Translated from: W.V.O.Quine, W. H. O. (1986): Philosophy of Logic. Second Edition. Harvard University Press. Cambridge, Massachusetts and London, England, 47-61.

One of the still unsolved problems in liberal anarchism is a definition of social constituency in positive terms. Partially, this had been solved by the advancements of liberal discourse ethics. These approaches, built on praxeology as a universal framework for social formation, are detached from the need of any previous or external authority or rule for the discursive partners. However, the relationship between action, personal identity, and liberty within the process of a community becoming solely generated from the praxeological a (...) priori remains largely disputed. In order to develop a testable constitutional model, this study revises how the “ontological turn” was introduced into liberal theories and redefines the concept of liberty. Liberty is usually understood as a moral goal or measurement for just actions, as the generative principle of all social existence - individual and interpersonal. For this purpose, the function of performative contradiction within the mechanism of interpersonal “encounter”, as part of the co-generative process of the individual becoming and social formation was explored through the production of a game-based narrative historiography grounded on 19th century life writings. This narrative historiography was developed in the context of Swiss history, with a “design-based” research approach, and resulted in a prototype for networked storytelling through which the transformative learning process could be visible and the negotiation of competing individual visions of the future could be re-enacted. (shrink)

A work of and about comparative philosophy that stresses the importance of language in intercultural endeavors.

In this paper I examine two controversialissues that occurred in two different centuriesbut that are inextricably linked with eachother – the 1835 murder committed by a Frenchpeasant, Pierre Riviere and documented byMichel Foucault and the 1990's debate regardingthe controversial methods of FacilitatedCommunication used with students labeledautistic in the United States. In this paper Iargue that both controversies foreground thecrisis of the humanist subject. In other words,I argue that both controversies are generatedby a seemingly simple question: Are personsidentified as mentally disabledcapable/incapable (...) of representing themselves?In response to this question, I will use amaterialist analysis to explore theimplications that the poststructuralistdepiction of the humanist subject as a fictionholds for both the Riviere case and theFacilitated Communication debate. (shrink)

ABSTRACTThis paper explores specific forms that neoliberal discourse and culture in academia today take in the field of Israeli Middle Eastern and Islamic studies. The article applies various textual and contextual interrogation strategies to the language, narratives and the unsaid in interviews with leading scholars in the field, in order to construe what Fredric Jameson calls the ‘political unconscious,’ particularly that arising from the use of market as a conceptual metaphor. Contextualising this field of discourse within neoliberal academia, I deconstruct (...) the work ‘demand’ and ‘interest’ do, and highlight the dialectical dynamics of experts’ dependence on audience. I argue that, in this field, the economic discourse shelters Zionist logics, presuppositions and praxis, such as recruitment logics and fundraising practices that effectively address Jewish and Zionist students and donors. (shrink)

The keywords in analyses of digital literature and cybertexts (literature that has been created by and is read on a computer) mostly derive from the vocabulary of increasing collectivism: shared authorship, readerviewer interaction, their active participation in creating text etc. However, this article focuses on the opposite phenomenon: the essence of individualism in the process of digital text creation, that is, solitude. At the same time, the paradoxes related to collectivism and solitude are also addressed. In this article, solitude is (...) regarded as a technical term, indicating the number of different agents in a creative process. This primarily means: whether the text can be associated with one author and his intention, or whether authorship is distributed between several people who have participated in the creation of the text, as well as if and how much texts presume activity on the part of the reader. We can claim that when writers write their texts they are usually on their own. A text is born in the writer’s head and he or she needs some kind of form to present it. When the form of literature was mostly what was recorded on paper, we could say that the author formalised his text in solitude – writing alone on pieces of paper. Only after the manuscript was handed in were other participants added, such as the editor, designer and printer, who took part in the completion process of the literary work. However, when the end result of production is not a printed book, but a cyber- or hypertext, we can assume that these relationships change significantly in the case of digital literature. In addition to the author of the text, cybertexts and hypertexts need active co-authors: programmers, designers etc. Creating a cybertext is, therefore, basically a collective act (although there are of course exceptions). The author of a cybertext is no longer the only and unique creator. At the same time, the solitude of a creative work in cyberspace disappears. After publishing a book in print, the text is left alone; it begins living its own life. In cyberspace, on the contrary, connections in various forms between the author, the work and the reader are retained. Alan Kirby has launched the concept of digimodernism, which marks the cultural stage connected with the spread of Web 2.0. The “digimodernist turn”, in the form of blogs, Facebook and Twitter, has also brought about a change for authors of digital literature. The technological simplicity of the new software means that authors no longer need any urgent technical assistance. This again raises the problem of the author’s solitude: he formalises his work in his blog on his own, alone. It might thus seem paradoxical that in the printed world both the author and his work are solitary, whereas in the cyberworld the solitude of creative work vanishes, because it requires interaction between authors and readers. At the same time, the author’s solitude in cyberspace is twofold – creating cybertexts mostly requires assistance, whereas digimodernist blog literature can be produced in solitude, independently. Very few cybertexts in Estonia have been produced as teamwork, with technical assistance. In this article, two showcases have been studied: the hypertextual poem “Trepp” (“Staircase”, 1996) by Hasso Krull and the grand team project Sonetimasin (Sonnet Machine, 2000) by Märt Väljataga, which consists of a book, an Internet text generator and an enormous electromechanical sonnet machine, which was displayed in an art gallery. Considering the technological experimentation of Estonian writers, these two examples are exceptional rather than normal. Estonian authors have traditionally been reluctant to try out computer-technological experiments. However, the digimodernist turn has altered this situation. Many Estonian writers are active bloggers and Facebook users. Estonian writers who were earlier afraid of technology have become very keen on it in the digimodernist world. We think that the reason for this significant change is that Estonian writers wish to be independent. We can claim that Estonian writers want to be solitary in cyberspace, to avoid participating in technological teamwork, and the new and easy technological platforms make it possible. Literature in Estonia therefore, in a way, continues the tradition of the modernist author who does not wish to give up the position of being an individual author. Digimodernist technological simplicity has indeed made possible the organic transfer from printed text to digital literature, which does not endanger the authorial position. (shrink)

Structuralism underlies on the concepts that every system possesses a structure, that structure determines the position of every element of a whole, that structural rules deal with coexistence than changes, and that structures are the "real things" underlying the surface of meaning. In language and linguistic studies, structuralism includes collecting a corpus of utterances and then attempting to classify all of the elements of the corpus at their different linguistic levels.

This article focuses on Michel Foucault’s concepts of authorship and power. Jacques Derrida has often been accused of being more of a literary author than a philosopher or political theorist. Richard Rorty complains that Derrida’s views on politics are not pragmatic enough; he sees Derrida’s later work, including his political work, more as a “private self-fashioning” than concrete political thinking aimed at devising short-term solutions to problems here and now. Employing Foucault’s work around authorship and the origins of power, I (...) show that Derrida is indeed fashioning himself. This self-fashioning is not merely private or fanciful. Rather, I argue that Derrida can be read as employing what Foucault would call “technologies of the self” to not only show the play of possibility and impossibility at work in all politics and thought, but also to use his savoir to create two important and potentially constructive power structures. First, there is the power of deconstruction itself as a “militant critique” that calls for a forceful and irreducible justice. Second, there is the power of Derrida himself, understood as leaving behind a legacy of himself as the “originator” of deconstruction and as a public intellectual. (shrink)

What is authorship? How are answers to that question related to ideas aboutthe understanding, interpretation, or appreciation of literary works? In what follows I provide a selective survey of the voluminous literature on thesedivisive questions, offer criticisms of some influential theories, and present an alternative.

This article offers an alternative to classical hermeneutics, which focuses on discursive products and grasps meaning as the play of difference between linguistic signs. Pragmatist hermeneutics reconstructs meaning through an indefinite triangulation, which brings symbols, icons, and indices to bear on each other and considers a meaningful occasion as an embodied semiotic process. To illuminate the word-body-action nexus, the discussion identifies three basic types of signifying media: (1) the symbolic-discursive, (2) the somatic-affective, and (3) the behavioral-performative, each one marked by (...) a special relationship between signs and their objects. An argument is made that the tension between various type-signifying media is unavoidable, that the pragmatic-discursive misalignment is an ontological condition, and that bridging the gap between our discursive, affective, and behavioral outputs is at the heart of ethical life. (shrink)

_A work of and about comparative philosophy that stresses the importance of language in intercultural endeavors._.

In order to elucidate some of the ways in which critique and subjectivity become inextricably linked in Foucault’s oeuvre, the paper proceeds first by briefly discussing the concept of critique as limit-attitude as it appears in some of Foucault’s methodological writings. Subsequently, the main tenets of Judith Butler’s commentary on the essay ‘What is Critique?’ will be summarized, concentrating on the image of the virtuous, self-making subject that the author’s interpretation brings out of Foucault’s original text. The second part of (...) the paper aims to develop an alternative reading of Foucault’s notion of critique by looking at the ways in which the notion of space operates as an underlying perspective in his archaeological analysis. Ultimately, it will be shown how the spatial implications of Foucault’s early works and a more passive form of subjectivity as unfolding from his discussion of the ‘author function’ and his own methodological reflections coalesce into a form of practical critique, which, as wished by the author, may take ‘the form of a possible transgression’. (shrink)

Los juegos de palabras no buscados, los actos fallidos, los erroresconceptuales, evocan significados que son independientes de la intención del hablante. Pero las teorías filosóficas y lingüísticas dedicadasal estudio de la comunicación y los procesos cognitivos se dedican exclusiva ofundamentalmente al significado intencional. Espero mostrar aquí que la “falacia intencional” de Wimsatt y Beardsley , que establecía que la intención delautor no determina la interpretación, es una buena base para empezar a sugerir que los significados no intencionales también son importantes (...) en la interpretación de toda clase de enunciados. La teoría de redes relacionales es un enfoque neurocognitivo del lenguaje que puede tratar los significados no intencionales de un modo comparable al sugerido por autores representativos del New Criticism, sin descuidar por ello la importancia del significado intencional. (shrink)