The paper is focused on Genesis 1 – 3 where the primordial man [adàm] is created ‎and he was given the proper name Adam [adàm]. ‎ In Hebrew man and Adam are the same word, spelled the same way – [adàm]. ‎Different translations of Genesis 1-3 use for the first time the proper name Adam in ‎different places versions Gen 2:25; The German Luther ‎Bible Gen 3:8; Some English Protestant versions Gen 3:17; Bulgarian Protestant and many ‎English Protestant versions Gen (...) 3:20-21). The paper decodes the phenomenon by ‎studying the Hebrew original and several semiotic views on common and proper names ‎‎. Through these opinions the ‎important question “Who wrote the Bible?” is discussed. The analysis interfaces the new ‎linguistic relativity theory.‎ Four layers of symbolism are decoded: 1. The man became Adam; 2. The two men in ‎Gen 1:27 and in Gen 2:7 man [adàm] ‎is made by earth, ground [adamà]; 3. The two men in the New Testament ; 4. Edom, Adam and cultural discourses in both Testaments.‎. (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)

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.

Dialogue is promoted as a key strategy to ‘solve’ the ‘problem’ of diversity in educational settings. Yet, “[w]hen we select words … We usually take them from other utterances, and mainly from utterances that are kindred to ours in genre, that is in theme, composition or style”. This article problematises the complexities of dialogic engagements with foreigner teachers in educational encounters. Bakhtin’s treatment of polyphonic dialogic encounters provides an analytical frame for explicating the intertextuality of foreigner teacher engagements as not (...) only temporally and culturally, but also individually volatile. The article suggests that dialogic encounters are unpredictably complex, alive and never neutral, and that dialogic engagements can be so fraught with fear that verbal or cross cultural engagements with teacher foreigners must be recognised as risky and dangerous, and not always smooth ‘solutions’ to a ‘problem’. A dual Bakhtinian/kristevan lens expands the analysis to expose the vulnerability of dialogue, through unconscious revelations of teacher subjects that are forever in process. The article culminates in an argument for the crucial importance of a receptive, attentive ethics of care in dialogic engagements with cultural foreigners in educational relationships, to avoid fearful exposure, lifeless dialogue and silence. (shrink)

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)

Latin America has often been represented by images of pre-Columbian artifacts and artwork on book covers and in other printed materials produced by Latin American studies. This article tries to show that there are strong connections between this type of representation and the semantics of Latin America both in everyday English language and in the discourses of the social sciences. First, the author reviews the history of the concept of Latin America in everyday English language, showing how it has been (...) defined as the opposite of a glorified collective self-image of America, in cultural, temporal, and racial terms. Next, chief approaches of Latin American studies (modernization theory, studies of corporatism, and the present-day textbook literature) are examined, focusing on how social scientific discourses have defined Latin America. Before returning to the topic of pre-Columbian representation, the covers of the best-selling present-day textbooks are surveyed to show how these pictorial representations reproduce the cultural and temporal perceptions of otherness already present in the texts, plus a racial perception that is mostly absent in them. The author argues that the pre-Columbian representation reproduces the three aspects of Latin America’s othering in a powerful and synthetic way. Last, the results of the present analysis are evaluated in the light of some contributions to postcolonial theory, visual culture studies and picture theory. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency is (...) bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

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)

This article tracks the historical emergence of a new visual convention in the representation of the risks associated with climate change. The “reasons for concern” or “burning embers” diagram has become a prominent visual element of the climate change debate. By drawing on a number of cultural resources, the image has gained a level of discursive power which has resulted both in material mobility and epistemic transformation as the diagram itself has become a tool for a variety of actors to (...) reason with. The case brings to light a number of challenges associated with attempts to know and visualize abstract concepts such as risk and danger, including the social organisation of knowledge production and the role of expert judgment in contexts where science is asked to retreat from normativity. (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)

Suzanne de Castell; On Writing of Theory and Practice, Journal of Philosophy of Education, Volume 23, Issue 1, 30 May 2006, Pages 39–49, https://doi.org/10.1111.

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 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.

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)

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

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)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

In Survivance des lucioles, Georges Didi-Huberman cites sections from a letter in which Pier Paolo Pasolini describes an encounter with a swarm of fireflies. The sight of the fireflies triggers reflections on various topics on the part of Pasolini. However, at the end of his life, Pasolini lamented the fact that fireflies had disappeared in modern society, serving as a metaphor for the fact that he had lost all hope in the consumerist society in which he was living. Pasolini’s reflections (...) on fireflies illustrate Georges Didi-Huberman’s theories on the current state and politics of images in contemporary society. In this article, several key features of the politics of images, according to Didi-Huberman, are clarified, in particular, the role of pathos and imagination. It is on the role of pathos and imagination that Didi-Huberman’s views will diverge from the theories of other prominent theorists of images, such as Jacques Rancière, Roland Barthes, W.J.T. Mitchell and Bruno Latour. By clarifying these diverging views, the theories of Didi-Huberman can be formulated more precisely. (shrink)

ABSTRACTPayday loans constitute one of the most rapidly expanding and controversial forms of consumer lending today. Payday lending – the selling of high-interest, short-term credit – has thrived following the decline of the traditional high street banking system and the reluctance of many mainstream credit services, following the 2007/2008 Global Financial Crisis, to lend to low-income earners. This study examines the website of the industry leader in the UK, Wonga, a payday lender which recently rebranded and relaunched itself after being (...) embroiled in a series of financial scandals. Our analysis centres on the new Wonga website, the gateway to its financial services, and identifies three inter-related discursive strategies through which the lender, in the wake of its financial misconduct, seeks to present itself as a reputable financial service provider, namely by constructing the empowered and responsible borrower, destigmatising both its service provision and its prospective customers, the payday borrower, and minimising the consequences and risks associated with payday borrowing. Collectively, these strategies constitute an artful response by Wonga to the changing legislative and socioeconomic contexts in which it and other payday lenders now operate, permitting it to continue marketing and selling its high-interest rate financial services. (shrink)

Critical discourse analysts are increasingly required to account for multimodal phenomena constructed through language and other resources and to relate high-level critical insights on the social motivations of these texts to their realizations in low-level expressive phenomena, and vice versa. In this paper, we use interactive software resources for critical multimodal discourse analysis. Multimodal analysis and digital technology. In A. Baldry & E. Montagna, Interdisciplinary approaches to multimodality: Theory and practice. Readings in intersemiosis and multimedia. Campobasso: Palladino; O'Halloran, K. L., (...) Tan, S., Smith, B. A., & Podlasov, A.. Challenges in designing digital interfaces for the study of multimodal phenomena. Information Design Journal, 18, 2–12; Smith, B. A., Tan, S., Podlasov, A., & O'Halloran, K.L.. Analyzing multimodality in an interactive digital environment: Software as metasemiotic tool. Social Semiotics) to help in achieving these aims. The field of critical discourse studies, itself being interdisciplinary, along with its holistic approach, is well placed to take advantage of interactive software, as these resources encourage the application, exploration and correlation of various analytical perspectives at different levels of description. Drawing on the analysis of a short video advertisement, we demonstrate how the interactive digital environment is one in which the discourse analyst can effectively draw upon different traditions of analysis, including ‘mainstream’ and social semiotic traditions, as well as other traditions such as media studies, to interpret dynamic audiovisual media texts in a critically self-reflexive manner. (shrink)

This paper integrates literature from the social sciences and humanities concerning the persuasive impact of visual material, highlighting issues of emotion and identification. Visuals are used not only to illustrate news and feature genres but also in advertising and campaigns that attempt to persuade their target audiences to change attitudes and behaviours. These include health, safety and charity campaigns, that attempt to socially engineer change in people’s beliefs, attitudes and behaviours. With the increasing presence of such visuals comes a more (...) emotive media environment with which people are forced to engage, and, under certain circumstances, disengage. (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)

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)

[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)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the traditional, (...) troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (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)

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)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (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)

Heidegger's Being and Time is an underappreciated venue for pursuing work on the role narrative plays in self‐understanding and self‐constitution, and existing work misses Heidegger's most interesting contribution. Implicit in his account of Dasein (an individual human person) is a notion of the narrative self more compelling than those now on offer. Bringing together an adaptive interpretation of Heidegger's notion of “thrown projection”, Wolfgang Iser's account of “the wandering viewpoint”, and more recent Anglo‐American work on the narrative self, I argue (...) that we read our ongoing existences in the same way that, mid‐story, we read a narrative. Reading is a better master metaphor than authorship, narration, plot, or character to guide investigations of narrative's relation to the self. It is not merely a metaphor, however, as the hermeneutic structures involved in interpreting existence and a narrative from the middle are the same. (shrink)

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)

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)