By quantifying over Lewisian possibilia, the Lewisian is able to render any sentence in the language of first-order modal logic in (non-modal
) first-order terms.
This is to say, both non-modal
and modal utterances communicate the subjective involvement of a speaker, yet of a different degree.
'keep, hold etc.' ma pida-si-n me pida-si-me I keep-PST-1SG we keep-PST-1PL sa pida-si-d te pida-si-te you keep-PST-2SG you keep-PST-2PL ta pida-s nad pida-si-d s/he keep-PST they keep-PST-3PL 'must, have to' ma pid-i-n me pid-i-me I must-PST-1SG we must-PST-1PL sa pid-i-d te pid-i-te you must-PST-2SG you must-PST-2PL ta pid-i nad pid-i-d s/he must-PST they must-PST-3PL The agent-oriented modal verb pidama later gave rise to the epistemic modal verb (50) and non-modal
(8) Workers may have had employment in some other sector during the quarter, but not as much as in that sector identified as their modal employment, and the wages in their non-modal
employment are not used in the calculation.
She [T[P.sub.[+past]] told me that [T[P.sub.[+past]] I *can/*may/ could/might borrow her computer for that Therefore, in sentences with modal verbs tense retains the values it has in non-modal
clauses, but its function as a predicate that situates that verb with respect to a reference time is conditioned (a) by the particular reading of the modal verb, i.e.
This is deafly demonstrated by the many non-modal
root infinitives from Section 2.
Our individuative conventions cannot supply the non-modal
features on which they rely.
If we look at the role of expressions only in non-modal
contexts, it seems that in some cases at least we could not distinguish in respect of sense between rigidified and non-rigidified versions of the same expression or concept (cf.
It is only in those passages where, over an unmeasured tenor, the upper-voice notation is manifestly non-modal
or modally `irregular' that shades of editorial grey begin to appear.
Peter Menzies argues that laws are neither relations between universals nor any (non-modal
) species of regularity but a variety of secondary quality.
Rather than developing rigorous analytical criteria based on, to name a few, interval cycles, transpositional and inversional symmetry, and referential collections, along with their subset structures, in order to dig more deeply into how Messiaen's modal and non-modal
harmonies work, Dingle writes about triadic post-tonality in vague terms and offers, in the final analysis, trivial observations about the composer's harmonic practice.