هذا العمل عبارة عن مؤلف جماعي دولي حول فعاليات المؤتمر العلمي الدولي الموسوم بـ : دور الترجمة في التواصل بين الشعوب. مؤتمر خاص بأسبوع الترجمة احتفاء باليوم العالمي للترجمة شارك فيه ثلة من الباحثين عبر الزووم من مختلف الجامعات العربية والغربية للتحدث عن الترجمة، ودورها في التواصل بين الشعوب على اختلاف لغاتها وثقافاتها. -/- .

This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and (...) the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self-reflexion through ‘storying’. (shrink)

ABSTRACTThis study investigates if morally conflicted and controversial content, which is often denounced as morally desensitizing, may play an important role in leading to moral rumination in viewers. The results of a quasi-experiment reveal that moral rumination was predicted by transportation into the narrative and was related to increased appreciation for the episode. The results support the notion that media potentially function as a “morality sandbox” in which to play with or test out moral concerns, even regarding controversial and violent (...) content. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 397-418.

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Representation:Dramatic Texts and Dramatic EngagementKathleen Gallagher (bio)Staking the TerritoryThere are several ways in which aesthetic discourses might be positioned in the field of drama education. While some might locate "aesthetics" in the cognitive or interpretive realm of learning, and others the affective or philosophical realm, I have chosen to speak of the discourses of aesthetics as they relate to both cognitive and embodied responses to the (...) (extra)ordinary events of a drama classroom. I am already unsatisfied with the recognizable distinctions implied in this binary, but I persist in the hope that the relationship between these learning functions will become clear as I proceed with what I have termed the sociology of aesthetics in drama practice. In drama, we attempt—collectively—to represent our lives through art as we come to know the world and our sensuous responses to it.Fenner's brief history of aesthetic experience and aesthetic analysis will further help stake the territory about which we are speaking in a drama classroom.1 Calling aesthetic experiences the "raw data" that aesthetics is meant to explain, he helpfully distinguishes between Kantian understandings of the conditions of aesthetic judgment and the emergence of those thinkers in the seventeenth and eighteenth centuries who began to focus on the psychology of aesthetic experience. Following these thinkers and further developments in the early part of the twentieth century, the work of John Dewey explored the psychological nature of what he called "an experience" in the field of education more generally.2 This article will also privilege the notion of aesthetic experience but will, more specifically, focus on an exploration of ideas borne out of aesthetic experiences that cultivate sociological questions about representation and the nature of cognitive and embodied engagement in classroom drama. Key to my view of dramatic representation is the notion of a provoked imagination. [End Page 82]In the nineteenth century, Archibald Allison claimed that it was the imagination that was responsible for what we term "aesthetic experiences."3 Earlier philosophers of aesthetics had determined that the mere presence of beauty could create an aesthetic experience, but Allison insisted upon the "exercises of the imagination" in his understanding of aesthetic experiences. Contemporary writers in the field of arts education have also favored this more active conception of aesthetic responses, such as the formidable Madeleine Grumet and Maxine Greene. They and others will be cited here in support of a conception of "aesthetic experiences" in the drama classroom as active, selective, and highly framed experiences.Dramatic Texts and Aesthetic Knowing: Framing the ExperiencesOne can hardly discuss the idea of aesthetic exploration without first engaging with the rather unwieldy idea of "creativity." Radford, citing Margaret Boden, puts forward a very helpful notion of creativity as "conceptual space."4 This "conceptual space" is what I will refer to as "the frame" carefully placed around dramatic learning, usually by a highly skilled teacher. Frequently because of this frame, something entirely forgettable to students is shaped into something worth considering. The "frame," therefore, consists of both careful pedagogical planning and, in many cases, a piece of text that ignites the conceptual space and inspires a deliberate probing. This deliberate probing, or what Radford might call creative thought, invites co-creators to "play at the boundaries of sense."5 Bruner speaks about the "creative act" as bringing about a "shock of recognition,"6 or what Radford equally describes as something speaking to something "within us." This idea is particularly helpful in deconstructing what is often at work in a collaborative piece of improvised drama activity in a classroom of young people.To this end, I would like to offer three brief episodes as examples of textual and improvised drama engagement that speak to Bruner's and Radford's ideas of "recognition," or resonance with "something within us," and to my own understanding of how ideas of representation or mimesis are operating in moments of aesthetic knowing for young people. The other principle at work, seemingly at odds with these ideas, is the notion of distance or alienation from an event, in effect a dis-identification. What I would especially hope to demonstrate in the following brief, empirical... (shrink)

ABSTRACT This article explores how literary study engages readers’ moral perception and imagination. Although some philosophers discuss reading as a largely solitary activity, this article explores social practices of reading common in English language arts classrooms in secondary schools. The article shows how reading with others can change the quality of moral perception and imagination in literary study. Reading with others, the article contends, can involve an ethic focused on the good of knowing one’s ways of seeing make a difference (...) to others. The article defends social practices of reading by arguing they can broaden and complicate students’ moral perception and imagination by making students accountable to texts, one another, and the wider world. (shrink)

This article explores the philosopher Alice Crary’s ideas about ethics, literature, and nonhuman animals. Through studying certain works of literature, Crary writes, readers can see aspects of animals’ moral characteristics that are difficult to perceive outside of literary study. To illustrate and extend Crary’s argument, the article presents a reading of John Steinbeck’s (1937/1993) Of Mice and Men, a novella that is taught frequently in secondary schools and that has been re-evaluated by critics as offering insights into social inequality and (...) animal welfare. Drawing upon and adapting Crary’s work, which does not address questions of pedagogy, the article describes forms of instruction that enable students reading Of Mice and Men and other works of literature to explore the moral lives of animals. Thus, a key contribution of this project is its explanation of how educators can use philosophy to open pedagogy to new ways of seeing and assessing animals’ moral characteristics. (shrink)

This article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are (...) interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph. (shrink)

Unlike our counterparts in Europe who have rewritten their specific cultural philosophical heritage, American feminists have not yet critically reappropriated our own philosophical tradition of classical American pragmatism. The neglect is especially puzzling, given that both feminism and pragmatism explicitly acknowledge the material or cultural specificity of supposedly abstract theorizing. In this article I suggest some reasons for the neglect, call for the rediscovery of women pragmatists, reflect on a feminine side of pragmatism, and point out some common features. The (...) aim is to encourage the further development of a feminist revisioning of pragmatism and a pragmatist version of feminism. (shrink)

This thesis is about an investigation of how children with philosophical experience use philosophical discussion as a way of doing research. A Lawrence Stenhouse description of 'research' as "systematic and sustained enquiry made public" served as my starting point for what to count as 'research'. As an interpretive case story of children participating in research as co-researchers, this research is about how I engaged in an after-school Discussion Research Group co-research project with seventeen volunteer students from my Philosophy for Children (...) classes. Our co-research was a methodological experiment in merging genres of research in which we adapted and combined Philosophy for Children and qualitative research techniques in a philosophical exploration of philosophical discussion. Bringing together the children's philosophical expertise and my interest in the use of qualitative research methodologies, I explored how and whether 'to do philosophy' is 'to do research'. (shrink)

Fiction involves exploring imaginative arrangements of places and characters: elements that can be recognized by readers. In childhood, exploration occurs from a safe home base of a caregiver; fiction enables a comparable basis. Physical elements in fiction are settings. More important are social explorations: transactions with characters that can include transformation. This is illustrated by Alice's Adventures in Wonderland.

ABSTRACTWriting in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe and to Michel Foucault’s 1973 essay on that (...) painting, and using as a test case The Improvisatrice, the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” ca... (shrink)

Rather than using literary texts to evidence an analytic argument, within this piece we read Julia McNair Wright's (US, 1840?1902), Sidonie-Gabrielle Colette's (France, 1873?1954), and Willa Cather's (US, 1873?1947) texts through theoretical lenses that expose their educational meaning and value and that create conversation among them concerning girls? and women's educations. While we do not claim that one can generalize these women's works and lessons to every life, we contend that these women and the literary products they created offer girls (...) and women powerful lessons about resistance, subversion, and nurturing one's intellect, lessons that in some ways transcend class and race in particular. First, we define and explain Bruner's concept of the more using Rosenblatt, Gallagher, and Gardner's theories and findings to illuminate his concept. Next, we identify and examine three themes that emerge across these authors? texts?subverting through the everyday, becoming one's own steward, and moving from survival to self-actualization. Establishing these themes first in Wright's texts, we then use them to frame Colette's and Cather's fiction and support these themes by focusing on one lesson that emerges from each author's work(s). Finally, we ask what one might learn about educating girls and women from these texts and others whose educative meaning and value remain hidden. (shrink)

This article reports on the difference between points of view in narrating a short story. The EFL learners taking part in the control group were required to recount the events from the third person perspective and the subjects in the experimental group from the first person perspective. The methodological frame of the study was based on Koven’s ‘content analysis’ of codification of various speaker role inhabitances, published in the Journal of Pragmatics. The results demonstrate that the first person narrators’ recall (...) performance and the length of their stories are closer to the original version of the story than those of the other group, which indicates a specific ‘orientation’ towards the sequence of events. This was seen in the patterning of clauses as well as in authorial and interlocutory double voicing speech in the first person narrators, which may be justified by the enhancement of two components essential to literary engagement: namely, ‘aesthetic reading’ and ‘personal response’ as parts of ‘critical focalization’. (shrink)

To complement theoretically driven work on argument, we present a datadriven description of published, written argument. We analyze political or philosophical treatises, articles in scholarly journals, and U.S. Supreme Court decisions. The description has emerged out of an inductive and a posteriori process based in grounded theory. The result is a suite of thirty-eight features that begins with conditions antecedent to writing and continues through to the consequences for the reader. We relate observational data to theories and practices from the (...) fields of rhetoric and applied linguistics, including pragmatics, to explain how the features work together as social and communicative acts in which the writer produces a text in order to affect or change the beliefs or actions of the reader. For our purposes, the whole text is the argument and is not reduced to its propositional content; it is a unified communicative act. In our description of argument, the writer, reader, and text are central categories. We describe these categories and their features using examples from a variety of types of written argument. (shrink)