The rise in interdisciplinary scholarship between philosophy and theology has produced a number of critiques of historical biblical criticism (HBC) by philosophers of religion. Some dialogue has resulted, but these critiques have gone largely unnoticed by historical critical scholars. This article argues that two such critiques of HBC, offered by Plantinga and Stump, are undermined by faulty presuppositions on the philosophers' part regarding the nature and value of HBC and misunderstandings of the nature of the ancient texts on which the (...) discipline of HBC focuses. (shrink)

The aim of this article is to show that statistical analysis and hermeneutics are not mutually exclusive. Although statistical analysis may capture some patterns and regularities, statistical methods may themselves generate different types of interpretation and, in turn, give rise to even more interpretations. The discussion is lodged within the context of a quantitative analysis of dream content. I attempted to examine the dialogical texts of reported dreams monologically, but soon found myself returning to dialogic contexts to make sense of (...) statistical patterns. One could cogently argue that the reported statistical relationships in this study, rather than pointing to any interaction among the "signifieds," speak only to the relationships among the "signifiers" that were being played out through various actors on the analytic or scientific stage, since all of the constructs used in theorizing about, interpreting, and telling dreams come from the same discursive system. (shrink)

This article examines historical transformations of Japanese collective memory of the atomic bombing of Hiroshima by utilizing a theoretical framework that combines a model of reiterated problem solving and a theory of cultural trauma. I illustrate how the event of the nuclear fallout in March 1954 allowed actors to consolidate previously fragmented commemorative practices into a master frame to define the postwar Japanese identity in terms of transnational commemoration of "Hiroshima." I also show that nationalization of trauma of "Hiroshima" involved (...) a shift from pity to sympathy in structures of feeling about the event. This historical study suggests that a reiterated problem-solving approach can be efficacious in analyzing how construction of national memory of a traumatic event connects with the recurrent reworking of national identity, on the one hand, and how a theory of cultural trauma can be helpful in exploring a synthesis of psychological and sociological approaches to commemoration of a traumatic event, on the other. (shrink)

Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, Friedrich (...) Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

This paper delineates a postmodern discourse analysis that is positioned within a semiotic theory of language. This theory of language foregrounds the performative aspects of language usage and provides the theoretical space from which to theorize the interrelationship between social organizations or structure and social agents or individuals. Our version of discourse analysis contends that social structure is enacted (production and reproduction) through the employment of various vocabularies: social structure is not something outside of, behind, or underneath these performances, and (...) we argue that social organization is not produced by external structures operating upon or causing people to adopt certain behaviours. Rather, social structure is an effect of taking up practices and reproducing and modifying them. From this perspective, individuals are constituted by being recruited into and reproducing discursive practices. Hence, by looking at the actual employment of language – its tactical, practice dimensions – one can avoid the usual binary of seeing the person as either the autonomous origin of his or her experience or the ideological pawn of social determination. This methodology calls into question how the narratives or stories that individuals recount are imbricated within relational plays of power, and concomitantly, how subjects reauthorize their own positions. We assert that the methodological challenges of research addressing social injustice cannot be reduced to either: (i) interpersonal relationships between researcher and participants, or (ii) relegated to ‘social structures’ acting upon or outside of individuals. (shrink)

The paper examines some philosophical aspects of translation as a metaphor for education—a metaphor that avoids the closure of final definitions, in favour of an ongoing and tentative process of interpretation and revision. Translation, it is argued, is a complex process involving language, within and among cultures, and in the exercise of power. Drawing on Foucault's analysis of power, Nietzschean contingency, and the inversion of meaning that characterises the work of Heidegger and Derrida, the paper points towards Ricoeur's notion of (...) linguistic hospitality as the ethical dimension to the inevitably inadequate representation of the ‘other’. In this exploration, translation is posited as a creative and interpretive act—involving neither image nor copy, but poetic transposition.The power of language emerges in the close association between power and knowledge, in which the ability to define what is real generates the realm of future possibilities. From a Foucauldian perspective, language functions as a creative strategic relation—a form of power that structures the field of other possible actions. It is through the mediation of translation, the paper argues, that language communicates, leaving us with a world of difference (i.e. ‘lost in translation’), as both our curse and our blessing as part of the human condition and as part of our ethical endeavour as educators. The contingent and arbitrary nature of language problematises what appears natural and necessary, generating the possibility of creative dialogue. (shrink)

[full article, abstract in English; abstract in Lithuanian] We will hereinafter discuss the author’s philosophy on gnoseological and historical premises. More precisely, by exploring the genealogy of the idea of the “Death of the Author” from modernism to postmodernism, we will analyse the concepts and ideologies that have become the stratagem of the denial of western literary canon, as well as the denial of equilibrium between philosophical and literary identity and universality. By treating the works of philosophers, authors, and fundamental (...) semiologists who perpetuated the idea of the Death of the Author, we will observe how the latter gradually fled from the philosophy of doubt and as mea culpa admitted that without the author’s authority the philosophical and literary legacy is no longer the theatre of memory, but the abyss of oblivion. Moreover, with fundamental examples, we will observe the influence of this philosophy in the process of studying of the literature. (shrink)

While nursing practice embodies certain observable and sometimes habitual actions, much inheres in these actions that is not immediately discernible. Taking on Lyotard's exegesis of the unpresentable, I undertake an analysis of the unpresentable as it occurs in nursing practices. The unpresentable is a place of alterity often excluded from dominant discourses. Yet this very alterity is what practising nurses face day after day. Drawing from two nursing situations, one from a hermeneutic phenomenological study and the other from the literature, (...) I elucidate the unpresentable from a nursing point of view. Evoking Lyotard as well as selected philosophers from the continental philosophical tradition, I also question whether nursing in its present discourse is capable of responding to the unpresentable in nursing situations. Through the philosophical stance of presentation and representation, I delineate the urgent need to bring the otherness of the unpresentable into our nursing discourse. Nurses in practice confront a wide array of human differences and diversities and come to the realization that no framework alone can ever really have primacy over the multiform presentations of human suffering that so strikingly evoke alterity. (shrink)

Conventional categories of creativity are being deconstructed after the so-called postmodern debate. This article takes this process deeper, to what we will show is the hidden subtext of gender underlying how creativity has been socially constructed. It also proposes a more contextualized approach to creativity that takes into account both its individual and social dimensions and how this relates to what Eisler (1987) has called a partnership rather than dominator model of society.

In artificial-intelligence (AI) and computer-vision research, photographic images are typically referred to as natural images. This means that images used or produced in this context are conceptualized within a binary as either natural or synthetic. Recent advances in creative AI technology, particularly generative adversarial networks and diffusion models, have afforded the ability to create photographic-seeming images, that is, synthetic images that appear natural, based on learnings from vast databases of digital photographs. Contemporary discussions of these images have thus far revolved (...) around the political and social implications of producing convincing fake photographs. However, these images are of theoretical interest for the fields of art history and visual studies for additional reasons. AI-generated photographic images resonate with many of the classic themes in photography: nature and the real, the unconscious and the uncanny, and discourses of power. This article therefore seeks to answer the question: Can photorealistic AI-generated images be defined as photographs? I argue that AI-generated photographs do indeed belong within in the wider discourse of photography, given their form and interpretation. (shrink)

This paper investigates the transformative influence of generative AI on the arts, connecting it with Walter Benjamin's insights regarding the aura of art in the mechanical reproduction era. It scrutinizes how generative AI not only redefines art's traditional aura but also introduces a dynamic interplay between technological liberation and dependency. The analysis extends to the democratization of artistic expression and its broader societal impacts, highlighting a shift in art creation, perception, and interpretation in the digital age. This research encapsulates the (...) evolving nature of authenticity, creativity, and human–machine collaboration, marking a significant paradigm shift in art's conception and its role in society. (shrink)

This research explores the incorporation of narrative perspectives in economics as a social science and its implications for rethinking epistemology. By examining the role of narratives in economic analysis, the study highlights the advantages of narratives in providing contextualized accounts of human experiences, connecting economic concepts to real-world phenomena, and exploring diverse perspectives. It emphasizes the importance of interdisciplinary collaboration between philosophers, economists, and social scientists to gain a comprehensive understanding of narratives' influence on economic decision-making, market dynamics, and consumer (...) behaviour. The research suggests that narratives offer a means to challenge the notion of a single, objective truth and contribute to a more inclusive and robust framework for analyzing economic phenomena. The implications extend beyond economics, urging a broader perspective on epistemology by embracing narrative perspectives and engaging in interdisciplinary collaboration across disciplines. Overall, this research calls for a rethinking of epistemology, recognising the significance of narratives and their role in knowledge production. (shrink)

The text aims at discussing the verbo-visual means of expression employed in three climate change-related campaigns in the context of their effectiveness. The chosen climate change awareness raising campaigns by two non-governmental organisations, EcoEduca and World Wide Fund for Nature Inc. (WWF), deal with the results of Arctic permafrost thaw resulting in the loss of sea ice dependent animals’ habitat. A cognitive linguistics oriented analysis refers to the theory of metaphor (Lakoff and Johnson 1980, Forceville 1996, Kövecses 2002, 2014), conceptual (...) blending (Fauconnier and Turner 2003), and construal (Langacker 1987, 2008). The visual layer will also be described with reference to a grammar approach to visual communication (Kress and Van Leeuwen 1996, 2001, Machin 2010). (shrink)

Recent discussions on the use of metaphor have centered on how it may be used in a way that has been said to require mandatory attention to the fact that it is metaphorical, resulting in what has come to be known as deliberate metaphor (CitationSteen, 2008). While metaphor deliberateness and conventionality/novelty are conceptually distinct, associations are likely to exist in practice. This article focuses on the deliberate use of conventional metaphor in images, by way of examining the use of animate (...) and anthropomorphic metaphors in an instance of corporate branding discourse (i.e., the prospectuses of Singapore's corporatized universities). Through our analysis, we show that deliberate conventional metaphor serves to reinforce particular conceptualizations rather than effect radical conceptual change. Moreover, we discuss visual and multimodal metaphor as deliberate if used in carefully crafted texts and draw on the notion of an image's connotative meaning to point out how such deliberateness can be further accentuated. The article concludes by discussing some implications for how the degree of conventionality is likely to have an effect on how deliberate metaphor achieves its key objective of changing addressees’ concepts of a particular Target. (shrink)

The aim of the article is to examine the representation of ageing in selected issues of the Polish women’s magazine Twój Styl. With reference to Wolf’s concept of the “beauty myth,” the article argues that ageing is presented as a threat to women’s psychological integrity. Although the theme of old age is rarely directly addressed in the magazines, its presence is implied in the advertised anti-age beauty products. Based on semiotic theory and Cognitive Metaphor Theory, the paper demonstrates that the (...) advertising of anti-ageing beauty products serves the function of controlling ageing female bodies, which are positioned outside of the mainstream concept of femininity. (shrink)

Reading is not a peripheral philosophical pastime; it constitutes most of what we do when we do philosophy. And the experience of reading philosophy is much more than just a series of interpretative acts: the philosopher-reader is subject to, among other things, sensations, passions, emendations, and transformations. In this essay, I argue that a full account of philosophical reading should outline some of the sociological structures that determine how different communities of philosophers construct such experiences, as well as describe in (...) detail the ways in which philosophers encounter truths while reading. It should, that is, describe ways in which philosophy acts upon readers and the various effects that result. (shrink)

This article analyzes two works by Claudio Magris published in dialogue with two Nobel Prize laureates: Letteratura e ideologia [Literature and ideology] (2012) with Gao Xingjian, and La letteratura è la mia vendetta [Literature is my revenge] (2012) with Mario Vargas Llosa. These transnational and transcultural dialogues on writing practices can be understood as paradigm shifts on at least two levels: Magris’s European perspective of border poetics expands into a global perspective; and this leads to a decolonization of the concept (...) of irrationality, which in modernity has mostly been attributed to alterity. The article illustrates the legitimacy of irrationality as part of human existence through a discussion of Vargas Llosa’s El Hablador (1987; The Storyteller, 1989) and Magris’s novel Non luogo a procedere (2015; Blameless, 2017), and the collection of stories Croce del Sud. Tre vite vere e improbabili [Southern cross: Three real and improbable lives] (2020). (shrink)

The cognitive sciences tell us that the self is a construct. The visual arts illustrate this fact. Mathematics give it full expression, abstracting the self to a Grothendieck site. This self is a haecceity, an ephemeral this-ness and now-ness. We make up our minds and our histories. That our acts are public, that they communicate effectively, becomes a dialetheic paradox, a deep paradox for our times.

In this article I analyse object labelling image macro internet memes as multimodal metaphors, taking the Distracted Boyfriend meme as a case study. Object labelling memes are multimodal texts in which users add labels to a stock photograph to convey messages that are often humorous or satirical in nature. Using the relevance-theoretic account of metaphor, I argue that object labelling memes are multimodal metaphors which are interpreted using the same processes as verbal metaphors. The labelling of the image guides the (...) viewer in the construction of ad hoc concepts, and it is these ad hoc concepts that contribute to the overall meaning that is communicated. The analysis in this article is rooted in the relevance-theoretic claim that pragmatic interpretive processes are triggered by all and any ostensive acts of communication. I also draw heavily on Deirdre Wilson’s work on lexical pragmatics to show how this plays out in the case of a multimodal digital text. Memes, like verbal metaphors, do not require a special theory or framework. They can be understood as ostensive stimuli which trigger the search for an optimally relevant interpretation. (shrink)

This paper uses van Leeuwen’s Authority Legitimation framework to examine government posters published in the 1950s–1980s in Hong Kong, which serve as a means of shaping public opinion and legitimate social action. Martin and White’s Appraisal framework is also applied to provide the study with relevant analytical tools by which to construct evaluatively coherent authorial reading positions propagated by the government in the posters as well as aligning viewers with these desired positions. The government posters being studied are concerned with (...) various aspects of social practices in the domain of public health communication. This paper argues that the representations of these social practices are realized as texts – both visual and verbal – in the posters, as part of a broader recontextualization process where legitimate ways of doing things as stipulated in the government guidelines are recontextualized in these posters and conveyed to members of the public. The aim is two-fold: to provide a systematic analysis of how visual and verbal resources construe evaluation in the government posters and the consequent legitimation discourse as viewers are being persuaded to align with legitimate social practices; to highlight various forms of legitimation, namely, role model authority legitimation, impersonal authority legitimation, and conformity authority legitimation, that are realized in these posters through visual-verbal articulation. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...) attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

This essay provides an intellectual history for the cultural turn that transformed the human sciences in the mid-20th century and led to the creation of cultural sociology in the late 20th century. It does so by conceptualizing and contextualizing the limitations of the binary primitive/modernity. In the 19th and early 20th centuries, leading thinkers – among them Marx, Weber, Durkheim, and Freud – confined thinking and feeling styles like ritual, symbolism, totem, and devotional practice to a primitivism that would be (...) transformed by the rationality and universalism of modernity. While the barbarisms of the 20th century cast doubt on such predictions, only an intellectual revolution could provide the foundations for an alternative social theory. The cultural turn in philosophy, aesthetics, and anthropology erased the division between primitive and modern; in sociology, the classical writings of Durkheim were recentered around his later, religious sociology. These intellectual currents fed into a cultural sociology that challenged the sociology of culture, creating radically new research programs in the late 20th and early 21st centuries. (shrink)

On November 28, 2009, as part of events marking the twenty-fifth anniversary of the disaster at the Union Carbide plant in Bhopal, gas survivors protested the contents of the report prepared by government scientists that mocked their complaints about contamination. The survivors shifted from the scientific document to a mediated lunch invitation performance, purporting to serve the same chemicals as food that the report had categorized as having no toxic effects. I argue that the lunch spread, consisting of soil and (...) water from the pesticide plant, explicitly front-staged and highlighted the survivor’s forced intimate relationship with such chemicals, in order to reshape public perception of risks from toxins. Chemical matter like sevin tar and naphthol tar bound politicians, scientists, corporations, affected communities, and activists together, as these stakeholders debated the potential effects of toxic substances. This gave rise to an issue-based “chemical public.” Borrowing from such theoretical concepts as “ontologically heterogeneous publics” and “agential realism,” I track the existing and emerging publics related to the disaster and the campaigns led by the International Campaign for Justice in Bhopal advocacy group. (shrink)

The article sets out a framework for analysing the way discourses construct legitimation for social practices in public communication as well as in everyday interaction. Four key categories of legitimation are distinguished: 1) ‘authorization’, legitimation by reference to the authority of tradition, custom and law, and of persons in whom institutional authority is vested; 2) ‘moral evaluation’, legitimation by reference to discourses of value; 3) rationalization, legitimation by reference to the goals and uses of institutionalized social action, and to the (...) social knowledges that endow them with cognitive validity; and 4) mythopoesis, legitimation conveyed through narratives whose outcomes reward legitimate actions and punish non-legitimate actions. Examples are drawn from texts legitimating or de-legitimating compulsory education, including children’s books, brochures for parents, teacher training texts, and media texts. (shrink)

Proceedings of the Sixth Argumentor Conference held in Oradea/Nagyvárad, Romania, 11–12 September 2020.

ABSTRACT Using the example of the Twitter feed #MeToo, this paper argues that CDS, in its task to understand more about how social media can offer ways for voices to challenge ideologies from below, needs to explore the ideas of ‘nodes’. Right wing populism in the west: Social media discourse and echo chambers. https://www.researchgate.net/profile/majid_khosravinik/publications) and ‘echo chambers’ in greater detail. Though #MeToo did provide an ideological challenge, I show how it is also discursively chaotic and partly driven by influencers who (...) may have a range of other motivations to align with the moral capital in the feed. At another level, #MeToo is highly nodal in terms of affect and moral conviction. These features can be understood in regard to nodal power of affective connectivity. Affective publics and structure of storytelling: Sentiment, events and mediality. Information, Communication and Society, 19, 307–324. https://doi.org/10.1080/1369118x.2015.1109697) and also in terms of major shifts in accepted norms of debating politics and society driven by social media. I consider what this means for CDS in relation to identifying discourses and discovering ideology in the social media landscape. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)

Speedrunning is a kind of ‘metagame’ involving video games. Though it does not yet have the kind of profile of multiplayer e-sports, speedrunning is fast approaching e-sports in popularity. Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, particularly due to the incorporation of “glitches”. For many outside the speedrunning community, the (...) use of glitches appears to be cheating. For speedrunners, however, glitches are entirely within the bounds of acceptability. Because of this, however, speedrunning frequently involves sidestepping what are typically taken to be the core challenges of the game. By examining the distinction between the use of glitches and cheating in speedrunning, we can gain a greater understanding of the unique ethos of this activity; that is, we can make sense of what fundamentally constitutes speedrunning as a metagame. I argue that by understanding the code of the game not as rules but as physics, and by examining what actions are deemed impermissible by the speedrunning community – such as hardware modification and hacking – we can see that the ethos of speedrunning has three components: constitutive skills (including dexterity, memorisation and mental fortitude); a collective, fine-grained knowledge of the game and the desire to subvert the intentions of the programmers. Each of these components limits and structures the earlier ones: collective knowledge takes priority over constitutive skills, and subversion takes priority over both. These three components form the ethos that structures speedrunning as a metagame, expressing what speedrunners take to be its central aim. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.

ABSTRACTThis study explores dominant applications of graphic affordances in a sample of children-related charity appeals collected from the official websites of nine prominent Polish foundations in...

Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable (...) project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the ca... (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Among his other contributions to advancing our understanding of classical American pragmatism and, in particular, Charles S. Peirce, none is more worthy of our attention than Richard S. Robin's characteristically painstaking attempt to address the puzzle of Peirce's "Proof" of pragmaticism.1 In this as in so many other respects,2 he shows himself to be, in effect, the student of Max H. Fisch (see especially 1986, chapter 19).3 There are hermeneutical traditions as well as philosophical ones and often the former are (...) integral parts of the latter. This is certainly the case regarding pragmatism. A deeper or better understanding of the inaugural figures in this philosophical movement is taken, by the interpreters of.. (shrink)

Far from being a precursor of poststructuralism, Maurice Blanchot was located at the very core of this movement. This becomes clear from Blanchot's views on language, on the subject, on the Book or the Work, and on the fragmentary. At the same time, through his notion of neuter or the neutral—a notion which is central in his work and also in poststructuralist discourse—Blanchot went further than certain elements of poststructuralism, especially beyond Derrida's notion of différance.

This paper is concerned with the representation in academic journal articles and textbooks of an organisation theory. In the case of Burns’ and Stalker’s book The Management of Innovation (1961,1966), summaries of the text by other scholars have arguably differed from the original authors and among themselves in their emphases. Similar points have been made about representations of other theorists such as Kurt Lewin and, perhaps most famously, Adam Smith. They all raise issues about the meanings of texts and where (...) such meanings lie: with the author, the reader, the text itself or perhaps some combination of these. They also raise questions about whether texts can be shown to have definitive meanings; and if not, whether there are any criteria for adjudicating on the validity of varied interpretations. Representations by textbook writers are analysed and questions about the meaning of texts raised by ‘structuralist’ and ‘deconstructionist’ writers examined. Their writings beg certain questions about textual representations. Perhaps the most extreme of these views is Barthes’ concept of the ‘death of the author’. Like Barthes, Derrida argues, for the reasons mentioned above, that there is no underlying, final decipherable meaning in a text, but gives more credence to the role of the author, accepting the validity of the author’s consciousness and intentions as one of the sources of meaning in texts. There are also other sources: the situatedness and historical context of the text and the text itself. Derrida’s concept of ‘différance’ requires the reader to engage in an analysis of the text which offers limitless possibilities for interpretation and a renunciation of the certainty of truth, because the meaning of a text may extend beyond the limits of our knowledge at any one time. His notion of the ‘logic of supplementarity’ is a further means to analyse texts, as it also disprivileges obvious or overt meanings in texts by overturning hierarchy in oppositions and questioning univocal definitions of meaning. Questions inspired by these and other writers give rise to an exploration of who is speaking in the text; which subject matter is represented as central and which as marginal; binary oppositions within the text and intertextual connections. The paper then begins the more ambitious task of answering the broader question as to whether it can be shown that there are more and less ‘representative’ or ‘stronger’ interpretations of a text. (shrink)

This paper proposes an understanding of literary narrative as a form of social cognition and situates the study of such narratives in relation to the new comprehensive approach to human cognition, enaction. The particular form of enactive cognition that narrative understanding is proposed to depend on is that of participatory sense-making, as developed in the work of Di Paolo and De Jaegher. Currently there is no consensus as to what makes a good literary narrative, how it is understood, and why (...) it plays such an irreplaceable role in human experience. The proposal thus identifies a gap in the existing research on narrative by describing narrative as a form of intersubjective process of sense-making between two agents, a teller and a reader. It argues that making sense of narrative literature is an interactional process of co-constructing a story-world with a narrator. Such an understanding of narrative makes a decisive break with both text-centered approaches that have dominated both structuralist and early cognitivist study of narrative, as well as pragmatic communicative ones that view narrative as a form of linguistic implicature. The interactive experience that narrative affords and necessitates at the same time, I argue, serves to highlight the active yet cooperative and communal nature of human sociality, expressed in the many forms than human beings interact in, including literary ones. (shrink)

Tarot cards are one means to unlocking an image. In this article, the image is that of the Albanian writer and political dissident Musine Kokalari at her 1946 trial. Her photograph features in Albanian discourses about its communist past. I argue that the image provides clues as to the manner in which the country has faced up to its own history. For what is certain is that the Albanian account of the Enver Hoxha dictatorship remains incomplete. Drawing on Walter Benjamin’s (...) notion of ‘here-and-now in a flash’, and Roland Barthes’ and Italo Calvino’s reflections on photography and the power of the visual, we can identify at least two distinct memory regimes in the relevant historical, legal and political narratives. (shrink)

IntroductionIf we were to identify the beginning of the study of visual argumentation, we would have to choose 1996 as the starting point. This was the year that Leo Groarke published “Logic, art and argument” in Informal logic, and it was the year that he and David Birdsell co-edited a special double issue of Argumentation and Advocacy on visual argumentation . Among other papers, the issue included Anthony Blair’s “The possibility and actuality of visual arguments”. It was also the year (...) that Gail J. Chryslee, Sonja K. Foss and Arthur L. Ranney published their short text on “The construction of claims in visual argumentation” , stating that even though theorists may know a great deal about the process of argumentation, “virtually none of this knowledge is applicable to visual argumentation […] because of the properties that distinguish visual imagery from discursive symbols” .Texts on visual rhetoric have been written as far back as the early 1980s, .. (shrink)

The analysis of legal communication has almost exclusively been the domain of discourse analysts focusing on the ways that the linguistic system is used to realise legal meanings. Multimodal discourse analysis, where visual forms in combination with traditional linguistic expressions co-occur, is now also an area of expanding interest. Taking a Systemic Functional Linguistics “social semiotic” perspective, this paper applies and critiques an analytical framework that has been used for examining intersemiotic complementarity in various types of page-based multimodal texts by (...) analysing a cartoon satirizing the demands that verdict deliberations can make on a citizen jury seated in a Crown Court. While the multimodal analysis reveals that a straightforward application of this analytical framework is useful in and of itself, it is argued that the framework needs to be extended to also account for further and more complex layers of represented meaning. The analysis is also situated in the wider legal social semiotic, and draws attention to international debates on the efficacy of the jury system itself. (shrink)

Some forms of argumentation are best performed through words. However, there are also some forms of argumentation that may be best presented visually. Thus, this paper examines the virtues of visual argumentation. What makes visual argumentation distinct from verbal argumentation? What aspects of visual argumentation may be considered especially beneficial?

This chapter presents a detailed explanation of Peirce’s early and late views on semiotic indeterminacy and then considers how those views might be applied within biosemiotics. Peirce distinguished two different forms of semiotic indeterminacy: generality and vagueness. He defined each in terms of the “right” that indeterminate signs extend, either to their interpreters in the case of generality or to their utterers in the case of vagueness, to further determine their meaning. On Peirce’s view, no sign is absolutely determinate, i.e., (...) every sign is indeterminate to at least some degree and so exhibits some degree of generality or vagueness. If Peirce was right about this, then no instance of biosemiosis is completely determinate—every biosign must be general or vague to some degree. I show that on Peirce’s view, whether a sign is general or vague depends on its immediate object, “the idea which the sign is built upon,” and I explain how Peirce would go about identifying the immediate object of a sign lacking both a minded utterer and a minded interpreter—an identification that must be possible if any biosign is indeterminate. (shrink)

The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such (...) as Gerhard Richter, Adam Fuss and Cornelia Parker whose work has explored the photographic medium. Through an exegesis and accompanying photobook this thesis addresses the question as to why the trace has proven to be such an enduring paradigm for explaining the nature of photographs, and how the paradigm can be perceived in art practice in recent decades. The subject of the photograph as a trace is investigated through conducting a review of the history of theoretical uses of the paradigm of the trace to explain the nature of photography. The work of visual artists whose practice can be seen as in agreement with or in opposition to these theoretical approaches was also reviewed. In conjunction with this research a series of photographic works was produced using alternative photographic techniques including pinhole photography, photographs and techniques combining digital film projection and phosphorescent plates. Seeing photographs as traces links these forms of image making to one of humanity’s earliest “discoveries”, the ability to interpret traces found in nature. Through such a connection photographs can be seen as a continuation of humanity’s ability to read traces and thereby understand and deal with the passage of time, to buttress processes of memory and belief. This thesis thereby explores a key means through which the photographic object is explained and understood, at a time when the use of photographs as a means of documenting and understanding the world is expanding at an exponential rate. (shrink)

Network is a device for organizing and conceptualizing non-linear complexity. Networks defy narrative, chronology and thus also genealogy because they entail a multiplicity of traces. Networks problematize boundaries and centrality but intensify our ability to think in terms of flows and simultaneity. As a concept, network has been highly conducive to theorizing phenomena and processes such as globalization, digital media (Internet), speed, symbiosis and complexity. This in turn enables us to rethink what constitutes the foundations of intelligence, knowledge and even (...) life itself. One particularly useful application of network as a concept is the notion of the gift, which is often seen as the archetypical figure for understanding the nature of economics and social relationships. (shrink)