Monograph covering the last ten years of the artist Blake Rayne's output, a mode of abstract painting irrevocably marked by conceptual art. Blake Rayne's paintings stem from the generative duplicity of words like Script, Folder, Application, Dissolve, and Screen. These operative terms situate the work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms “painter” and “painting” as fictions. They have no stable material definition, but rather are shaped by evolving social, institutional, and physical relations. Conceived as a work, this monograph covers the last ten years of the artist's output and culminates in his first survey exhibition at the Blaffer Art Museum in Houston, Texas. Shifting sequences of varying material treatments guide us through the linguistic, institutional, and physical relations that have shaped Rayne's painting practice. The book is united under the structuring sign of cinema, with each section existing like a shot in a film, if you will, that is necessarily informed by and in dialogue with those that come before and after it. The main essays by John Kelsey and Jaleh Mansoor respectively situate Rayne's art within the urban cultural circumstances of New York during the last decade, and his specific position as a painter in relation to other painters of his generation, such as Cheyney Thomson. Mansoor further skillfully places the artist in a wider historical context. Shorter texts by gallerist David Lewis, artists Laura Owens and Sean Paul, as well as curator Javier Sánchez Martínez, illuminate other aspects of Rayne's work, and weave together a range of ideas and tones, from the history of corporate design to the rise of automation; from a lighthearted intervention about “The Rule of Blake” to a museum catalogue introduction.

This monograph explores the tense, aspect, mood, and evidentiality of Korean, which has a rich verbal inflectional system, and proposes novel treatments within the framework of compositional semantics. One of the major contributions is the demonstration that Korean has two types of deictic tense—simple deictic and spatial deictic tense. Spatial deictic tense refers to the notion of the speaker’s ‘perceptual field’ (or deictic range), as well as to temporality, functioning to set up a condition for a systematic evidential distinction. The research in this volume shows that the basic paradigm of evidentiality of Korean derives from the standard TMA system combined with the notion of space. This volume also shows that perfect and past tense utilize different primitives. The intended readership of this volume extends beyond Koreanists to scholars interested specifically in tense, mood, aspect, and evidentiality as well as in general theories of grammar and semantics-pragmatics.

A psychologist confronts our pervasive misunderstanding of anxiety and presents a powerful new framework for reimagining and reclaiming the confounding emotion as the advantage it evolved to be. We taught people that anxiety is dangerous and damaging, and that the solution to its pain is to eradicate it like we do any disease—prevent it, avoid it, and stamp it out at all costs. Yet cutting-edge therapies, hundreds of self-help books, and a panoply of medications have failed to keep debilitating anxiety at bay. A third of us will struggle with anxiety disorders in our lifetime and rates in children and adults continue to skyrocket. That’s because the anxiety-as-disease story is false—and it’s harming us. In this radical reinterpretation, Dr. Tracy Dennis-Tiwary argues that anxiety is an evolved advantage that protects us and strengthens our creative and productive powers. Although it’s related to stress and fear, it’s uniquely valuable—allowing us to imagine the uncertain future and compelling us to make that future better. That’s why anxiety is inextricably linked to hope. By distilling the latest research in psychology and neuroscience, including her own, combining it with real-world stories and personal narrative, Dennis-Tiwary shows how we can acknowledge the discomfort of anxiety and see it as a tool, rather than something to be feared and reviled. Detailing the terrible cost of our misunderstanding of anxiety, while celebrating the lives of people who harness it to their advantage, she argues that we can—and must—learn to be anxious in the right way. Future Tense blazes the way for a paradigm shift in how we relate to and understand anxiety in our day-to-day lives—a fresh set of beliefs and insights that allow us to explore and leverage even very distressing anxiety rather than to be overwhelmed by it. Through this new prism of thinking, even anxiety disorders can be alleviated. Achieving a new mindset will not fix anxiety itself—because the emotion of anxiety is not broken; the way we cope with it is. By challenging our long-held assumptions about anxiety, this book provides a concrete framework for how to reclaim it for what it has always been—a gift rather than a curse, and a source of inner strength, joy, and ingenuity.

Research Design and Methodology in Studies on Second Language Tense and Aspect provides an up-to-date review of past and current methodologies for the study of the L2 acquisition of tense and aspect. More specifically, the book addresses the following issues related to the design of studies for research in tense and aspect: Theoretical frameworks (e.g., Are research questions investigated within one theoretical approach incompatible with other approaches?) Elicitation procedures (Do different types of tasks elicit different types of tense-aspect data?) Coding of data (e.g. How are lexical categories defined and coded?) Data analysis (e.g., What statistical tests are more appropriate to analyze language data?) The volume provides new insights into the study of L2 tense-aspect by bringing together well renowned scholars with experience in the research design of research this area of the field.

The invention of the present-tense novel is a literary event whose importance is on par with the discovery of perspective in painting. From the first novels shaped by interior monologues and the use of the present tense in the tradition of modernism, the present tense has, over the course of its century-long evolution, changed the conditions of fictional narration, along with our conceptions of time in a philosophical and linguistic framework. Indeed, to understand the work of an increasing number of contemporary writers – J.M. Coetzee, Tom McCarthy, Thomas Pynchon, to name only a few – it is necessary to both understand the distinct linguistic and literary qualities of the present tense as well as its historical transformation into a genuine tense of contemporary storytelling. For the first time in literary scholarship, Present Tense: A Poetics offers an account of a profound development in 20th- and 21st-century fiction.

A quarterly review of religion, theology, and philosophy.