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To emphasize the similarity of the two approaches, and to avoid proliferation of terminology, I use Webber's term e/s structure for the representation of the narrative's con- tent, but r

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T E M P O R A L R E A S O N I N G I N N A T U R A L L A N G U A G E U N D E R S T A N D I N G :

T H E T E M P O R A L S T R U C T U R E O F T H E N A R R A T I V E

A l e x a n d e r N a k h i m o v s k y

D e p a r t m e n t o f C o m p u t e r S c i e n c e

C o l g a t e U n i v e r s i t y

H a m i l t o n , N Y 13346 U S A

C S N e t : s a s h a @ c o l g a t e

A b s t r a c t

This p a p e r proposes a new framework for dis-

course analysis, in the spirit of Grosz and Sid-

ner (1986), W e b b e r (1987a,b) b u t differentiated

with respect to the t y p e o r genre of discourse It

is argued t h a t different genres call for different

representations and processing strategies; par-

ticularly i m p o r t a n t is the distinction between

subjective, p e f f o r m a t i v e discourse and objective

discourse, of which n a r r a t i v e is a p r i m a r y ex-

ample This p a p e r concentrates on narratives

and introduces the notions of t e m p o r a l focus

(proposed also in W e b b e r (1987b)) and n a r r a -

tive move T h e processing tasks involved in re-

constructing the t e m p o r a l s t r u c t u r e of a narra-

tive ( W e b b e r ' s e/e structure) are formulated in

terms of these two notions T h e r e m a i n d e r of

the p a p e r analyzes the d u r a t i o n a l and a s p e c t u a l

knowledge needed for those tasks Distinctions

are established between g r a m m a t i c a l aspect, as-

p e c t u a l class and the a s p e c t u a l perspective of a

sentence in discourse; it is shown t h a t in En-

glish, g r a m m a t i c a l aspect under-determines the

a s p e c t u a l perspective

N A R R A T I V E S

This p a p e r investigates the varieties of tempo-

ral knowledge and t e m p o r a l reasoning t h a t are

at work in u n d e r s t a n d i n g extended narratives

It s t a r t s out by developing a new framework for

narrative representation, a framework t h a t has

developed i n d e p e n d e n t l y from, but is very sim-

ilar to Webber, 1987a, 1987b It also builds on

the ideas of Grosz and Sidner (1986), b u t refor-

mulates t h e m specifically for the task of narra-

tive understanding A reformulation, I believe,

is needed because different genres of discourse -

narrative, expository text, task-oriented dialog,

argument, etc - have different principles of or-

g a n i z a t i o n t h a t call for different representations

and processing strategies W i t h o u t offering a comprehensive t a x o n o m y of discourse genres I would llke to stress t h a t n a r r a t i v e s t a n d s out

by virtue of its two properties: it is objective

a n d it unfolds in time

A distinction between subjective and objec- tive modes of discourse has been d r a w n by m a n y authors in linguistics a n d s t r u c t u r a l i s t poetics, who all "have a category of n a r r a t i o n to which

a n o t h e r category is opposed; and t h e y all agree

t h a t the n o n - n a r r a t i v e category is more subjec- tive ~ (Lyone,1982:117) One manifestation of the objectivity of narratives is t h e s t r u c t u r e of the underlying intentions This s t r u c t u r e plays

an i m p o r t a n t role in Grosz and Sidner, 1986 who propose, inter alia, are t h a t (a) the con- tent of discourse is embedded in, a n d classified

by, the speaker's intentions which form a hier- archical intentional structure, and (b) the con- tent structure is separate from the a t t e n t i o n a l state, and b o t h are r a t h e r indirectly represented

by the linguistic m a t e r i a l of discourse, orga- nized in a hierarchical s t r u c t u r e o f discourse segments I a d o p t (b) without reservations,

b u t (a), I suggest, needs to be modified and differentiated In dialogs the s t r u c t u r e of in- tentions is, indeed, rich and informative (note

t h a t most indirect speech acts occur in dialogs);

in narratives and expository prose the inten- tion is practically constant: aintend t h a t the other discourse p a r t i c i p a n t believe proposition p~ (cf Grosz and Sidner, 1986:184) In other words, the only discourse purpose of a narra- tive or its segments is to modify the m e m o r y

of the other discourse p a r t i c i p a n t Removing this, r a t h e r uninformative, top level of inten- tion, reveals the %bjective ~ content structure

of the narrative, whose m a i n building block ls

a situation persisting or evolving in time, best visualized as a four-dimensional piece of time- space Loosely following Hayes, 1978 I use the

t e r m history-token (h-token) for all varieties of such situations (events, processes, activities, ha-

262

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bitual actions, etc); each h-token is an instance

of a hiztory-type (h-type) corresponding to ab-

stract situations types of Situation Semantics

I assume that associated with each predicate of

the meaning representation language is a set of

roles such as Agent, Object or Patient; an h-

type is a predicate together with its roles and a

selectional restriction on them (cf Creary and

PoUard, 1985, Hobbs e t a l , 1986)

Removing the top layer of intentions leads

to other changes in the Grosz-Sidner model

Each discourse segment (DS) is now character-

ized by its main h-token, rather than its DS pur-

pose An h-token is, in turn, characterized by

a spatio-temporal location, a set of participants

and a time scale Dominance relations between

intentions correspond to compositional relations

between h-tokens: the h-token of entering a

room decomposes into opening the door, cross-

ing the threshold, closing the door (provided

there is a door to open and close) Satisfaction-

precedence relations between intentions corre-

spond to the temporal and causal relations be-

tween histories Thus re-interpreted, the pair

intentional structure-attentional state of Gross

and Sidner, 1986 becomes very similar to Web-

her's (1987a:137) proposal: aAlong with build-

ing up a discourse model of the entitles salient

to the given text, the listener is also building

up a model of the events and situatons they

participate in-e/s structure = (Although Web-

her speaks of a Itext' in general, I believe she

means 'a narrative text,' and all her examples

are such.) To emphasize the similarity of the

two approaches, and to avoid proliferation of

terminology, I use Webber's term e/s structure

for the representation of the narrative's con-

tent, but retain Gross and Sidner's terminology

for the attentional state and speak of a focus

space (FS) corresponding to each DS, and a fo-

cus space stack (FS stack) An important dif-

ference is t h a t I don't think anything ever gets

popped o f the FS stack: it just keeps growing,

representing the linear progression of the text

(while the e/s structure represents the tempo-

ral progression of its content) It is a stack

only in the sense that its top element is the

easiest to access, not in the sense of following

the LIFO discipline Even interruptions, di-

gressions and flashbacks, to which the pop-off

action seems most applicable, are better repre-

sented as a move into a new FS, accompanied by

a promise to return: to return to the immedi-

ately preceding FS in the case of interruptions,

and to a specified position in the e/s structure

in the case of digressions and flashbacks

The constancy of intention is one aspect of the narmtive's objectivity; another one is its

"closeness unto itself" in the processing of defi- nite and temporal anaphora Subjectivity goes with deixis, the constant presence of the situa- tion of utterance in the processing model Ob- jective texts' contents are removed from deixis into a separate universe, which, in the case of narratives, is endowed with its own, separate timeline In some languages this separateness is clearly signalled by special narrative-beginning devices a n d / o r narrative tenses (Dahl, 1985) In English, there is of course an overlap between the "narrative = and "non-narrative = tenses, but

it is far less complete than is usually supposed: one could go through a book on computer sci- ence and not find a single occurrence of a past tense, except, perhaps, in short passages on the history of particular ideas; conversely, one could

go through a long novel and not find a single sentence in the present or future, except in the characters' dialogs

Behind the superficial dl~erence in the use

of tenses stands the more important one in the basic meaning of the grammatical category of tense The standard view is t h a t tense in- dicates relative position in time with respect

to the speech event (Comrie, 1985) In di- alogs tense indeed appears in its deictic func- tion, which is also the dominant function of the present and future tenses However, past tenses are diferent, especially in narratives; consider:

~On March 5, 3275, Captain Kirk got up early, shaved and boarded the Enterprise ~ Surely, the form of the verb 8base does not mean that the Captain was clean-shaven before the book went to print Rather, it indicates that we are in

a narrative, and it helps position the event vis- a-vis the narmtive's preceding events In other words, narrative tenses are anaphoric, not delc- tic An analogy with pronouns is, perhaps, use- ful: although 3 person pronouns are grouped to- gether with I and you in traditional grammars, and although they can be used deicticaUy (if strongly accented and accompanied by a ges- ture) their primary function is anaphoric The anaphorlc nature of past tenses (first rec- ognized in Partee (1973), investlg~ted specifi- cally in narratives in Hinrichs (1986)) has im- portant computational implications, for anaphora can only be resolved with respect to a con- stantly maintained and updated focus (Gross, 1977; Sidner, 1983) To emphasize the par- aUel between temporal and definite anaphora,

I will speak of the temporal focus of a narra- tive (The same term for the same concept and

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with the same motivation is proposed in Web-

her, 1987b; in Nakhimovsky 1986, 1987 I speak

of the Active Window on discourse, or Window

for short; I ~ m p and Rohrer, 1983 have recy-

cled Reichenbach's Reference Point for a sim-

i h r concept.) If the focus eimpliciter answers

the question =What are we talking about? u the

t e m p o r ~ focus answers the question ZWhere in

time IS the narrative now? w As the narrative

progresses, the temporal focus changes its po-

sition in time; I will refer to the movement of

temporal focus from one sentence of the narr'~-

tive to the next as t/~e na~ative move

A narrative move can remain within the cur-

rent FS, or shift to a different one, which can

be totally new or a resumption of a~u old FS

from the stack (In terms of linguistic structure,

the current sentence m a y continue the same, or

start a new, DS.) The two kinds of narrative

moves will be called micro- and macro-moves,

respectively Examples (1)-(3) contrast the two

kinds of moves and Illustrate other concepts in-

troduced in this section

(1) a John entered the president's o n c e b

T h e president got up

This is narrative at its simplest: an orderly

progression of events within the same narrative

unit T h e required Inferential work le relatively

transparent T h e event of John's entering the

o n c e results in the state of his being in the of-

rice: this le p a r t of the lexical meaning of enter

The temporal focus is inside this state, at its

beginning Sentence b., which in ]sol=tion could

mean that the president got up from his bed at

home, is interpreted vis-a-vis the position of the

temporal focus: the president was in his office,

sitting; he saw John and got up; b o t h men are

now standing, ' n o w ' referring to the temporal

focus as it always does This example shows

that it would be more accurate to speak of the

spatio-temporal focus to which the current situ-

ation is anchored (cf Barwiee and Perry, 1983)

but I leave the spatial dimensions of narrative

for future research

Examples (2) and (3) Illnstmte macro-moves:

(2) a Gradually, H~rvey ber~n to yield the

details of his crime, prodded by the persistent

questions of the investigator, b He arrived at

the bank at 4 p.m dressed as a postal worker

their m o t h e r to fix the tail v-~hve of the windmilL

b In the great expanse of the prairie where

they lived, the high tower of the windmill was

the only real landmark (Worline, 1956:1)

In (2), the similarity between definite and temporal anaphora stands out quite clearly Just as he in sentence b anaphoricaily evokes discourse-prominent ] ~ r v e y , so arrived evokes the time of the discourse-promlnent crime event and ~ p.m evokes the day of t h a t event Just as

he selects for anaphoric reference one of two dis- course entities available for pronominalization,

so art/red and ~ p.m select one of two available events, the interro~-~tion and the crime The shift of temporal focus to an earlier event, over

a considerable time interval, signals the begin- ning of a new DS The FS associated with the old DS is saved on the stack together with the last position of the temporal focus in it, which is under-determined by the English narmrive: it can be within, or right after, the reconstructed the details history If the DS is resumed with

Harvey took a sip of water ~nd mopped Aie brow,

we d o n ' t know whether the reconstruction is over or not

In (3) the beginning of a new DS in sentence

b is indicated by a drastic change in time scMe, rather than movement of focus Sentence a establishes, either directly or through simple, lexicon-ba4~ed inferences, three events: the tail v~ne broke, mother sent the children to fix it, the children set off walking T h e temporal fo- cus, Indicated by the past perfect tense, is in the middle of the wallri~g event; the time scale of the entire sequence is within a day or two T h e time scale of sentence b, Indicated by the ~uAere

thev lived c h u e e a~d the lifetime of a windmill (h~cDermott, 1982), is years or decades (Note the accompa~ylng shift in the spatial scale from one household to the entire prairie.)

Narrativse (1)-(3) |11narrate several impor- tant points about the temporal focus First,

it is always Inside some history, either directly narrated or inferred If t h a t history has a built-

in terminM point t h a t is reached in the normal course of events, the position of the focus sets

up the expectation that, within a certain time scale, the terminal point will be reached So,

in (3) we expect the children to make it to the windmill before it gets dark, and indeed, after a page of background material, the FS of (3a) is resumed, with children already standing at their destination Second, the position of the tempo- ral focus m a y be under-determined, as in (2), but there are precisely two possibilities: inside

or right after the most recently narrated his- tory Adopting the terminology of Smith (1986)

I will speak of the imperfective and perfective sentence perspective, respectively

Given the conceptual apparatus t h a t has

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been developed in this section, several tasks in-

volved in n a r r a t i v e u n d e r s t a n d i n g can be spec-

ified T h e tasks are clearly interrelated, but in

this p a p e r I make no comment on how the in-

teraction can be set up

(4) As each new sentence of the narrative

comes in do:

• a determine the type of narrative move

(micro or raaero) that the new sentence

represents I f it is a macro-move, update

the F S stack and position the new F 5 in

the ezisting e-s structure I f it is a micro-

move, determine the temporal relations be-

tween the histories described by the current

and the preceding sentence

• b using knowledge about durations and as-

pectual classes of events, determine the as-

pectual perspective of the new sentence and

the position of the temporal focus;

• e using knowledge about causality and in-

ternal constituency of events, add inferred

events to the narrated ones; update old ez-

pectations and set up new ones

Several kinds of temporal knowledge are thus

brought to bear on the process of narrative un-

derstanding First, there is knowledge about

durations and time scales, and the interaction,

totally disregarded in existing work, between

the event structure of the narrative and the hi-

erarchy of ~received n time cycles such as times

of day, seasons of the year and the stages of hu-

m a n life Second, there is compositional knowl-

edge about internal constituency of events and

their terminal points Third, there is aspectual

knowledge, both lexical, about intrinsic prop-

erties of histories, and grammatical, a b o u t the

way the history is presented b y a given verb

form The r e m a i n d e r of this p a p e r investigates

these three kinds of knowledge and the ways

they are represented in the lexicon and utilized

in n a r r a t i v e understanding

D U R A T I O N

Information a b o u t durations can be entered in

the lexicon in the following three ways t h a t

are not mutually exclusive: (a) most generally,

as qualitative functional dependencies (Forbus,

1985) among the p a r t i c i p a n t s of the situation;

so, the time it takes to read a text depends

on its length and genre, and the proficiency of

the reader;, (b) for some h-types (e.g lecture,

stable and can be entered in the lexicon directly

as a fuzzy n u m b e r (e.g lecture [1,2 hour]; (c) for

a majority of h-types, the tlme scale of their h- tokens is quite narrowly constrained, where the time scale of an interval is a sequence of mea- surement units t h a t are anaturaln to it: mea- sured in a n a t u r a l unit, the length of the in- terval will not be a very small fraction (greater

t h a n some constant R) or a very big number (less t h a n some constant N) The i m p o r t a n t ideas are, first, t h a t measurement units form

a small set t h a t is p a r t i a l l y civilization specific,

p a r t i a l l y determined by the biological and phys- ical universals; second, t h a t the d u r a t i o n of an h-token constrains the choice of measurement units in which its duration is measured and thus

the precision of measurements: when we say It

m e a n that it took him 3600 seconds

A n important durational class of h-tokens

is instantaneous events There is a persistent misconception, inspired by scientific thinking, that the notion of an instantaneous or punc- tual event can only be defined relative to a time scale because awe can always 'increase the mag- nification' and find more structure s (Allen and

K a u t s , 1985:253; see also Dowry, 1986, Kamp, 1979) I believe t h a t instantaneousness is an absolute quality determined by our biology: in- stantaneous events are those t h a t are not per- ceived b y h u m a n s as possessing internal struc- ture Languages select such events for special

t r e a t m e n t by disallowing the ~imperfectlve de- scription B of them: one cannot use the imper- fective aspect to place the t e m p o r a l focus in the middle of an instantaneous event, so t h a t The light was flashing does not place the t e m p o r a l focus inside an individual flash (More on as- pects below.)

Non-lnstantaneous events are, intuitively, discrete and countable entities with a distinct beginning and end; packaged in between the beginning and end of an event is the %tuif the event is made of, = which is a process or state This intuitlon is dlscussed in a consider- able b o d y of literature t h a t compares the event- process and count-mass oppositions (Moure- latos, 1981, Bunt, 1985, Bach, 1986) As I ar- gue in Nakhimovsky (1986), all these authors should also have allowed for events made out of states, as, for example, the event described by

Bobby took a nap Surprisingly, collocations of

this nature have never, to my knowledge, been discussed in connection with the English aspec-

tual system (Cf also did some reading, went

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/or a v~at~ )

T h e distinctions event-process a n d process-

state are thus orthogonal to each other, r a t h e r

t h a n forming a single classification as in Moure-

latos, 1981; Allen, 1984 T h e former distinction

is one of aspect: %he t e r m ' p r o c e s s ' means a dy-

namic situation viewed imperfectively, and the

t e r m ' e v e n t ' means a d y n a m i c situation viewed

perfectively m (Comrie, 1976:51) The l a t t e r dis-

tinction is one of a s p e c t u a l class This is elabo-

r a t e d in the next section

A S P E C T

In w h a t follows it is essential to keep the follow-

ing three concepts a p a r t : a s p e c t as a g r a m m a t i -

cal category of the verb, i m p l e m e n t e d by affixes,

auxillarles a n d such; a s p e c t u a l class, which is

a characteristics of an h - t y p e or lexical mean-

ing; the a s p e c t u a l perspective of the sentence

B o t h g r a m m a t i c a l aspect and a s p e c t u a l class

sometimes uniquely determine, sometimes j u s t

strongly constrain, the a s p e c t u a l perspective

In English, the progressive a s p e c t guarantees

t h a t the sentence perspective is imperfective;

in a n y language, instantaneous events are pre-

sented perfectively (which does not m e a n t h a t

the corresponding verbs are in any sense per-

fective) A l l three concepts are needed for un-

d e r s t a n d i n g the workings of a s p e c t u a l systems;

I d o n ' t think a n y b o d y in the a b u n d a n t recent

l i t e r a t u r e on aspect keeps all three clearly a p a r t

There are languages, most n o t a b l y Slavic,

where t h e difference in the sentence perspective

is hard-wired into verb morphology: simplify-

ing slightly, every Russian verb is either perfec-

rive or imperfective, and the morphological fea-

ture of t h e verb determines t h e a s p e c t u a l per-

spective of the sentence (In fact, the English

t e r m ' a s p e c t ' is a mistranslation of the Russian

t e r m ' r i d , ' 'view, perspective.') In o t h e r words,

I claim, r a t h e r audaciously, t h a t g r a m m a t i c a l

aspect is a purely a t t e n t i o n a l device t h a t helps

d e t e r m i n e the position of the t e m p o r a l focus;

all the other shades of a s p e c t u a l meaning re-

sult from interactions between this ( p r a g m a t -

ically defined) Grundbsdeutung and numerous

o t h e r factors, including a s p e c t u a l class, dis-

course genre, and general p r a g m a t i c principles

of language

T h e following examples, a d o p t e d from Dowty

(1986), illustrate the interplay between aspect,

a s p e c t u a l class a n d the micro-move of the nar-

rative (I r e p e a t (1) here for convenience.)

(1) a John entered the president's office, b The president got up

(5) a John entered the president's office, b The president was asleep, c T h e clock on the wall ticked loudly

(6) a John entered the president's office, b

T h e president was writing a letter

Sentences ( l a ) and ( l b ) describe two pro- cesses (entering and getting up) t h a t each have

a built-in t e r m i n a l point t h a t is reached in the n o r m a l course of events and b e y o n d which the processes cannot continue (In Vendler's (1967) well-known classification such processes are called accomplishments; I call them, follow- ing Comrie (1976), tellc processes.) T h e aspec-

t u a l perspective of b o t h sentences is peffective; the events of the two sentences are u n d e r s t o o d

to have h a p p e n e d in succession; the t e m p o r a l focus has advanced to the t i m e when b o t h men are standing

Sentences b and c in (5) describe a state and an atelic process, respectively T h e y are

u n d e r s t o o d to have begun before the event of sentence 1, and to persist in p a r a l l e l T h e tem-

p o r a l focus stands still Note t h a t the sentence perspective of b and c is d e t e r m i n e d b y the

a s p e c t u a l class, not g r a m m a t i c a l aspect In (6), however, the sentence perspective of b., and the micro-move from a to b., are d e t e r m i n e d b y the progressive form of the verb: alt.hough writing

a l e t t e r is a relic process the mlcro-move in (6)

is the same as in (5)

The history of misconceptions concerning the English a s p e c t u a l system can be summarized

as follows F i r s t it was believed t h a t English has no aspect; progresslve was called a tense

W h e n it came to be recognized t h a t progres- sive is a variety of the impeffectlve aspect, the next misconception was to assume t h a t since English has an hnpeffectlve, it ought to have

a peffective also, with simple p a s t an obvious candidate However, examples like (5c) show

t h a t a sentence with a v e r b in simple p a s t can have the imperfective perspective The cur- rent consensus seems to be t h a t simple p a s t

of accomplishment verbs is peffective (Hinrichs, 1986:68; Dowty, 1986:46-8) In o t h e r words, if the verb form = simple p a s t and the aspectual class = telic process then the sentence perspec- tive is peffective and the t e m p o r a l focus ad- vances Consider, however, example (7), where two accomplishments, b o t h described by verbs

in the simple past, unfold in parallel a n d are

b o t h i n t e r r u p t e d by a doorbell:

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- " ?

(7) a After supper, Alice and Sharon sat down in the living room b Alice read a book, Sharon watched her favorite ballet on television

c Suddenly the doorbell rang

O t h e r examples of micro-moves t h a t violate Hinrichs' rule are given in (8) and (9), quoted from Dowty, 1986 (The rule can also be vio- lated b y a macro-move, as in example (2))

(8) John knelt at the edge of the s t r e a m and washed his hands a n d face He washed slowly, feeling the welcome sensation of the icy water

on his parched skin (From Dry, 1983) (9) Pedro dined at M a d a m Gilbert's First

he gorged himself on hors d'oeuvres T h e n he paid tribute to the fish After that the butler brought in a glazed chicken T h e repast ended with a flaming dessert (From K a m p , ms.)

I conclude that English has no (morphologi- cal) peffective; it has a marked impeffective and

an u n m a r k e d default that does not provide sub- stantial information about the aspectual per- spective of the sentence (cf Dahl, 1985 for the same view) In other words, English mor- phology, even combined with a s p e c t u a l class, underdetermines the sentence perspective and the mlcro-move of the narrative However, the number of possibilities is limitied, and an ex- tensive empirical investigation could, I believe, produce a full catalog of micro-moves commonly employed in Western narratives

A S P E C T U A L C L A S S

T h e major division a m o n g non-instantaneous histories, recognized at least since Aristotle,

is between process (energela) and state (sta- sis) In recent times, Vendler (1967) proposed a highly influential classification that is still com- monly accepted, although the principles of clas- sification have changed Vendler believed, erro- neously, that he was classifying English verbs, rather than sentence denotations, and he used such language-specific criteria as whether or not

a verb has a progressive form (Vendler's sta- tives, such as know, don't) In the model- theoretical version of Taylor and Dowry, the classification is based on the relationship be- tween the truth value of a sentence at an in- terval and at its subintervals; so, for instance, a sentence S is stative (denotes a state) iff it fol- lows from the t r u t h of S at an interval I t h a t S

is true at all subintervals of I (Dowty, 1986:42)

I submit t h a t these criteria cannot possibly

be right, i.e capture the real distinctions oper- ative in the workings of h u m a n language: these have to relate to something perceived and expe- rienced, r a t h e r t h a n t r u t h values (which is not

to deny t h a t real distinctions m a y result in fairly consistent truth-functional properties) It is not accidental t h a t D o w t y ' s own example of a state (sleep) contradicts his definition: we can t r u t h - fully say t h a t Bob slept from 10 to 6 even if he got up once to go to the b a t h r o o m M y proposal

is t h a t we take the physical v o c a b u l a r y of pro- cesses and s t a t e s seriously, and classify historles according to their internal dynamics, the stabil- ity of their p a r a m e t e r s and the resources they consume ( P a r t of the internal dynamics, in the presence of a conscious agent, is the degree of volitional controL) We can then note the dis- tinction between states t h a t do not require any resources to sustain themselves (know English, own a house) and those t h a t do (sleep requires

a certain a m o u n t of sleepiness t h a t gradually wears out) The sub-interval p r o p e r t y holds only for zero-resource, zero-control states, and

is, in fact, a simple consequence of their other properties: a state t h a t requires no resources and cannot be d r o p p e d in and out of at will obtains continuously

Resource-consuming s t a t e s all seem to re- quire only generic internal resources, which are not specific to any given s t a t e b u t r a t h e r

to all individuals of a given sort Within processes, there are those t h a t require only generic resources (walking) and those t h a t re- quire process-specific resources as well: read- ing, for example, requires not only being awake and not too hungry, b u t also a text to read Telic processes can be defined as processes t h a t consume a specific a m o u n t of a domain-specific resource Resources are understood broadly: walking from A to B consumes the distance be- tween them, building a house consumes the as- yet-unbuilt but envisioned p a r t of it, and de- stroying a house consumes the finite a m o u n t

of %tructure = or % r d e r ~ built into it These examples illustrate three main classes of relic processes: creating an object, destroying an ob- ject, and moving a specified a m o u n t of m a t e r i a l (possibly the mover himself) to a specified des- tination A subclass of destruction processes are ingestions, which convert an external re- source into an internal one M o v i n g is under- stood to include all three of Schank's P T R A N S ,

A T R A N S and M T R A N S classes, with the pro- viso that, unlike physical motion, M T R A N S re- ally copies structures from the source to the des- tination M o v i n g also includes gradual (but not

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instantaneous) changes of state

Lacking internal structure, instantaneous events

have to be classified by comparing the world be-

fore and after them An instantaneous event

can terminate either a process or a state, and

it can initiate either a process or a state; if it

is sandwiched in between two processes or two

states, the two can be the same or different

The resulting classification, discussed in Nakhi-

movsky, 1987, captures linguistically significant

distinctions: for instance, most English verbs

describing instantaneous events fall into those

groups where the instantaneous event meets a

state

F U T U R E R E S E A R C H

Perhaps the biggest task involved in narra-

tive understanding is to infer, using knowl-

edge about causality and the internal con-

stituency of events, the missing links between

narrated events and the temporal relations be-

tween them This involves solving qualitative

functional equations that hold between the pa-

rameters of described histories and resources

they consume (cf Forbus, 1985), and prop-

agating durational constraints (of Allen and

Kautz, 1985) An analysis of the required lex-

ical knowledge is presented in this paper and

Nakhlmovsky (1987) The subject is further de-

veloped in Nakhimovsky (in preparation)

A C K N O W L E D G E M E N T S

I ' m grateful to Colgate University for giving

me a leave to do research, and to Yale's AI

Project for providing a stimulating environment

for it M y conversations with Tom Myers,

Donka Farkas and Larry Horn have helped me

clarify my ideas Alex Kass read a draft of the

paper and provided valuable comments and in-

valuable technical assistance

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