This course is the second of the three parts of our graduate introduction to semantics. The others are 24.970 Introduction to Semantics and 24.954 Pragmatics in Linguistic Theory. Like the other courses, this one is not meant as an overview of the field and its current developments. Our aim is to help you to develop the ability for semantic analysis, and we think that exploring a few topics in detail together with hands-on practical work is more effective than offering a bird’s-eye view of everything. Once you have gained some experience in doing semantic analysis, reading around in the many recent handbooks and in current issues of major journals and attending our seminars and colloquia will give you all you need to prosper. Because we want to focus, we need to make difficult choices as to which topics to cover.
This year, we will focus on topics having to do with modality, conditionals, tense, and aspect.

This book provides an introduction to the study of meaning in human language, from a linguistic perspective. It covers a fairly broad range of topics, including lexical semantics, compositional semantics, and pragmatics. The chapters are organized into six units: (1) Foundational concepts; (2) Word meanings; (3) Implicature (including indirect speech acts); (4) Compositional semantics; (5) Modals, conditionals, and causation; (6) Tense & aspect.

This course is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. It includes a brief study of art history and in depth studies of the elements, media, and methods used in creative processes and thought. Upon successful completion of this course, students will be able to: interpret examples of visual art using a five-step critical process that includes description, analysis, context, meaning, and judgment; identify and describe the elements and principles of art; use analytical skills to connect formal attributes of art with their meaning and expression; explain the role and effect of the visual arts in societies, history, and other world cultures; articulate the political, social, cultural, and aesthetic themes and issues that artists examine in their work; identify the processes and materials involved in art and architectural production; utilize information to locate, evaluate, and communicate information about visual art in its various forms. Note that this course is an alternative to the Saylor FoundationĺÎĺ_ĺĚĺ_s ARTH101A and has been developed through a partnership with the Washington State Board for Community and Technical Colleges; the Saylor Foundation has modified some WSBCTC materials. This free course may be completed online at any time. (Art History 101B)

This seminar looks at current theories on happiness and positive psychology as well as practical implications of those theories for our own lives. It explores the concept of happiness, different cultural definitions of happiness, and the connection between happiness, optimism, and meaning. Also explored are practical strategies for creating more opportunities for happiness in our lives and for learning how to deal more effectively with sources of unhappiness.
This seminar is part of the Experimental Study Group at MIT.

Students will learn the characteristics of the Three Graces, compare and contrast a classical image of the Graces with a contemporary interpretation, and use empathy and theater skills to consider an artist’s purpose for adapting a classical image in a contemporary work of art.

Although the most visible elements of culture are dress, cuisine and architecture, culture is a highly psychological phenomenon. Culture is a pattern of meaning for understanding how the world works. This knowledge is shared among a group of people and passed from one generation to the next. This module defines culture, addresses methodological issues, and introduces the idea that culture is a process. Understanding cultural processes can help people get along better with others and be more socially responsible.

This course is an introduction to many of the central issues in a branch of philosophy called philosophy of mind.

This course is an introduction to problems about creativity as it pervades human experience and behavior. Questions about imagination and innovation are studied in relation to the history of philosophy as well as more recent work in philosophy, affective psychology, cognitive studies, and art theory. Readings and guidance are aligned with the student’s focus of interest.

New Criticism is a movement that dominated Anglo-American academy for more than three decades, and is still has a powerful influence on contemporary critical practice, though its basic assumptions were variously contested after the advent of literary theory. New criticism is premised upon the concept of literary text as a closed entity, an autonomous object that can be studied and analyzed through a method of 'close reading'.

This course is a seminar on the philosophical analysis of film art, with an emphasis on the ways in which it creates meaning through techniques that define a formal structure. There is a particular focus on aesthetic problems about appearance and reality, literary and visual effects, communication and alienation through film technology.

“Reading Poetry” has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, occasional lecture.

How do words get their meanings? How can word meanings be represented and used by machines? We will explore three families of approaches to these questions from a computational perspective. Relational / structural methods such as semantic networks represent the meaning of words in terms of their relations to other words. Knowledge of the world through perception and action leads to the notion of external grounding, a process by which word meanings are ‘attached’ to the world. How an agent theorizes about, and conceptualizes its world provides yet another foundation for word meanings. We will examine each of these perspectives, and consider ways to integrate them.