued to be explained better under the ‘diffusionist’ approach to the Aeolic elements in Homeric diction than under the ‘Aeolic phase’ theory.

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7

Marshall, M. H. B. "Thomas A. Robinson: Greek Verb Endings: a Reverse Index. Pp. xiii + 80. Lewiston, N.Y./Queenston, Ontario: The Edwin Mellen Press, 1986. $29.95." Classical Review 38, no. 2 (October 1988): 431. http://dx.doi.org/10.1017/s0009840x00122656.

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8

COO, LYNDSAY. "SATYRIC NOSTALGIA IN THE AESCHYLEAN TETRALOGY." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 11–28. http://dx.doi.org/10.1111/2041-5370.12104.

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Abstract This article examines the role of the satyr play in what appears to have been the distinctly Aeschylean form of the thematically connected tetralogy. In all known cases, Aeschylus’ satyr plays move backwards in time, dramatizing episodes that occur either before or within the time frame of their accompanying tragedies. I argue that this chronological dislocation means that the ‘happy endings’ of satyr play must be understood in the light of the events of the preceding trilogy, and can usually be seen as brief interludes of joy within a wider tragic arc. As a result, the satyr play, instead of erasing the effect of its accompanying tragedies, is capable of generating a nostalgic response that intensifies the emotional effect of both genres.

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9

Ireland, Stanley. "Euripidean Endings - F. M. Dunn: Tragedy's End: Closure and Innovation in Euripidean Drama. Pp. ix + 252. Oxford and New York: Oxford University Press, 1996. Cased, £35. ISBN: 0-19-508344-X." Classical Review 48, no. 1 (April 1998): 7–8. http://dx.doi.org/10.1017/s0009840x00330116.

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10

Zheltova, Elena V., and Alexander Ju Zheltov. "Latin Case System: Towards a Motivated Paradigmatic Structure." Philologia Classica 15, no. 2 (2020): 208–29. http://dx.doi.org/10.21638/spbu20.2020.203.

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The article attempts, firstly, to critically analyze the traditional order of cases in Latin, secondly, to discover an internal mechanism that brings the elements of a paradigm together, and thirdly, to present a new model of the nominal and pronominal case paradigms in Latin. The authors develop the idea that the crucial role in structuring a case paradigm belongs to morphemic syncretism. The syncretism is treated as a systemic phenomenon of morpheme neutralization rather than a result of phonetic reduction. In the paradigm built on this principle, the cases marked with the same endings necessarily take adjacent positions. There is a certain correlation between the morphemic syncretism and the semantics of cases extensively exemplified in the Latin literature. Taking this as reference point, the authors establish a formally motivated paradigmatic order of cases and single out a set of semantic features that shape the case paradigm. This method enables authors to find the non-contradictory paradigmatic positions for both the core and the “marginal” cases (vocative and locative). Applied to the pronominal cases, however, it reveals the significant discrepancy between the nominal and pronominal paradigms concerning two cases — nominative and genitive. The pronominal nominative’s special status is determined by its pragmatic rather than syntactic functions, which is typical for pro-drop languages. The genitive case appears in three different forms that originate from the possessive pronouns and correspond to the three basic functions of the genitive — possessive, objective, and partitive ones. Such transparadigmatic syncretism brings together the paradigms of personal and possessive pronouns, which are related by nature. The approach suggested in this study makes it possible to present in a new way the nominal and pronominal case paradigms, to demonstrate in what points they differ from each other, and to highlight some functional and semantic features of the particular cases.

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11

Braund, Susanna Morton. "Ending epic: Statius, Theseus and a merciful release." Proceedings of the Cambridge Philological Society 42 (1997): 1–23. http://dx.doi.org/10.1017/s0068673500002029.

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Whoever fights monsters should see to it that in the process he does not become a monster.Nietzsche,Beyond Good and EvilStatius'Thebaidis a rarity. More of the surviving Latin epics of the classical period are incomplete or unfinished than not: Lucan'sBellum civile, Valerius Flaccus'Argonautica, Statius'Achilleid, perhaps Silius Italicus'Punicaand of course Virgil'sAeneid(although his dissatisfaction may relate to polish rather than scope: we do not know). Only Ovid'sMetamorphosesand Statius'Thebaidseem complete. Yet the question of epic endings casts a fascination upon critics, especially perhaps where the ending does not exist or where there is evidence that it is not the ending planned by the author. Critics use their interpretations of the endings to inscribe meaning in the preceding text and to clinch one reading against another. The readings advanced enact different kinds of closure or refuse to see any closure at all.It seems paradoxical that one of the few epics to survive complete has not yet received a full stint of attention devoted to its ending. In this paper, my purpose is to situate the end of theThebaidin its literary and ideological context. This involves examining how the close of the poem interacts with earlier epic, particularly with theAeneid. My argument is that Statius offers a supplement to, or even a critique of, the open-endedness of theAeneidin the form of a triptych of resounding endings. I shall then suggest that there are other elements in Statius' closural strategy which are highlighted by a consideration of his Romanisation of his Greek material.

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12

Donato, Marco. "BEGINNINGS AND ENDINGS IN PLATO - (E.) Kaklamanou, (M.) Pavlou, (A.) Tsakmakis (edd.) Framing the Dialogues. How to Read Openings and Closures in Plato. (Brill's Plato Studies 6.) Pp. xii + 318. Boston and Leiden: Brill, 2021. Cased, €120, US$145. ISBN: 978-90-04-44398-3." Classical Review 71, no. 2 (July 27, 2021): 317–19. http://dx.doi.org/10.1017/s0009840x2100189x.

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13

Reece, Richard. "Archaeological versus historical ‘facts’ - NEIL CHRISTIE, THE FALL OF THE WESTERN ROMAN EMPIRE: AN ARCHAEOLOGICAL AND HISTORICAL PERSPECTIVE (Historical Endings Series; Bloomsbury Academic, London 2011). Pp. xiii + 306, maps 9, figs. 19. ISBN 978-1-84966-337-3 (cloth). $100. Paperback £19.99. Also available as ebook." Journal of Roman Archaeology 26 (2013): 882–86. http://dx.doi.org/10.1017/s1047759413000974.

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14

Milliman, Craig A. "Equivocal Endings in Classic American Novels (review)." Henry James Review 11, no. 2 (1990): 149–51. http://dx.doi.org/10.1353/hjr.2010.0394.

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15

Dietrich, Jessica S. "Thebaid's Feminine Ending." Ramus 28, no. 1 (1999): 40–53. http://dx.doi.org/10.1017/s0048671x00001818.

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‘Closure: Get Over It’Miss Manners 12/6/98‘I know, it probably doesn't have the sense of closure that you want, but it has more than some of our other cases.’Agent Dana Scully on ‘The X-Files’Thebaid12 is a problematic ending to a disturbing poem. Part of the problem is the unsatisfactory nature of the final book. Book 12 is itself concerned with the processes of ending and its problems. The main narrative of theThebaidis the story of the sons of Oedipus, Eteocles and Polynices, and their battle over the throne at Thebes. Their final confrontation occurs in Book 11. This ending is full of closural allusions and very closely linked to the ending of theAeneidand its final battle between Aeneas and Turnus. If the poem is ‘over’ after Book 11, why does Statius write the final book? It's not enough to say—as critics have—that it's just badly structured poetry.

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16

Halleran, Michael R. "Rhetoric, Irony, and the Ending of Euripides' "Herakles"." Classical Antiquity 5, no. 2 (October 1, 1986): 171–81. http://dx.doi.org/10.2307/25010846.

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17

Wesselius, Jan-Wim. "A Note on Determination and Countability in Targumic Aramaic." Aramaic Studies 7, no. 1 (2009): 75–83. http://dx.doi.org/10.1163/147783509x12462819875436.

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Abstract The unexpected occurrence of the determined state (the noun with article in postposition) in the singular in the Aramaic of the classical Targums of Onqelos and Jonathan, as well as the ending -ē to m. pl. nouns, used to be explained from supposed linguistic influence of Eastern Aramaic. It can be observed, however, that in all or nearly all of these cases these endings indicate the non-countedness of the nouns, uniqueness or amorphousness in the singular or collectives in the plural. The picture is especially clear when the noun is found with cardinal numbers. It is proposed that the noun in Targumic Aramaic had, beside absolute, construct, and determined states, a fourth state which can be designated as the uncounted state. This characteristic linguistic trait of the Targumic dialect probably sets it apart from most other Aramaic dialects, also has a number of consequences in the exegetical field, and may explain the origin of certain grammatical characteristics of Eastern Aramaic.

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18

Taubenblatt, P., J. C. Dedieu, T. Gulik-Krzywicki, and N. Morel. "VAMP (synaptobrevin) is present in the plasma membrane of nerve terminals." Journal of Cell Science 112, no. 20 (October 15, 1999): 3559–67. http://dx.doi.org/10.1242/jcs.112.20.3559.

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Synaptic vesicle docking and exocytosis require the specific interaction of synaptic vesicle proteins (such as VAMP/synaptobrevin) with presynaptic plasma membrane proteins (such as syntaxin and SNAP 25). These proteins form a stable, SDS-resistant, multimolecular complex, the SNARE complex. The subcellular distribution of VAMP and syntaxin within Torpedo electric organ nerve endings was studied by immunogoldlabeling of SDS-digested freeze-fracture replicas (Fujimoto, 1995). This technique allowed us to visualize large surface areas of the presynaptic plasma membrane and numerous synaptic vesicles from rapidly frozen nerve endings and synaptosomes. VAMP was found associated with synaptic vesicles, as also shown by conventional electron microscopy immunolabeling, and to the presynaptic plasma membrane (P leaflet). Syntaxin was also detected in the nerve ending plasma membrane, without gold labeling of synaptic vesicles. Comparison of gold particle densities suggests that the presynaptic plasma membrane contains 3 VAMP molecules per molecule of syntaxin. After biotinylation of intact synaptosomes, the synaptosomal plasma membrane was isolated on Streptavidin coated magnetic beads. Its antigenic content was compared to that of purified synaptic vesicles. VAMP was present in both membranes whereas syntaxin and SNAP 25 were highly enriched in the synaptosomal plasma membrane. This membrane has a low content of classical synaptic vesicle proteins (synaptophysin, SV2 and the vesicular acetylcholine transporter). The VAMP to syntaxin stoichiometry in the isolated synaptosomal membrane was estimated by comparison with purified antigens and close to 2, in accordance with morphological data. SDS-resistant SNARE complexes were detected in the isolated presynaptic membrane but absent in purified synaptic vesicles. Taken together, these results show that the presence of VAMP in the plasma membrane of nerve endings cannot result from exocytosis of synaptic vesicles, a process which could, as far as SNAREs are concerned, very much resemble homotypic fusion.

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19

Grant, John N. "The Father-Son Relationship and the Ending of Menander's "Samia"." Phoenix 40, no. 2 (1986): 172. http://dx.doi.org/10.2307/1088510.

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20

Brook. "Initiatory Paradigms and the Ending of Sophocles' Electra." Phoenix 73, no. 1-2 (2019): 15. http://dx.doi.org/10.7834/phoenix.73.1-2.0015.

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21

Masterson, Bartholomew. "Conway's Microdiffusion Analysis: Eighty years on and still counting!" Biochemist 36, no. 1 (February 1, 2014): 34–39. http://dx.doi.org/10.1042/bio03601034.

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Two papers published by Edward Joseph Conway became Biochemical Journal Classics; both of these concerned the micro-determination of ammonia. Broadly, the 1933 paper with Alfred Byrne described a new technique of general use for the analysis of substances (or products made from them) on a micro-scale that involved simple gaseous diffusion; the 1942 paper with Ethna O'Malley presented enhancements of this new development. In addition, over the period 1939–1963 Conway recapped the content of the classic papers and other related papers in eight editions (five revisions) of his book, Microdiffusion Analysis and Volumetric Error; the book greatly increased the impact of the microdiffusion technique, launched by the Biochemical Journal classic papers. Our story, starting with the isolation of ammonia, extends roughly over three 80-year periods; the first one ending when quantitative analysis by gaseous diffusion was achieved, the second with Conway and Byrne's innovation, and the third from then to the present day.

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22

Power, Tristan J. "SuetoniusGalba1: Beginning or Ending?" Classical Philology 104, no. 2 (April 2009): 216–20. http://dx.doi.org/10.1086/605345.

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23

Klinov, V. "What Kind of Economic Policy Do We Need (On the Book by E. Reinert How Rich Countries Got Rich... and Why Poor Countries Stay Poor)." Voprosy Ekonomiki, no. 1 (January 20, 2012): 142–50. http://dx.doi.org/10.32609/0042-8736-2012-1-142-150.

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This is the review of the acclaimed monograph by the famous Norwegian economist Erik Reinert. It is shown that interest in the book is caused by a vivid opposition to the traditional approach of the classical economic theory of lessons of the real history of economic policy. These lessons show that rich countries have become rich due to a combination of targeted state policy, protectionism and strategic investment, rather than free trade, as the "classic" teaches. It was such a policy that guaranteed successful economic development of countries, beginning with the Renaissance and ending with the modern "tigers" of Southeast Asia.

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24

Murgatroyd, P. "The ending of Apuleius’ Metamorphoses." Classical Quarterly 54, no. 1 (May 2004): 319–21. http://dx.doi.org/10.1093/cq/54.1.319.

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25

Murphy, Clare M. "Quia fecisti nos ad te: Thomas More’s Open Endings." Moreana 35 (Number 135-, no. 3-4 (December 1998): 171–81. http://dx.doi.org/10.3366/more.1998.35.3-4.11.

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St. Augustine’s formulation of the soul’s restless longing for union with God describes the tradition of both Scripture and of medieval allegory to focus on the perfection of heavenly perception over the incomplete vision of earth. From the preaching of Savonarola cited in his earl y biography of Pico through the classical oxymoron en ding Utopia and the possible disillusionment with the Tudors that stopped the writing of Richard III to the heroic clinging to faith and hope found in the Tower works, More’s religious nature led him as a writer to produce the open-ended works favored by these traditions.

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26

VERNON, J. "The Classic Orthopaedic Surgery??????Shaping It for Permanence or for Ending???" Clinical Orthopaedics and Related Research &NA;, no. 242 (May 1989): 4???11. http://dx.doi.org/10.1097/00003086-198905000-00002.

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27

Pitts, Reuben J. "The Italic Consonant Stem Ablative: Some Comparative and Theoretical Arguments for an Inherited Ending in *-d." Symbolae Osloenses 94, no. 1 (January 1, 2020): 103–24. http://dx.doi.org/10.1080/00397679.2020.1876917.

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28

Kim, Hyung-seok, and Su-yeol Ryu. "Study on the Tragic Ending Structure of Classical Korean Novel." Korean Literature Education Research 58 (March 31, 2018): 141–64. http://dx.doi.org/10.37192/kler.58.5.

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29

Harmoney, Keith. "A New Ending to an Old Classical Stocking Rate Study." Great Plains Research 27, no. 2 (2017): 117–29. http://dx.doi.org/10.1353/gpr.2017.0020.

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30

Rungaldier, Stefanie, Stefan Heiligenbrunner, Regina Mayer, Christiane Hanefl-Krivanek, Marietta Lipowec, Johannes Streicher, and Roland Blumer. "Ultrastructural and Molecular Biologic Comparison of Classic Proprioceptors and Palisade Endings in Sheep Extraocular Muscles." Investigative Opthalmology & Visual Science 50, no. 12 (December 1, 2009): 5697. http://dx.doi.org/10.1167/iovs.09-3902.

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31

Oliensis, Ellen. "The Power of Image-Makers: Representation and Revenge in Ovid Metamorphoses 6 and Tristia 4." Classical Antiquity 23, no. 2 (October 1, 2004): 285–321. http://dx.doi.org/10.1525/ca.2004.23.2.285.

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Abstract This essay focuses on the competing representational projects of poet and emperor as represented (or polemically misrepresented) in Ovid's poetry. I begin by developing two readings of the famous weaving contest of Metamorphoses 6, the first emphasizing Arachne's will to truth (her exposéé of Olympian injustice), the second her will to power (her appropriation of Olympian potency). With these models in mind, I explore the vicissitudes of Ovid's rivalrous identification with Augustus in the Tristia, ending with some unhappier implications of this identification, and with some reflections on the question of the reality of Ovid's exile.

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32

Sears, David, William E. Caplin, and Stephen McAdams. "Perceiving the Classical Cadence." Music Perception 31, no. 5 (December 2012): 397–417. http://dx.doi.org/10.1525/mp.2014.31.5.397.

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This study explores the underlying mechanisms responsible for the perception of cadential closure in Mozart’s keyboard sonatas. Previous investigations into the experience of closure have typically relied upon the use of abstract harmonic formulæ as stimuli. However, these formulæ often misrepresent the ways in which composers articulate phrase endings in tonal music. This study, on the contrary, examines a wide variety of cadential types typically found in the classical style, including evaded cadences, which have yet to be examined in an experimental setting. The present findings reveal that cadential categories play a pivotal role in the perception of closure, and for musicians especially, ratings of the cadential categories provide empirical support for a model of cadential strength proposed in music theory. A number of rhetorical features also affect participants' ratings of closure, such as formal context, the presence of a melodic dissonance at the cadential arrival, and the use of a trill within the penultimate dominant. Finally, the results indicate that expertise modulates attention, with musicians privileging bass-line motion and nonmusicians attending primarily to the soprano voice.

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Ostaszewski, Jacek. "Oddramatyzowanie akcji i antyklimaks w kinie współczesnym." Panoptikum, no. 19 (June 30, 2018): 80–94. http://dx.doi.org/10.26881/pan.2018.19.06.

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The paper discusses the influence of modernist aesthetics on the changes in the dramatic structure of film. In the films analysed by the author, the typical tricks for the classical model, such as dramatisation of action and climax as the classic denouement, are etiolated, turning into their antitheses: de-dramatising of action and anti-climax. On the examples of films such as: The Four Hundred Blows by F. Truffaut, The Adventure by M. Antonioni, Gran Torino by C. Eastwood, The Mist by F. Darabont, Smoke by W. Wang, and Three Monkeys and Once Upon a Time in Anatolia by N.B. Ceylan, the author demonstrates the functions and artistic potential of denouements which shift attention from action to characters and leave the viewer with the dilemma of an “open” ending.

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34

Jiyoung Yi. "The Narration of classical novel in connection with sentence endings: focus on Sassi-namjeonggi." Korean Studies Quarterly 30, no. 2 (June 2007): 265–91. http://dx.doi.org/10.25024/ksq.30.2.200706.265.

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35

Vázquez-Larruscaín, Miguel. "Arguing Spanish voseo tuteante verb endings: learning, variation and history with OT." Papers in Historical Phonology 5 (December 29, 2020): 123–52. http://dx.doi.org/10.2218/pihph.5.2020.5299.

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The full historical trajectory of voseo (second plural) forms becoming (deferent) second singular forms — as in Latin vos amātis (2pl) > Medieval Spanish vos amádes (2sg formal) — is a central chapter in the history of Spanish. In many Latin-American Spanish vernaculars, classical voseo fused with the original tuteo, giving rise to a new neutral address paradigm, voseo tuteante (Pre-classical Spanish voseo: vos amádes, amáes, amáis, amás (2sg formal) > Latin-American Spanish voseo tuteante: vos amáis, amás (2sg informal)). After a process of selection from the available options, four sets of endings have survived in those varieties: (áis, éis, ís / ás, és, ís / áis, ís, ís / ás, ís, ís). Why these four? The analysis proposed here builds on global properties of the verb system: (i) the verb suffix -is definitively replaced -des in the second half of the XVII century and the early XVIII century, and (ii) the four sets of endings now extant are exactly the ones that can be learned by Optimality-Theoretic grammar-inductive algorithms. This analysis supports the generative view that only languages with learnable grammars are passed on to future generations. Unlearnable languages are most likely to be lost over time. Similarly, variation is also constrained by the limits set by learnability conditions.

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이규필. "Matter of practical use of adding Korean endings to classical Chinese phrases in Korean Chinese Classic Translation and Marking - focused on ‘~handae(한대)’ and ‘~(i)aneul(이어늘)’." Journal of Korean Classical Chinese Literature 30, no. 1 (June 2015): 7–38. http://dx.doi.org/10.18213/jkccl.2015.30.1.001.

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FAIN, GORDON L. "A LESBIAN ENDING IN THE ODES OF HORACE." Classical Quarterly 57, no. 1 (May 2007): 318–21. http://dx.doi.org/10.1017/s0009838807000377.

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Weiss, Naomi A. "The Antiphonal Ending Of Euripides’Iphigenia in Aulis(1475–1532)." Classical Philology 109, no. 2 (April 2014): 119–29. http://dx.doi.org/10.1086/675252.

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Darwish, Kareem, Ahmed Abdelali, Hamdy Mubarak, and Mohamed Eldesouki. "Arabic Diacritic Recovery Using a Feature-rich biLSTM Model." ACM Transactions on Asian and Low-Resource Language Information Processing 20, no. 2 (April 8, 2021): 1–18. http://dx.doi.org/10.1145/3434235.

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Diacritics (short vowels) are typically omitted when writing Arabic text, and readers have to reintroduce them to correctly pronounce words. There are two types of Arabic diacritics: The first are core-word diacritics (CW), which specify the lexical selection, and the second are case endings (CE), which typically appear at the end of word stems and generally specify their syntactic roles. Recovering CEs is relatively harder than recovering core-word diacritics due to inter-word dependencies, which are often distant. In this article, we use feature-rich recurrent neural network model that use a variety of linguistic and surface-level features to recover both core word diacritics and case endings. Our model surpasses all previous state-of-the-art systems with a CW error rate (CWER) of 2.9% and a CE error rate (CEER) of 3.7% for Modern Standard Arabic (MSA) and CWER of 2.2% and CEER of 2.5% for Classical Arabic (CA). When combining diacritized word cores with case endings, the resultant word error rates are 6.0% and 4.3% for MSA and CA, respectively. This highlights the effectiveness of feature engineering for such deep neural models.

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Milbrath, Susan, and Carlos Peraza Lope. "Survival and Revival of Terminal Classic Traditions at Postclassic Mayapán." Latin American Antiquity 20, no. 4 (December 2009): 581–606. http://dx.doi.org/10.1017/s1045663500002881.

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AbstractRecent INAH excavations and reanalysis of data from the Carnegie Institution archaeological project document the survival and revival of Classic and Terminal Classic traditions at Postclassic Mayapán, the last Maya capital in Mexico. The survival of some Terminal Classic ceramic types and architectural forms at Mayapán around A.D. 1100–1200 reflects a pattern of continuity. A revival of earlier traditions is notable in the erection of stelae marking the katun endings and in Postclassic architecture that incorporates iconographie elements from Terminal Classic Puuc sites and the city of Chichén Itzá. The rulers and priests of Mayapán displayed their connection with the Terminal Classic Maya heritage to assert political power. The Puuc revival at Mayapán is linked with the Xiu priests, whereas the revival of the Itzá heritage of Chichén Itzá is affiliated with the Cocom rulers. Between A.D. 1250 and 1400, revival-style architecture at Mayapán was inspired by local traditions in the area of Yucatán. After A.D. 1400, trade contact with the East Coast inspired new art forms linked with the international style associated with Mixteca-Puebla art.

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임재욱. "The Function of Pre-final Ending '-o/u-' in Korean Classical Poetry." Korean Classical Poetry Studies 29, no. ll (November 2010): 331–67. http://dx.doi.org/10.32428/poetry.29..201011.331.

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Persky, Joseph. "Retrospectives: Classical Family Values: Ending the Poor Laws as They Knew Them." Journal of Economic Perspectives 11, no. 1 (February 1, 1997): 179–89. http://dx.doi.org/10.1257/jep.11.1.179.

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Poor law reform in the early 1830s provides a key example of the deep conflicts between classical liberal principles of self-reliance and the realities of dependency. Eminent economists, such as Nassau Senior and Thomas Malthus, argued that the dependency of women and children calls forth and motivates its own support from the altruism of husbands and fathers. Like modern welfare reformers, the classical economists asserted the natural necessity and sufficiency of such dependency and ignored its powerful implications for the intergenerational perpetuation of a highly illiberal inequality of opportunity.

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Charles Rowan Beye. "Homer in Translation: The Never-Ending Stream." Arion: A Journal of Humanities and the Classics 20, no. 3 (2013): 149. http://dx.doi.org/10.2307/arion.20.3.0149.

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Shevtsov, Vasily Anatolievich. "“Deus ex Machina” as a Method of Constructing a Happy End in Film Art." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 48–58. http://dx.doi.org/10.17816/vgik7148-58.

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The article deals with a special type of a happy ending when the final well-being is a kind of a surprise or godsend that is obtained through no effort of the protagonist. This type of ending deviates from the logic of the classical film narrative and is closer to the dramaturgical technique deus ex machina. It is shown that the use of this technique looks justified if one of the characters of the movie is an anthropomorphic representative of some higher power.

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Vasaly, Ann. "Cicero, Domestic Politics, and the First Action of the Verrines." Classical Antiquity 28, no. 1 (April 1, 2009): 101–37. http://dx.doi.org/10.1525/ca.2009.28.1.101.

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In the First Action of the Verrines Cicero highlights the issue of judicial corruption, which appears to be leading to the passage of legislation ending the senatorial monopoly on composition of the juries in the quaestio de repetundis. The work might theoretically, therefore, furnish an important study of how Cicero publicly positioned himself on a key political issue at a crucial point in his career. Historians, however, often dismiss the political impact of the work, arguing that jury reform was essentially a fait accompli before the trial began. Rhetoricians likewise tend to understate its political importance, both because of its status as a substitute for a longer and fully elaborated oration and because of a pronounced tendency in recent scholarship to subordinate political comment in the judicial speeches to the immediate practical goals of legal advocacy. Cicero's prosecution of Verres, however, involved an unprecedented move in the orator's career. Through the trial he injected himself forcefully, and for the first time, into a contemporary political debate and thereby created for himself a new space from which to operate within the political landscape.

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Theodorakopoulos, Elena. "“The ever-dissolving image of deceptively tranquil antiquity”: Classical Myth and Literature in the Prose and Poetry of Laura Riding." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 12 (November 8, 2020): 21. http://dx.doi.org/10.12681/syn.25256.

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This essay discusses the poet, critic and novelist Laura (Riding) Jackson (1901-1991), and her engagement with classical myth and literature. The focus is on her poetry and on the novel A Trojan Ending. The aim of the essay is to establish Riding as a significant voice in the reception and interpretation of classical myth and literature during the 1920s and 30s.

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Nijk, Arjan A. "The Ending of Isocrates’ Against the Sophists." Mnemosyne 68, no. 1 (January 20, 2015): 103–14. http://dx.doi.org/10.1163/1568525x-12341377.

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Son, Wanyi. "A Study on Cultural Implication of the Happy Ending in Chinese Classical Tragedies." Journal of Chinese Studies 94 (November 30, 2020): 167–79. http://dx.doi.org/10.35982/jcs.94.8.

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Buller, Jeffrey L. "Looking backwards: Baroque opera and the ending of the Orpheus myth." International Journal of the Classical Tradition 1, no. 3 (March 1995): 57–79. http://dx.doi.org/10.1007/bf02701937.

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Pertsinidis, Sonia. "A Dung Beetle's Victory: The Moral of the Life of Aesop (Vita G)." Antichthon 54 (2020): 141–63. http://dx.doi.org/10.1017/ann.2020.4.

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AbstractThe Life of Aesop is an entertaining yet profound account of Aesop's life dating from the first to second centuries ad. Although it is widely agreed that the Life of Aesop may be read as a ‘metafable’, there has been, in my view, a widespread and perversely negative interpretation of the supposed moral of this life story: that ‘pride comes before a fall’. This supposed moral is not borne out by the ending, in which Aesop's prophecies of doom prove to be correct, the Delphians are thrice punished for executing Aesop, and Aesop himself achieves everlasting fame as a storyteller. In this paper, I will argue that a more fitting moral for the Life of Aesop is that ‘even the weakest may find a means to avenge a wrong’. This is the moral that accompanies the quintessentially Aesopic fable of the dung beetle, the hare, and the eagle in which a tiny dung beetle triumphs over a powerful adversary. This fable is pointedly narrated by Aesop to the Delphians just before he is put to death. By reading the Life of Aesop as an exposition of this fable, I will demonstrate that Aesop, just like the dung beetle, is not the loser but the ultimate victor.

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