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This article is about basic word order, morphology, and their relationship to movement.It explores some cross-linguistically pervasive word-order tendencies in which the hierarchical structure is reflected in left-to-right order (1–2–3) or right-to-left order (3–2–1) or in a mix of the two (1–3–2).
It investigates one way to capture these ordering patterns: extension of Minimalist theory of phrasal movement.Moreover, the strengths and limitations of the Mirror Principle are reported.The position of agreement morphology or of negation does not seem to give the same sort of direct evidence for clause structure as is given by the position of functor morphemes expressing causation, tense, aspect, modality, and other concepts.Additionally, the article illustrates how verb clusters shed some additional light on the mechanisms responsible for word-order variation. This chapter considers three trends evident in recent research on opera in the period 1900–1945.Scholars tend to situate the genre, as well as individual works and composers, in relation to Wagner’s influence; they challenge and expand received wisdom about modernism, either admitting previously marginalized repertoire to that canon or proposing multiple modernisms; and they pursue nuanced analyses of the relationship between opera and Nazi/Fascist regimes.This article examines the attempts to build a socialist state in Russia, and to follow new international policies of collective security and the building of popular front alliances.
Particular attention is given to the principal developments of the year—the internal crisis in the Soviet Union, the Chinese and Spanish civil wars, the Popular Front in France, the origins of the Great Terror—but also to the more everyday experiences of communists around the world. This article explores the impact of de-Stalinization on the Soviet Union, Eastern Europe, and China.
Writers, artists, and intellectuals welcomed the curtailment of repression—the so- called ‘thaw’—but their calls for openness and tolerance unnerved the Soviet party authorities.
In 1956 Nikita Khrushchev denounced Stalin but he did not question the fundamentals of socialism.
Precisely how one might define opera in a period of such great experimentation is also discussed.
Kurt Weill and Bertolt Brecht’s Aufstieg und Fall der Stadt Mahagonny is presented as a case study in which all of these approaches are fruitful. Two years after the revolution in Russia, the social revolution was once again fermenting on the ruins of the empires defeated in the war.
The First World War was turning into a civil war and not only in countries defeated in the war.