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.

This article concerns the problem of eternal hell in Islam as an aporetic problem of evil with a focus on Aijaz's description of the Islamic soteriology. I contest his description of Islamic culpability and his claim that all non-Muslims are regarded as kâfir and consigned to eternal hell. First, I aim to illustrate the pitfalls in his line of argumentation such as crude generalizations and selective reading of the Islamic sources, which seem to render his argument a strawman fallacy. I offer a more accurate analysis of the Islamic view, by arguing that only a limited group of people who fight against truth through evil actions are considered as kâfir. Second, building on my analysis of the notion of kâfir, I address the question whether God's perfect love and wisdom are compatible with limited salvific exclusivism. Thus, I aim to elaborate on the rationale behind the prescription of eternal punishment for the kâfir in the Quran in the rest of the article, by arguing that the kâfir is incapable of genuine repentance due to his character formed by his free choices. This, in turn, makes it impossible to achieve retributive justice through a finite punishment concerning the kâfir's evil actions.

This article presents a quantitative study of the referential status of PPs in clause-initial position in the history of English. Earlier work (Los 2009; Dreschler 2015) proposed that main-clause-initial PPs in Old English primarily function as ‘local anchors’, linking a new clause to the immediately preceding discourse. As this function was an integral part of the verb-second (V2) constraint, the decline of local anchors was attributed to the loss of V2 in the fifteenth century, so that only the contrasting and frame-setting functions of these PPs remain in PDE. This article tests these hypotheses in the syntactically parsed corpora of OE, ME, EModE and LModE texts, using the Pentaset-categories (New, Inert, Assumed, Inferred or Identity; Komen 2011), based on Prince's categories (Prince 1981). The finding is that Identity clause-initial PPs decline steeply from early ME onwards, which means the decline pre-dates the loss of V2. A likely trigger is the loss of the OE paradigm of demonstrative, which functioned as standalone demonstrative pronouns as well as demonstrative determiners, and the loss of gender marking more generally. From EModE onwards, main-clause-initial PPs that still link to the preceding discourse do so much more indirectly, by an Inferred link.

This article expands my previous work on omnisubjectivity, the divine property of having a complete and perfect grasp of the subjective states of all beings who have such states. By a subjective state I mean a conscious state as that state is experienced by the one who has it. I argue that only a being with subjectivity can be omnisubjective, and therefore, God has subjective states. The article explores the subjectivity of God as it applies to the Christian doctrines of the Trinity and the Incarnation, focusing on the important difference between a person and an instance of a nature. I propose that the uniqueness of persons is grounded in their unique subjective states, not their objective nature. Each person of the Trinity has a unique point of view and unique subjectivity even though they share an objective divine nature instantiated in a single divine being. The Son has a single set of subjective states before, during, and after the Incarnation. Each member of the Trinity is omnisubjective and fully grasps the unique subjective states of each other person of the Trinity. The perfect comprehension of each other while remaining unique persons is a model of perfect love within a community of persons.

An important shift in language learning research is the understanding that pronunciation instruction is necessary to ensure learners’ balanced development in pronunciation and second language (L2) speech. Research focusing on understanding what types of pronunciation instruction are effective and what makes them most effective has grown dramatically over the past decade. Given the methodological heterogeneity apparent in this body of literature, however, many questions remain to understand the specific effects of pronunciation training paradigms on learners’ L2 development. In this article, we make the case that replication is a productive means of validating findings and assessing the strength of existing evidence in L2 pronunciation research. As prime targets for replication, we review three studies that offer different perspectives on how L2 pronunciation instruction can be optimized. We have chosen each of these studies because they significantly advance the field conceptually, have broken new ground empirically, and point to areas in which replication studies can have a large impact. We describe a series of close and/or approximate replications of each initial study that would add detail to existing knowledge and provide a more comprehensive understanding of how and why L2 pronunciation instruction is effective, for whom, and under what conditions.

In memoriam Manfred Hermann Schmid (1947–2021), Mozartian extraordinaire

The cadenzas to the Piano concerto in D minor, K466 that Clara Schumann published for the Mozart centenary year raise intriguing questions about authorship: Upon correcting the proofs, she identified an uncanny overlap with a cadenza by Brahms. Following an ambivalent response from the latter, she went on publishing the work under her name regardless, and even left a note on her papers claiming that Brahms had made use of a cadenza by her.

Rather than answering the author attribution either way, the article unpicks the conflicting evidence of the sources in light of the broader contexts within which they are situated. It demonstrates that conventional tools of music philology alone are inadequate for solving this issue (as they had been for Schumann in 1891). Notated sources are but one manifestation of a rich and complex creative process that operate within a multi-sensory, multi-modal and co-creative framework. As such, a close reading of the cadenzas to K466 by Schumann and Brahms interrogate false ontologies of the ‘work concept’ that may have mired our understanding of nineteenth-century music in general.