Syntactic priming effects are argued to reflect the mechanisms that underlie language acquisition. This chapter explores the predictions of key models for such learning via syntactic priming and discusses the extent to which behavioural evidence is consistent with these predictions. Specifically, the chapter examines whether the timecourse of priming effects in research with children reflects lasting effects of syntactic experiences, and what between-group and between-individual variation in priming effects, predicted by the error-based nature of the learning mechanism, might be expected. (...) The chapter also considers whether learning via priming might be located in comprehension and – or production processes. The chapter finishes by making recommendations for how future research may build on existing findings to further test these models, including discussing methodological implications. (shrink)

To date, the most substantial accounts of our engagement with literature have focused on prose-fiction, in particular the novel, drawing on issues of plot, character and narrative in explaining our understanding of literary works. These accounts do not consider how the poetic features of a literary work may affect our reading experience and how this contributes to the meaning of the work. In this thesis I show the philosophical importance of the experience of reading poetry for the role it can (...) play in inquiry, in particular, how such an experience can facilitate philosophical thinking and active inquiry. Adopting a reader-response view of our engagement with poetry, I argue that the experience of reading lyric poetry can make a valuable contribution to philosophical inquiry by enriching our conceptual understanding. The reading experience helps us to forge explicit awareness of our concepts and the networks of associations and beliefs that determine our use of them. Understanding poetry necessarily requires attending to the unity of form and content, and the particular perspectives on offer in the poem. This complex whole sustains perspectives and emotions where character and narrative are lacking. I argue that the perspectival nature of our reading experience is important for philosophical inquiry into aspects of human life. Encountering the perspectives of the poem helps to activate our own perspectives through our emotional and intellectual responses, bringing into focus what we value. I apply this argument to the moral domain, arguing that poetry can facilitate moral inquiry in particular by exposing moral significance in our concepts, helping us to feel what is at stake, and by testing our moral understanding. The way in which the poetic examples discussed engage us emotionally, imaginatively and cognitively (through the reading experience) help us address moral questions from distinctive and valuable perspectives, which provide us with moral insights of value in philosophical inquiry. (shrink)

If the possible ends of art criticism are taken to include not only the provision of a detailed evaluation of the artwork, but, cognately, an elaboration upon how one has been, or believes oneself to have been, changed by a particular artistic encounter, then the very praxis of art criticism stands to benefit from a theoretical elucidation of the possible nature of the subjective transformations that may flow from the critical appreciation of art. We are entitled to enquire, in particular, (...) into the conditions under which, and indeed the extent to which, such putative change at the personal level can be explicated in moral epistemological terms. It is pertinent in this context also to investigate the phenomenal character of the experiences that have been operative and their essential structures; to enquire, in short, into the phenomenology of the transformative artistic encounter. In this thesis, the bearing, in particular, of intersubjectivity upon the content and modalities of disclosure in a literary context will be investigated. It will be shown how an understanding of the relevance of intersubjectivity to the phenomenology of literary experience can inform an assessment of the claims of literary aesthetic moral cognitivism. Yet the intention to clarify the connection between literary experience and intersubjectivity also requires reflection upon what it is in the first place to encounter someone else, and to apperceive a foreign subjectivity and its motivations. For this reason, the contributions of Edmund Husserl and Edith Stein to the investigation of the phenomenology of empathy will be discussed and evaluated. This discussion will in turn be shown to be of assistance in clarifying the role of the imagination in the apperception and comprehension of another person’s mental life. The thought of Jean Starobinski will prove to elucidate the question of why the insights of the phenomenological tradition are highly pertinent to the investigation of literary experience, and to the development, in particular, of a conception of an imagined ‘Other’ who is (in a sense that will be clarified) embedded within the literary text, a person, that is, to whom one might coherently refer as the “implied author”. For reasons which will emerge in the course of this study, it will be argued that authentic empathy, in its fulfilling explication (in the Steinian sense), is given to the empathising consciousness in the manner of a semblance, and, consonantly, that the phenomenological structure of authentic empathy is characterised in its mature phases by an homological relation to pictureconsciousness. The epistemological significance of literature’s capacities for moral suggestion will be explicated principally in terms of the unfolding of values within the human personality, and in terms of the disclosure of the phenomenal character and structures of virtuous experience. It will be explained why the structure of empathy has implications for the aesthetic value of literature. The question of the relation between aesthetic and ethical value will be clarified. In this context, it will be argued on phenomenological grounds that the appresentation of moral virtue in an implied author could contribute to the aesthetic value of a literary work, although it will also be shown that implied authorial moral virtue could conflict irremediably with other qualities like moral doubt and uncertainty, which may themselves be important sources of aesthetic value. For this reason, the thesis will conclude by challenging the ethicist view that an aesthetically relevant ethical flaw in a literary work must count as an aesthetic flaw. (shrink)

The aim of this thesis is to present the fundamental philosophical positions of Early German Romanticism, focusing on the three following writers: J. C. F. Holderlin, Novalis, and F. Schlegel. Chapter 1 begins with an examination of the first-philosophical, or ontological foundations of Romanticism and discusses its appropriation and critique of the work of Fichte, arriving at an elucidation of Romantic ontology as an ontology of differencing and production. The second chapter looks at how epistemology is transformed, in the hands (...) of the Romantics, and due to the attention they paid to language, semiotic theory, and the operations of irony in discourse, into poetology - a theory of knowledge, into a theory of poetic production. In the third chapter a confrontation between the philosophical positions of Romanticism and those of the main currents of German Idealism (Schelling, Hegel) is undertaken; through this confrontation, the essential trait of Romantic thought is arrived at, namely the thought of an incomplete Absolute, as opposed to the absolute as totality in Idealism. The final chapter considers the avenue left open by the notion of the incomplete Absolute, and the Romantics' chief legacy, namely the theory of literature; literature is thus seen as coextensive with philosophy, and analysed under three conceptual categories (the theory of genre, the fragment, criticism) which all betray their provenance from the thought lying at the core of Romanticism: the incomplete Absolute. Finally, in the conclusion a summation of this exposition of romanticism is presented, alongside a brief consideration of the relevance of the Romantic project in contemporary critical/philosophical debates. (shrink)

This thesis examines the relationship between language and social reality. The position argued for is one which sees language as having a constitutive role to play in the formation and maintenance of the social world. It elaborates and develops a view expressed by Quentin Skinner, namely, that language and the social world are mutually supportive and exist in a state of dynamic interaction. Because language has this constitutive role in relation to the social world attention to the use of language (...) is important for the language we employ will be a significant factor in determining the nature of that world. The notion of ideology is defined in a critical sense as 'malign decontestation', i. e., the presentation of that which is contestable as if there were only one legitimate perspective. The concepts of absolutism and universalisation are taken as key ideological markers. Given the constitutive role of language, the identification of ideological language becomes important because aspects of the social world which are informed by such a language will reflect the errors inherent in the linguistic structures themselves. One of the central arguments of the thesis is that ideological language often arises when insufficient attention is paid to the ontological differences between activities whose subject matter is the natural world and those whose subject matter is the social world. There is a focus on educational issues because the impetus for this thesis arose out of a growing unease with the nature of the language used in relation to this topic. Although a concern with the language of education is not uncommon, the full significance of the language we use in this area is often unacknowledged because the necessary theoretical background is absent. It is the main purpose of this thesis to provide a philosophical justification for this concern. (shrink)

In this interview philosopher Jacques Rancière looks again at his earlier work on cinema. The interview opens with some remarks on the meaning of cinephilia before moving on to a detailed discussion of the process of aesthetic and political transformation he calls ‘de-figuration’, a process which is central to his work on art and aesthetics. Later in the interview Rancière re-engages with films by directors Jean-Luc Godard and Chris Marker in the light of his more recent work on emancipated spectatorship.

The extent to which Walter Benjamin's thought is bound up with the conceptual framework and debates of Bergsonism is overlooked to the detriment of our understanding of both. Benjamin's conception of Erfahrung/ experience is defined in relation to Bergson's conception of experience in the durée/duration. Benjamin implicitly evokes and extends a Bergsonian conception of creativity. This is central to Benjamin's understanding of the political implications of the decay of aura. The enhanced potentiality for creativity constitutes the possibility of new forms (...) of genuine Erfahrung in the scattered debris of the old. This would be based upon an affirmative nihilism, the mobilization of the creative second technology, the loosening of the masses, and the `politicization of art'. Crucially, however, Benjamin rejects Bergson's ahistorical approach to creativity within human experience. Virtual difference, the durée, is not external to human history. Creativity does not `flow into' actual human life but is the actualization of virtual difference that is generated and delimited by given socio-technological conditions. Modern creativity is not the gift of` God but of the capitalist mode of production. Benjamin provides a materialist explanation for the utility of Bergson's conception of creativity in the political critique of the present and a materialist justification for the normative prioritization of openness and qualitative segmentarity. He treats the durée as fully immanent to human experience and affirms a politics that is both more realistic and more committed to the value of difference in itself than is articulated in Bergson's own sociobiology. Benjamin does, as such, make a direct and critical contribution to the contemporary attempt to deploy Bergsonism in political critique and to render vitalism sociological. (shrink)

This thesis investigates Deleuze-Guattari's notion of stratification through a series of investigations into their material on language. Stratification is their term for the process by which matter-energy comes to assume the relatively stable historical formations of our social world, and in particular the relationship between subjects, objects and words. The complex notion of the order-word/password is proposed as key to this process, with its role in the articulations of the strata and in movements of creation and escape. I explore this (...) apparatus from a variety of angles, in order to present an account of Deleuze-Guattari's pragmatics that demonstrates both its basis in philosophy and its connections with the world. I begin by introducing the notion of 'difference in itself', through Deleuze/Deleuze-Guattari's critique of representation and their account of subjectification, the creation of the subject in space and time - and then feed this material through an encounter with Judge Schreber, in the process filling out our account of the subject. The resulting diagram of stratification is further explored through a dialogue with two other key thinkers of language - Wittgenstein, in relation to his social conception of meaning as use, and Derrida, in relation to his critique of Austin and Searle's Speech Act theory - in either case, demonstrating important connections and contrasts with Deleuze-Guattari. I then examine the specifics of stratoanalysis through an examination of the related zones of the formal, the abstract and the incorporeal, bringing this to bear on Deleuze- Guattari's appropriation of the linguist Hjelmslev, and to the criticisms of Ruthrof. The final step is to relate this apparatus both to linguistic and everyday understandings of language, connecting this pragmatics of the order-word with the notion of an 'art of living' through a consideration of standardised language and 'verbal hygiene'. (shrink)

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)