This paper inquires into the inability ofsubjects in English to topicalise. Treatingtopicalisation as a specific case of d-linking,it asks: why don’t subjects topicalise inEnglish? And why cannot they be d-linkedthrough further movement? It concludes thatthe property of [aboutness] of subjects is anunderspecified instance of a more compositederivative effect realised as [topic]. Giventhe ability of objects in English to be readilyd-linked through extraction in CP, theanalysis takes a detailed look at the structuraldifferences between subjects and objects. Itconcludes that d-linking of an (...) argument iscontingent upon the derivational memory ofits prior inclusion within vP that has yielded itsdenotational set-membership. Treating EPPas an A’-operation that embeds one instance ofthe subject-chain into discourse, the inabilityof subjects to topicalise is explained as an “online”denotational dependency on discourse,which lacks the systemic memory of thesubject’s embedding. In turn, their immobilityis treated as a modular dependency betweenthe two subject copies, mediated through Texcluding the one instance of the chain. (shrink)

Resumen Este artículo ofrece una lectura de la pintura renacentista según los principios establecidos por Leon Battista Alberti, uno de los primeros teóricos de la perspectiva en cuyo Tratado de pintura se refiere al cuadro como “una ventana abierta a la historia”. El concepto de historia empleado por Alberti, que se presta a numerosas interpretaciones, es abordado a partir de las reflexiones de Erwin Panofsky en torno a la perspectiva como “forma simbólica”, avanzando hacia una hipótesis en torno al carácter (...) simbólico de la configuración y representación del tiempo en el cuadro-ventana albertiano.This paper offers a reading of the renaissance painting according to the principles established by Leon Battista Alberti, one of the first theorists of perspective in painting which Trattato della pittura define the frame of the painting as “an open window into history”. The concept of history employed by Alberti, which lends itself to many interpretations, is approached from the reflections of Erwin Panofsky about the prospect as “symbolic form”, moving towards a hypothesis about the symbolic nature of the configuration and representation of time in the alberti’s window. (shrink)