Through syllable contraction, sandhi, base, and neutral tonal melodies merge, resulting in single tones or tone clusters. Simplification follows via edge-in association, which preserves the edge tones. In cases where clusters are longer, mora addition is employed.

Trisyllabic reduplication involves an emphatic -á suffix attached to the leftmost syllable. When this emphatic -á is absent in triplication, its high tone persists as a floating tone. The initial syllable of triplication, functioning as the prosodic head and favoring a high tone, bears focal stress. If this syllable surfaces with a low-register sandhi tone, it recruits the floating high tone to form a tone cluster. However, if it already carries a high-register tone and satisfies prosodic prominence, the floating high tone remains redundant.

Tetrasyllabic reduplication exhibits distinct phonological and semantic patterns in its various manifestations. The ABAB configuration functions to attenuate semantic meaning, whereas AABB, ABAC, and ACBC patterns serve to intensify semantic content. From a prosodic perspective, ABAB configurations consistently operate as unified tone sandhi domains. In contrast, AABB, ABAC, and ACBC patterns demonstrate prosodic flexibility, potentially functioning either as single unified domains or bifurcating into two discrete domains. It is critical to note that the ABCC pattern, despite its superficial similarity, does not represent genuine tetrasyllabic reduplication; instead, it comprises two distinct phrasal elements that invariably constitute separate tonal domains.

Beauty does not rest in the forms we encounter it, or match with the idea we have of it. Ludwig Wittgenstein writes that ‘when the eye sees something beautiful, the hand wants to draw it’. Beauty happens in this difficult gulf between hand and eye, between eye and ear. This essay asks how the novel of ideas might approach the problem of beauty, by attending to the dialogue between Zadie Smith and E. M. Forster, as it is conducted in Smith’s 2006 novel On Beauty. In staging her novel as a reprise of Forster’s Howards End, Smith suggests that the artwork is bound up with the question of duplication, as beauty, in Elaine Scarry’s terms, ‘brings copies of itself into being’ (Elaine Scarry). Beauty eludes the critical gaze; but in the ground that lies between On Beauty and Howards End, this essay looks for a kind of critical language and a kind of political institution in which the idea of beauty might find expression.

Based on detonation-driven shock tunnels, key issues that play important roles in extending the test time are introduced in this chapter, and the corresponding solutions are proposed, evaluated, and discussed in detail, including the tailored-interface condition, the shock–boundary-layer interaction at the end of the driven section, and the precursor shock damping in the vacuum tank. The research work on these issues was carried out to find out the flow physics and application methods to improve the high-enthalpy shock tunnel for meeting the test time requirement for supersonic combustion and scramjet engine experiments. With application of the aforementioned theories and methods to the high-enthalpy shock tunnel, a large-scale detonation-driven hypersonic flight-duplicated shock tunnel (the JF-12 shock tunnel) was successfully developed, which can provide test times of more than 100 microseconds and is capable of duplicating hypersonic flight conditions for Mach numbers of 5–9 at altitudes of 25–50 km.

Chapter 2 begins by examining the correspondence between lovers Toxilus and Lemniselenis, using it to further investigate the metatheatrical dynamics of written correspondence on the Plautine stage and to consider the love letter qua category of epistolary writing. Next, it considers the ruse enacted via forgery. Relying on the same letter-as-script and letter-as-scheme metaphor active in Bacchides, Persa establishes an association between writing and belief to meditate on the nature of theatrical illusion. This chapter continues, then, to unpack the synergy between performance and text in Plautus but it focuses on the other end of the epistolary and dramatic processes via analysis of Persa’s onstage reading scene, which generates a simultaneously theatrical and anti-theatrical vision of an actor reading his lines on stage. Finally, I concentrate on Persa’s deception which replicates the content of the larger play it inhabits, delving deeper into the mechanics of mise-en-abymes to show how Plautus employs embedded text and internal dramaturgy to address the problem of creative originality, prompting us to question whose play we are watching.

Authors are informed about the many problems of unethical practices in scientific publishing, notably plagiarism, duplication, multiple submission, fabrications, conflicts of interest and others. They are also pointed to places where they can get help in dealing with these issues.

This chapter traces the emergence of a prosthetic modernism in the late nineteenth and early twentieth centuries. It suggests that the literature of the fin de siècle, from Bellamy and Wells to Gilman and Wilde, registers a shifted relation between the interior and the exterior of being and between the figurations of surface and depth in the artwork, produced by the development of a new period in the history of modernity. This shifted relation is discernible in the late-century realism, but it is in the first stirrings of the modernist form that it comes to a new kind of expression. The chapter reads this new modernist relation between inside and outside, between surface and depth, as it is given expression in the novels of Edith Wharton and Henry James, particularly in The House of Mirth, and in What Maisie Knew. These works depict a duplication of consciousness, a sense that the novel imagination encounters itself always at remove from itself, but they also produce a new formal means of giving this duplicated consciousness a unity, of bringing depths onto the modernist surface of the artwork.