In western philosophy and beyond, a tension between pluralism and monism has sparked many developments and debates. Pluralism of norms, of forms of knowledge, of aesthetic and moral values, of interests etc. has often been pitted against monism. Monism usually implies a hierarchical order of such norms etc. After having traced the origin of this tension between pluralism and monism in ancient tragedy and philosophy, I’m asking in this article whether a rejection of monism and embrace of pluralism necessarily raises (...) the specter of inconsistency and contradiction. The threat of inconsistency need not be associated with pluralism as even with regard to logic an argument can be made for a ‘multiplicity of logics’, as van Lambalgen and Stenning argue in several places. They refer to the varieties in reasoning that can be observed in humans and which are partly due to there being ‘dual systems’ of reasoning: System 1 processes information fast, automatized, and emotional, while System 2 is rather slow, more deliberative, and more rational. In contrast to a widely held view, the authors argue that System 1 processing is not without logic, even though it is a different form of logic from System 2. In addition, the multiplicity of logics they discuss is related to the multiple semantics required for distinct domains of reasoning. This perspective raises the subsequent question how this pluralism can be available while maintaining consistency, how should the available options be configured or related to each other? In the remainer of this chapter I’m addressing several such options for configurating pluralism like: non-foundational pluralism and foundational pluralism, moderate or temporary pluralism, antagonistic pluralism, incompatible pluralism, incommensurable pluralism, ‘Anything goes’ pluralism, complementary pluralism, integrative pluralism, and interactive pluralism. The discussion and examples of these options show that irrespective of its domain, the encounter with different configurations of pluralism shows how some forms of pluralism are likely to be productive, whereas others are less so - which is an important lesson given the prominent pluralism of pluralisms in philosophy and beyond. (shrink)

Chinua Achebe, the contemporary Nigerian novelist, is considered as one of the prominent figures in African anti-colonial literature. What makes his works specific is the way he approaches the issues of colonization of Africa in an objective manner and through an innovative language which aims at providing a pathology; a pathological reading meant to draw on the pre-colonial and colonial history without any presumptions so as to present the readers with possible alternative African discourses in future. His first novel Things (...) Fall Apart can be taken as the best representative of such a penchant in Achebe. The present study seeks to approach Things Fall apart by reflecting on those discursive features which have provided the ground for constructing such a pathological reading and an alternative to the colonial discourse. To this end, some key terms introduced by Homi Bhabha and Mikhail Bakhtin such as ‘hybridity’, ‘otherness’ and ‘polyphony’, constitute the cornerstone of this study. Presumably, such an innovative reading of Achebe’s Things Fall Apart is to lead to a better understanding of his discourse and the efforts made by him to help the African readers figure out how to piece together what once fell apart; what they can rely on for building an independent future in the so-called postcolonial era. (shrink)

Hearing the other’s voice in literary text is one of Bakhitan's main concerns. Bakhtin take the remarkable capacity of literature to concideration to express differences and break monologues. This article seeks to ponder Sadegh Chubak's novel Tangsir based on Bakhtin's views. The main character of this novel is a southern Tangsir named Zair Mohammad who seeks revenge on those who in his opinion have violated his rights. The story of the novel takes place in Bushehr after the First World War (...) and in the era of Ahmad Shah Qajar, when southern Iran was occupied by the British. Due to the political and social atmosphere of that time, the "other" can be formulated in this story in different ways: Iranian encounter with English, Muslim encounter with nonMuslim, encounter between the people and the government, And even encounter between the southern Tangsir with the non-Tangsir southern. Although in this novel, encounter with the other has a prominent role, but the main question is whether the novel Tangsir is a monophonic novel or polyphonic? In general, Bakhtin considers the novel as a genre of dialogue and polyphony. But even in this genre, literary works realize the character of carnival or polyphony to a different extent. Bakhtin's ideal of “the other” is realized when the other’s voice is heard in the novel and not only the author's point of view is dominant. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng (...) as an event. (shrink)

This paper aims to develop Nishida Kitarō’s “logic of place” into an “aesthetics of place.” While brilliantly fusing the Buddhist traditions of Japan with Western philosophy, in his later years, Nishida came up with his own unique philosophy, a “monadology with the concept of substance.” This is a concept anchored in mu or “emptiness.” From this standpoint, how is the individual understood and how does society take shape? The answers to these questions are fundamental keys to understanding Japanese philosophy. In (...) Japan, the individual in Japan is not locked up in itself, but it is possible for the “substantial ego” to vanish and be replaced by the ““I as an event.” Through a discussion of the “place” where the activities of the traditional poetic forms of renku and renga are performed, an attempt is made to develop an aesthetic approach to those questions. (shrink)

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing literature’s (...) exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the (...) context of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. (shrink)

The purpose of this paper is to show how micro-argumentation mechanisms of presumptive reasoning and reasoning from best explanation can be used for explaining some cases of presupposition cancellation. It will be shown how the relationship between presupposition triggers and pragmatic presuppositions can be analyzed in terms of presumptive and non-presumptive polyphonic articulation of an utterance, resulting in different types of commitments for the interlocutors. This approach is grounded on the two interconnected notions of presumptions and commitments. In some complex (...) cases of presupposition “suspension,” the speaker presumes the hearer’s acceptance of and commitment to propositions that cannot be presumed as such, namely that do not belong to the common ground, or that have been explicitly rejected as being commonly shared. This phenomenon triggers a complex type of reasoning that can be represented as an abductive pattern, grounded on hierarchies of presumptions and aimed at providing an interpretation that solves this conflict of presumptions. Several cases of suspension of presupposition will be investigated as resulting from non-presumptive polyphonic articulations, in which different voices responsible for distinct commitments are distinguished. By indirectly reporting an element of discourse, the speaker can refuse to take responsibility for the presupposed proposition, and correct the commitments that may result for him. This polyphonic treatment of utterances shows how and why a presupposition is suspended, and identifies the conflicting presumptions that can be further solved through reasoning from best explanation. This reasoning can result in a different reconstruction of the developed logical form of utterance or of its illocutionary force. (shrink)

Martin E. Rosenberg -/- The Gift of Silence: Towards an Anthropology of Jazz Improvisation as Neuro-Resistance. -/- ABSTRACT: -/- This essay addresses how the complex processes that occur during jazz improvisation enact behaviors that resemble the logic of gift exchange first described by Marcel Mauss. It is possible to bring to bear structural, sociological, political economical, deconstructive or even ethical approaches to what constitutes gift exchange during the performance of jazz. Yet, I would like to shift from focusing this analysis (...) of jazz improvisation with reference to the language of music as symbolic action (which all of these approaches require), to grounding improvisation in embodied and distributed cognition, the performance of which begins with a ritual gift of silence. By silence, I refer to the embodied, yet shared pure duration as felt synchrony within an individual performer, that extends to the members of an ensemble. Thus, I refer to both aesthetic and micro-political implications of embodied, yet also distributed musical cognition in real time. -/- For jazz musicians, embodied silence becomes the initial condition for processes of cognitive bifurcation. For it is bifurcation that attracts us to jazz in the first place. Here I expand my previous work establishing similarities in the behavior of bifurcating systems in physical and cognitive sciences to the unfolding of ambiguity in real time during improvisation with respect to polyphony, polytonality and polyrhythms in the history of jazz from Charlie Parker to Ornette Coleman. We can therefore re-conceptualize jazz improvisation as a subversive antidote for processes of determination identified in a sub-discipline of cultural studies called “cognitive capitalism.” By examining silence from this anthropological perspective, we can conceive of jazz performance as a ritualized resistance to top-down cognitive control immanent with social and digital networks. The ritual enactment that is jazz improvisation points towards an aesthetics of bifurcation that is simultaneously a micro-politics of neuro-resistance. In other words, I argue that freedom of thought requires freedom from thought as an initial condition. -/- Yet, I emphasize the empirical rather than mystical grounds to this gift of silence. The valorization of silence by jazz musicians is not simply etiquette, an ethics of reciprocity for performers exchanging “riffs,” but an initial condition that jazz performers (and, I would argue, listeners) experience in their bodies, thus linking embodied cognition to a collective field of cultural production that emerges from each embodied individual, and yet also pervades the ensemble in ways reminiscent of feedback loops in complex systems. The recent and remarkable research on music and the brain has demonstrated that it is now possible to describe jazz improvisation as possessing both embodied and distributed cognitive properties. The emergent neuronal ensemble behavior within the individual that is visible in jazz improvisors, discovered by the neuroscientists at Johns Hopkins led by Charles Limb, bears striking resemblance to the interactive behaviors of the jazz ensemble itself. Thus, it is by recourse to recent research by myself and others into the cognitive neuroscience of music generally, and jazz improvisation specifically, that the empirical grounds for an anthropology of neuro-resistance become visible. (shrink)

There are several linguistic phenomena that, when examined closely, give evidence that people speak through characters, much like authors of literary works do, in everyday discourse. However, most approaches in linguistics and in the philosophy of language leave little theoretical room for the appearance of characters in discourse. In particular, there is no linguistic criterion found to date, which can mark precisely what stretch of discourse within an utterance belongs to a character, and to which character. And yet, without at (...) least tentatively marking the division of labor between the different characters in an utterance, it is absolutely impossible to arrive at an acceptable interpretation of it. As an alternative, I propose to take character use seriously, as an essential feature of discourse in general, a feature speakers and listeners actively seek out in utterances. I offer a simple typology of actions in discourse that draws on this understanding, and demonstrate its usefulness for the analysis of a conversation transcript. (shrink)