(1997). So here comes a book that makes everything easy: Towards a theory of intellectual history in the field of intellectual production. Angelaki: Vol. 2, No. 3, pp. 125-146.

Digital technology can facilitate collaboration and data sharing among humanities scholars, and therefore is sometimes seen as a catalyst for attempts to revise problematic canonical traditions in literary history. In this paper, I interrogate how specific ways of organising scholarly labour make possible certain forms of knowledge, and I study the obstacles scholars face when trying to adapt established organisational models. For this purpose I draw on fieldwork in a large European database project, launched to create empirical knowledge about “forgotten” (...) women writers. Literary studies is characterised by monograph-oriented scholarship, situated in regional disciplinary contexts. The collaborative use of a database, however, requires an integration of individual research practices, and it blurs the division of labour between scholars and information professionals. In the present case, the inertia of established infrastructural arrangements manifested itself as a conflict between what was required to gen.. (shrink)

A Gricean preamble concludes that though utterances have unintended meanings, those cannot be considered apart from their intended meanings. Intention distinguishes artworks from natural phenomena. To allocate an artwork to a genre, to accept its normal authorial boundaries and that its content is not random but chosen, is to concede intention's centrality. Wimsatt and Beardsley were right that meaning is public. But they think 'intention' is 'private' or 'unavailable'. However, it too is public, in the work. Fictions are utterances of (...) a curious kind. They may mimic, but are not meant to be taken for, veridical reports. Neither are they 'pseudo-statements' nor 'pretended illocutionary acts'. Their logical form is actually this: 'I [author] invite you [reader] to imagine that S [content].' This prescribes no response, nor claims to describe the 'real' world, even though it may elicit a response appropriate to real-life events. One reason for imagining fictional situations may be to strengthen the perceptions necessary for real life. (shrink)

What role do speakers'/authors’ communicative intentions play in language interpretation? Cognitive scientists generally assume that listeners'/readers’ recognitions of speakers'/authors’ intentions is a crucial aspect of utterance interpretation. Various philosophers, literary theorists and anthropologists criticize this intentional view and assert that speakers'/authors’ intentions do not provide either the starting point for linguistic interpretation or constrain how texts should be understood. Until now, cognitive scientists have not seriously responded to the current challenges regarding intentions in communication. My purpose in this article is (...) to provide just such a response. I briefly describe some of the empirical evidence in cognitive science on the importance of intentions in communication. I then discuss some of the criticisms of the intentional view that have arisen in the humanities and social sciences. Following this, I offer a partial resolution to the intentionalist controversy that recognizes the differing views on the idea of linguistic interpretation. I specifically suggest a way of thinking about linguistic interpretation in terms of the time‐course of understanding that provides a metric for evaluating the role of intentions in communication. This time‐course perspective on linguistic understanding provides for the plurality of ideas that now exist both in cognitive science and in postmodern philosophical thought. (shrink)

The philosophy of biomimicry, I argue, consists of four main areas of inquiry. The first, which has already been explored by Freya Mathews, concerns the “deep” question of what Nature ultimately is. The second, third, and fourth areas correspond to the three basic principles of biomimicry as laid out by Janine Benyus. “Nature as model” is the poetic principle of biomimicry, for it tells us how it is that things are to be “brought forth”. “Nature as measure” is the ethical (...) principle of biomimicry, for it tells us that Nature places ethical limits or standards on what it is possible for us to accomplish. And “Nature as mentor” is the epistemological principle of biomimicry, for it affirms that Nature is the ultimate source of truth, wisdom, and freedom from error. Within this overall framework, I argue that seeing Nature as physis—understood as “self-production” or “self-placing-into-the-open”—constitutes the requisite ground for the poetic, ethical, and epistemological principles of biomimicry, and that biomimicry thus conceived involves a new philosophical paradigm, which I call “enlightened naturalism”. (shrink)