Sand Songs: The Formal Languages of Warlpiri Iconography

Sand Songs: The Formal Languages of Warlpiri Iconography

algebra we learn ed . The visual algebraic components of Warlpiri iconography are obvious. We have a finite set of symbols and the symbols may becombined to make more complex struc tu res accord ing to a finite set of ru les. Compare this to the formation of equations in college algebra where the letters x and y, the in tegers 2 and 3, and the symbols =, + : , and " combine to make the complex ...

TITLE: Warlpiri type languages and accusative case

AUTHOR: Mary Laughren AFFILIATION: The University of Queensland ABSTRACT: Very much in the spirit of Goddard (1982), Julie Legate argues in a mkore recent article (Legate 2008) for a distinction in languages such as Warlpiri between a syntactic or abstract nominative and accusative case assignment as opposed to morphological case assignment, although this distinction is only morphologically rea...

The Separability of Formal Languages

— We introducé the concept of a separator, a concept voeaker than aparser or a recognizer; however a separator can be usedvery conveniently when speedis important andaprecise error recovery is not mandatory. We distinguish between internai and external séparation criteria and show hom a set of these criteria isforming a hierarchy of more and more complex separators. Résumé. — On introduit Ie co...

Formal Languages

The Iconography of Vermin

aughty, sharp-tongued, self-assured, unbearably self-sufficient, stingy, and violent beyond measure , " is how Georges de La Tour was described by his contemporaries. Municipal records confirm that he refused to pay his share to feed the hungry during times of famine. He assaulted an officer, beat a peasant, and made himself obnoxious to everyone by " sending his dogs after hare into the standi...