A Quote by Dennis Ritchie

I'm still uncertain about the language declaration syntax. — © Dennis Ritchie
I'm still uncertain about the language declaration syntax.
You know, people talk about this being an uncertain time. You know, all time is uncertain. I mean, it was uncertain back in - in 2007, we just didn't know it was uncertain. It was - uncertain on September 10th, 2001. It was uncertain on October 18th, 1987, you just didn't know it.
Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.
I like having a paperback original. And until literature catches up with the culture - the violence, language, syntax, compression, concision, complexity and diversity that the Internet offers - books still make sense.
People are, you know, a little - they're still uncertain, and they're uncertain both because they don't know what might come next in terms of regulations, but they're also uncertain because of changes in a global economy that we're only beginning to take hold of.
I come from not just a household but a country where the finesse of language, well-balanced sentence, structure, syntax, these things are driven into us, and my parents, bless them, are great custodians of the English language.
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
One of the principal impediments to job creation is uncertainty on the part of American companies, large and small. We've all watched as companies have sat on a lot of capital. They're uncertain about what tax policy is going to be. They're clearly uncertain about how health care costs. They're uncertain about all the regulations on capital markets.
When I'm actually writing by hand, I get more of a sense of the rhythm of sentences, of syntax. The switch to the computer is when I actually start thinking about lines. That's the workhorse part. At that point, I'm being more mathematical about putting the poem on the page and less intuitive about the rhythm of the syntax.
I ascribe a basic importance to the phenomenon of language. To speak means to be in a position to use a certain syntax, to grasp the morphology of this or that language, but it means above all to assume a culture, to support the weight of a civilization.
Syntax is the study of the principles and processes by which sentences are constructed in particular languages. Syntactic investigation of a given language has as its goal the construction of a grammar that can be viewed as a device of some sort for producing the sentences of the language under analysis.
If you think of music as a language, the space part is where you throw out all the syntax.
It seemed to a number of philosophers of language, myself included, that we should attempt to achieve a unification of Chomsky's syntax, with the results of the researches that were going on in semantics and pragmatics. I believe that this effort has proven to be a failure. Though Chomsky did indeed revolutionize the subject of linguistics, it is not at all clear, at the end the century, what the solid results of this revolution are. As far as I can tell there is not a single rule of syntax that all, or even most, competent linguists are prepared to agree is a rule.
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
I think what's known about neurology is still scattered and uncertain
I think what's known about neurology is still scattered and uncertain.
I think one reason I'm drawn to expansive syntax is that arias are so often exercises in extending language as a means of intensifying feeling.
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