Within India's system of plural personal laws, the rights of women in matters of marriage, divorce, and inheritance are solely based on their natal communal identity. While we see many examples of women appealing to courts to secure or improve their rights vis-à-vis personal laws, marriage outside the community has often occluded these rights completely. Marital property, inheritance, and even access to sacred space are in a gray zone of differentiated rights between natal and marital community customs. One intermarried woman, Goolrukh Gupta, sued the trust that managed the town's sacred space in the High Court to confirm her rights to enter sacred space. The Court ruled that she was removed from her natal community even though she had married under the Special Marriage Act of 1954, as she had “merged personality with her husband.” While British women's property was held under coverture through the nineteenth century, these laws were never transferred over to the Indian colony. Through the legal appeals of intermarried women, this article explores the shifting and unstable rights of intermarried women in India.

I examine some behavioural and heuristic models of individual decision-making and argue that the diverse psychological mechanisms these models posit are too demanding to be implemented, either consciously or unconsciously, by actual decision makers. Accordingly, and contrary to what their advocates typically claim, behavioural and heuristic models are best understood as ‘as-if’ models. I then sketch a version of scientific antirealism that justifies the practice of as-if modelling in decision theory but goes beyond traditional instrumentalism. Finally, I relate my account of decision models to the recent controversy about mentalism versus behaviourism, reject both positions, and offer an alternative view.

It is controversial which idioms can occur with which syntactic structures. For example, can Mary kicked the bucket (figurative meaning: ‘Mary died’) be passivized to The bucket was kicked by Mary? We present a series of experiments in which we test which structures are compatible with which idioms in German (for which there are few experimental data so far) and English, using acceptability judgments. For some of the tested structures – including German left dislocation, scrambling, and prefield fronting – it is particularly contested to what extent they are restricted by semantic factors and, as a consequence, to what extent they are compatible with idioms. In our data, these structures consistently showed similar limitations: they were fully compatible with one subset of our test idioms (those categorized as semantically compositional) and degraded with another (those categorized as non-compositional). Our findings only partly align with previously proposed hierarchies of structures with respect to their compatibility with idioms.

The concept of ‘snowclones’ has gained interest in recent research on linguistic creativity and in studies of extravagance and expressiveness in language. However, no clear criteria for identifying snowclones have yet been established, and detailed corpus-based investigations of the phenomenon are still lacking. This paper addresses this research gap in a twofold way. On the one hand, we develop an operational definition of snowclones, arguing that three criteria are decisive: (i) the existence of a lexically fixed source construction; (ii) partial productivity; (iii) ‘extravagant’ formal and/or functional characteristics. On the other hand, we offer an empirical investigation of two patterns that have often been mentioned as examples of snowclones in the previous literature, namely [the mother of all X] and [X BE the new Y]. We use collostructional analysis and distributional semantics to explore the partial productivity of both patterns’ slot fillers. In sum, we argue that the concept of snowclones, if properly defined, can contribute substantially to our understanding of creative language use, especially regarding the question of how social, cultural, and interpersonal factors influence the choice of more or less salient linguistic constructions.

The presence of domestic animals is a key feature of the Neolithic. Their earliest presence in archaeological contexts across the European continent is often interpreted as reflecting farming practices. However, domestic animals often escape, survive, and become feral. Using the comparative example of colonial North America, this article's aim is to illustrate what happens when livestock are introduced to a new, continental temperate environment. Taking a dual historical and archaeological perspective, the author reiterates and elaborates on the suggestion that feral animals were almost certainly a feature of the European Neolithization process.

This article aims to explain the rise of Western art forms in the musical creation of the Romanian Principalities in the first half of the nineteenth century, as dictated by a particular European political and economic dynamic. I analyse the spread of Western music – usually described as a consequence of the gradual modernization of Romanian society – in terms of the power relations between the European core and a newly integrated periphery at the Eastern border of the continent. To illustrate this change, I discuss Edward Said's concept of orientalism which helps describe the early interactions between Western musicians and professionals and the local music traditions and customs. I then show how these interactions gave the former access to a distinctive musical material used in compositions targeting an expanding European music market. In an age of national struggle in the Romanian Principalities, national music was both a concept and a practice in demand by the local intelligentsia and fostered by composers. However, in addition to this agreement, the concept of national music signalled some significant societal changes that I elucidate by looking at class stratification and the evolution of musical taste. In the final part of the analysis, I draw on dependency theory authors such as Samir Amin and Daniel Chirot to argue that musical life in the first half of the nineteenth century in Wallachia and Moldavia was closely mirroring the economic development of these countries. Thus, I demonstrate that the emergence of the Romanian school of composition must be understood not only at a national level but also within a broader political, economic and social context, defined by the gradual transition to capitalist modes of production and consumption that happened in the first decades of the nineteenth century.

We argued in a recent issue of this journal that if abortion is restricted,1 then there are parallel obligations for parents to donate body parts to their children. The strength of this obligation to donate is proportional to the strength of the abortion restrictions. If abortion is never permissible, then a parent must always donate any organ if they are a match. If abortion is sometimes permissible and sometimes not, then organ donation is sometimes obligatory and sometimes not. Our argument was based on the following ideas: (a) that a fetus has full moral status, (b) that parents have special obligations to their offspring, fetus or not, and (c) that this special obligation is to protect them. The result is the conclusion that abortion restrictivists cannot also consistently deny that organ donation should be compulsory.

Around a third of Clara Schumann's vocal compositions include references to flowers, whether as passing metaphors or as the principal addressee of her chosen text. At first glance this may seem unremarkable given the central place flowers held in the symbology of Romantic literature. But the survival of documents such as the Blumenbuch für Robert (1854–56), in which she collected flowers from her travels around Europe, demonstrate a personal and distinctly feminine engagement with nineteenth-century floral practices beyond the vegetative poetics of male-authored poetry. This article examines the ways in which Clara Schumann engages with the overlapping floral discourses and media of the nineteenth century in four of her flower-centric lieder: ‘Die stille Lotosblume’, ‘An einem lichten Morgen’, ‘Was weinst du, Blümlein’ and ‘Das Veilchen’. In these songs, flowers are explicitly gendered through their material conflation with women's bodies and relationship to a (typically male) lyric persona. I show how Schumann often uses her piano accompaniments to undermine the male construction of passive flowers by granting flowers an emergent agency in her settings. In so doing, Schumann is able to protect the stubborn silences of flowers or reify their secret desires. Flowers in these lieder thus emerge as radically polysemic and multimodal symbols, not only hinting at a myriad of possible meanings, but also reflecting a mode of feminine authorship that can be recalcitrant, revealing and tactfully mutable.

Global warming is a very complex collective harm. While various models have been proposed to assign moral responsibility in such cases, global warming presents an additional problem. The complexity of the climate system gives rise to ineliminable indeterminacy, which makes it impossible to determine the extent to which any particular emissions contribute to this collective harm. This indeterminacy poses an obstacle to assigning moral responsibility to individuals. To overcome this obstacle, I propose adopting a supervaluationist approach. This approach has several benefits. Among other things, it supplies a framework for assigning moral responsibility that handles indeterminacy that commonly arises when dealing with complex, global collective-harm scenarios.