The problem analysed in this paper is whether we can gain knowledge by using valid inferences, and how we can explain this process from a model-theoretic perspective. According to the paradox of inference (Cohen & Nagel 1936/1998, 173), it is logically impossible for an inference to be both valid and its conclusion to possess novelty with respect to the premises. I argue in this paper that valid inference has an epistemic significance, i.e., it can be used by an agent to (...) enlarge his knowledge, and this significance can be accounted in model-theoretic terms. I will argue first that the paradox is based on an equivocation, namely, it arises because logical containment, i.e., logical implication, is identified with epistemological containment, i.e., the knowledge of the premises entails the knowledge of the conclusion. Second, I will argue that a truth-conditional theory of meaning has the necessary resources to explain the epistemic significance of valid inferences. I will explain this epistemic significance starting from Carnap’s semantic theory of meaning and Tarski’s notion of satisfaction. In this way I will counter (Prawitz 2012b)’s claim that a truth-conditional theory of meaning is not able to account the legitimacy of valid inferences, i.e., their epistemic significance. (shrink)

The paper raises the theoretical question of the cultural mediational nature of literary intertexts from the point of view of generic and transformational dynamics. The intertextual complex as mediational operator is examined at two levels – (1) in the context of cultural diachrony by observing how the literary work establishes its place in the history of literature closely connected to the metapoiesis of the text; (2) at various kinds of intratextual interlevel movements regulating the evolution of a whole intertextual system (...) within the work. Differentiating the ontological, generative and transformational conceptualization of intertextual poetics, an attempt is made to define the basic textual modes of the pretext, the intext and the intertext by describing their functionality in the building of an intersemiotic literary system. The relevant functions are grasped by shedding light upon the types of the sign of which the given signifying structures consist (here a terminological clarification and re-evaluation are added) and their textual semantics in terms of referential and relational quality (cf. the different versions of referential and relational semantics). In the first place, however, the paper aims at outlining the structure and content of the generic-transformational semiotic processes in which the dynamic aspects of intertextual semiosis are revealed. Within this framework, the processuality of the development of the intertextual signifying structure iselucidated, shown as a chain of reciprocal sign activities resulting in constantly evolving semantic shifts within the intra- and intertextual semiosis processes, all relying on mediational operations. Text examples are taken from and references made to works by A. S. Pushkin, I. S. Turgenev, F. M. Dostoevsky and J. M. Coetzee. (shrink)

In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework (...) to describe a cognitive creative phenomenon with a philosophically robust theory of meaning results in a cognitive semiotic account of IT. (shrink)