The Confucianist learning of rites and related code systems are full of performing details realized in patterned conducts, programmed processes and multiplemedia-emblematic network most of which exhibit themselves as nonverbal signs and rhetoric. Those nonverbal ritual codes and the related regular performance exercise an extremely effective impact on the directed communication and domination of the society. As a result, in the Li-System the nonverbal signs and codes could function more relevantly and effectively than the related verbal part which itself functions (...) also at a quasi-nonverbal level. (shrink)

The purpose of this paper is to propose a theoretical, methodological, and technical framework for the semiotic delimitation and analysis of those systems ofmaterial objects and practices which do not belong primarily to the sphere of signification. For the purposes of this paper, we will call such systems (for example economic, urban, or demographic systems) non-communication systems. By their very nature, the study of such systems does not fall wholly within the domain of semiotics, if we consider this domain (...) as coextensive with the study of cultural attitudes and practices. Thus, these systems differ structurally from communication systems, such as language, literature, and the arts, whose primary function is to be used for communication between members of a society and whose structure is primarily semiotic. (shrink)

The conceptual gambit of this article is to propose that the notion of anti-entropy should be complemented by that of exergy investment or destruction, a term first proposed by Zoran Rant in 1956. It argues that one of Bernard Stiegler’s most important interventions into deconstruction is the thermodynamic reformulation of Derridean différance. I argue that we should view the idea of anti-entropy as likewise the displacement of entropy to an external system. With the notion of exergy, it becomes possible to (...) outline an economics of exergy expenditure and investment that considers this displacement. Having argued for the necessity of exergy as a concept that may complement anti-entropy, I demonstrate that this economy of exergy expenditure, through transductive analogy, can be applied to signification. An economics of exergy may give crucial insight into the transcendental problem of signification; that which Derrida’s notion of différance first responded to. I ask the question: can a trace-like logic of sense be understood energetically if trace itself is understood to be materially inscribed into the world? Having explored this question, I then outline how education might be understood as both the means through with traditional significations are energetically maintained as well as the means through which metastable significations can be disrupted. I use the recent banning of anti-capitalist literature in the UK as an example of what I call logomachics, a conflict of significative exergetic investment and disinvestment. (shrink)

Eckhart's interest in semantics has thus far been overlooked in literature probably because no extensive and sistematic treatment is found in his corpus. Yet, his views in this field deserve attent...

The coding function of semiotic-systems in literature is explored as an example of Umberto Eco’s real and fictional protocols in the play of discourse formation (lector in fabula). The intricate phenomenological levels of intersemiotic translation (apposition, opposition, chiasm, zeugma) are illustrated by analyzing a rhetorical passage (semiotic object) from Charles Dickens’ novel Bleak House. The passage on the logic of series (“lists”) allows us to explore fact/fiction, real/imaginary, normal/abnormal, sane/insane, neurotic/psychotic choices as discourse voice protocols (active, middle, passive) for (...) the axiological interpretation (ethic, moral, aesthetic, politic, and rhetoric) of meaning formation (tropes) and signification function (figures). Models of discourse are drawn from Benveniste, Foucault, Greimas, Lévi-Strauss, and Wilden. (shrink)

In 2016, summarily outlawing all chemical inputs, the Indian state of Sikkim transitioned to completely organic agriculture. Despite “organic discontents” of farmers and citizens about autocratic implementation, lowered yields, and unsatisfactory prices, “Sikkim Organic” enjoys global accolades and local compliance. The paradox of alternative agriculture in the Global South is that it is often promoted by the same state-science-capital hegemonic formation that pushed the conventional paradigm. How has the Sikkimese state negotiated this paradox and continued to claim success, when other (...) radical state-led organic transformations have failed? Recent scholarship advocates for contextual definitions of organic success, beyond the parameters of yield and profit. They examine the socio-political concerns of farmers, middlemen and consumers that shape their engagement with the phenomenon. This lens is seldom applied to the state. Drawing on ethnographic conversations with farmers, local consumers, state officials and discourse analysis of governmental literature and speeches, this article analyzes the Sikkimese state’s efforts at consolidating its hegemony as a process of political brand-building. Highlighting the cultural aspects of policy implementation, it analyzes the affective resonances about traditional agrarian practices and about the morality of organic markets that the state discursively creates to support its organic regime. This extends the critique of the state beyond the focus on governmentality and neoliberalization through state-led certification/standardization. The article neither absolves the state of its failures nor dismisses the potential of progressive organic policies. It shows the significance of contextual cultural-political framings in determining outcomes of large-scale experiments towards sustainable agrarian futures. (shrink)

The cultural politics of Catholic restoration under Mary Tudor have been as crucial to the historical legacy of Thomas More as More's image was to the regime's own historical self-presentation. Not only did the Marian period see the first reappearance in print of many of More's writings after twenty years, the overwhelming presence of More's figure and work in official Catholic discourse, especially from 1556 onwards, also generated many instances of implicit Morean echoes pervading a great variety of Marian literary (...) texts and genres. This essay analyses a number of such hidden presences of More within classical translations of the period, from John Brende's History of Quintus Curtius, which was issued almost simultaneously with the 1553 Marian edition of More's Dialogue of Comfort, to George Colvile's Boethius and Nicholas Grimald's De officiis, whose appearance coincided with the preparation of More's English Workes for print. As it emerges, such implicit echoes and allusions to More's life and writings not only reshaped the classical works themselves, both updating them and enriching them with additional cultural and political significations; above all they helped to invest the program of Marian religious restoration with the credentials of classical learning promoted by the early Tudor humanists. (shrink)

In the beginning was the triangle, the apostles of semiology say. In arguing for a semiological approach to literature, this paper highlights first that theconsecrated semiotic triangle seen in perspective proves to be a pyramid, with its faces consisting of minimal semiotic triads; it then suggests that the pyramidalsemiotic constructs within a given context project the figure of infinite semiosis; finally, it proposes an illustration of the literary process of signification using thealchemical image of the clepsydra.

This article further systematizes the existential body, contributing to the ethnographic model of embodied objectivity. It situates embodiment as the foundation of knowledge, demonstrating its underdevelopment in anthropological literature. The paper explores the philosophical relationship between being-in-the-world and Merleau-Ponty’s body-proper, emphasizing the central role of embodied pre-objective signification in representational ethnographic knowing. This aspect is often insufficiently addressed, particularly in light of certain ethnographic applications of the epoché. The paper concludes that, given the oscillatory apprehension of embodiment, the (...) use of terms like “systematizing” and “inter-objectivity” adequately enhances its portrayal as a pre-objective phenomenon rather than an objective one. (shrink)

L'auteur distingue, dans les.travaux sur l'intelligence artifi- cielle, deux approches : l'approche technologique et l'approche cognitiviste. Il montre que les rapprochements faits, dans l'approche cognitiviste, entre l'intelligence humaine et l'intelligence artificielle, ne vont pas de soi, et que les thèses sur l'intelligence artificielle sont largement tributaires de certaines spéculations rationalistes et empi- ristes de la philosophie classique. Il expose la principale difficulté que rencontre alors une compréhension de l'intelligence humaine à partir de l'approche cognitiviste, à savoir la nécessité d'oblitérer la (...) dimension sémantique et de professer un solipsisme radical, et il plaide en faveur d'une compréhension de l'intelligence humaine selon ce qu'elle est dans la culture plutôt que dans les machines.In the literature on artificial intelligence, the author distinguishes two approaches : the technological approach and the cognitivist approach. He shows that the parallels made between human intelligence and artificial intelligence within the cognitivist approach do not go without saying, and that the theses on artificial intelligence are largely dependent upon certain rationalist and empiricist speculations of classical philosophy. He exposes the principal problem that then encounters an understanding of human intelligence in the light of the cognitivist approach, namely the necessity to obliterate the semantic dimension and to profess a radical solipsism, and he pleads for an understanding of human intelligence commensurable with what it is in culture rather than in machines. (shrink)

This book presents an exhaustive study of the three 13-century discussions explicitly dealing with the notion of Significatio. The study aims to show that the three discussions emerge because of apparently opposite claims about the signification of words in the authoritative literature of the period. It also shows that the three discussions develop in the same direction - towards a unified use of the notion of signification, which keeps its explanatory role in semiotics, but loses its role (...) in grammar and logic. (shrink)

Language and imagination play a prominent role in Merleau-Ponty’s early reflections on literature. The “literary use of language” is opposed to usual or ordinary language, and it is also assigned the task of rejuvenating the latter. Merleau-Ponty is here openly inspired by Saussure and more secretly by Bergson. Poetic language is said to effect a coherent deformation of a linguistic code and to liberate signifiers from their subordination under a subjective meaning that directly refers to external objects. Literature (...) also illustrates, in exemplary fashion, the creative power of imagination and the effective force of fictions. This is where the discussion with Sartre comes into the picture. The article explores, in particular, what personal identity and the meaning of real facts owe not only to language but also to the imagination of possibilities. It further investigates the different notions of truth that apply to literary works of art. Literature is also shown to undermine the conception of the relation between fact and meaning, actuality and possibility, reality and fiction, truth and semblance in terms of dual oppositions. Most importantly, literary fictions and narratives can make a real change in the life of writers and readers by unfolding their unrealized personal potentialities, by refining their emotional sensibility, and by distancing them from themselves. In all this, an imaginative mode of ‘projection’ plays a central role. Le langage et l’imagination jouent un rôle de premier plan dans les réflexions de Merleau-Ponty sur la littérature. « L’usage littéraire du langage » est opposé au langage usuel ou ordinaire, et la tâche lui est également dévolue de rajeunir ce dernier. Merleau-Ponty s’inspire ouvertement de Saussure et plus secrètement de Bergson. Le langage poétique est dit effectuer une déformation cohérente du code linguistique et libérer les signifiants de leur subordination à une signification subjective qui réfère directement aux objets externes. La littérature illustre également, de manière exemplaire, la puissance créatrice de l’imagination et la force effective de la fiction. Ici la discussion avec Sartre entre en jeu. Mon article explore en particulier ce que l’identité personnelle et la signification des faits réels doit non seulement au langage, mais également à l’imagination des possibilités. Il discute également les différentes notions de vérité qui s’appliquent aux oeuvres d’art littéraires. Je montre aussi que la littérature empêche de concevoir comme des oppositions duelles les relations entre fait et signification, actualité et possibilité, réalité et fiction, vérité et vraisemblance. Par dessus tout, les fictions et narrations littéraires peuvent provoquer de réels changements dans la vie des écrivains et des lecteurs en déployant leurs potentialités personnelles non réalisées, en affinant leur sensibilité émotionnelle et en se distanciant d’eux-mêmes. Dans tout cela, le mode imaginatif de la projection joue un rôle central.Linguaggio e immaginazione rivestono un ruolo centrale nelle prime riflessioni di Merleau-Ponty sulla letteratura. L’“uso letterario del linguaggio” viene opposto al linguaggio ordinario o quotidiano e al primo viene inoltre assegnato l’incarico di rinnovare il secondo; in questo, Merleau-Ponty si ispira apertamente a Saussure e, in modo meno manifesto, a Bergson. Il linguaggio poetico è ritenuto in grado di imprimere una deformazione coerente a un determinato codice linguistico e di liberare i significanti dalla loro subordinazione a un significato soggettivo che si riferisce direttamente a oggetti esterni. La letteratura, inoltre, illustra in modo esemplare il potere creativo dell’immaginazione e la forza effettiva della finzione letteraria. È qui che entra in gioco la discussione con Sartre. Questo articolo esplora, in particolare, ciò che l’identità personale e il significato dei fatti reali debba non solamente al linguaggio, ma anche all’immaginazione delle possibilità; indaga inoltre le diverse nozioni di verità che possono essere applicate all’opera d’arte letteraria. L’articolo mostra poi come la letteratura possa mettere in discussione il carattere di opposizione binaria della relazione tra fatto e significato, attualità e possibilità, realtà e finzione, verità e verisimiglianza. In maniera significativa, le finzioni e le narrazioni letterarie possono cambiare la vita di scrittori e lettori svelando le loro potenzialità personali irrealizzate, raffinando la loro sensibilità emotiva e ponendoli a distanza da se stessi. In tutto questo, una modalità immaginativa di “proiezione” svolge un ruolo di primaria importanza. (shrink)

Recently, the government of Zimbabwe unveiled a newly constructed statue of the esteemed spirit medium and liberation icon who intrepidly fought against the British imperialism. The distinguished heroine is passionately known as Mbuya Nehanda Charwe Nyakasikana. The lexical item, ‘Mbuya’ in Shona language literally means grandmother. This study examines the ways in which the spectres of religion, historiography, gender and national politics find expression in often contested state narratives of Mbuya Nehanda and in selected Zimbabwean fictional writings. Foucault’s theorisation of (...) socio-political practices and subjectification as sites of power, together with the Critical Discourse Analysis (CDA) framework and bell hooks’ feminist thought of ‘talking back’, provide provocative insights about regimes of power that could be more edifying in the interlocking discursive terrain of the African cosmology, frequently disputed archeology of historical memory, socio-political relations, which are noticeable in discourses and gender politics. The study interrogates whether the Nehanda grand narrative is told by politicians as the revolutionary story of all citizens or not. If not, what alternative versions are proffered in selected Yvonne Vera and NoViolet Bulawayo’s literary texts? Arguably, the mythology of Nehanda in the chosen literary texts locates women as agents of revolution thereby generating semantic dissonance in the Zimbabwean context, which is largely considered as land of the Fathers. Contribution: The study situates the Nehanda narrative within contested terrains of national history, gender and religion in Zimbabwe’s transitional politics and literature. It concludes that in Vera and Bulawayo’s writings, the Nehanda narrative is deployed to interject significations of woman (hood) and nation (hood) which seek to marginalise some sections of the society. The dissonances embedded in the Nehanda narrative produce a dialoguing space that’ talks back’ and rebuts single storytelling. (shrink)

Seemingly a minor part of L’Imaginaire, Sartre’s literary examples therein are of great significance especially in the way they highlight the implicit yet crucial role of linguistic signs and words in his psychology of the image. While commenting on the act of reading a novel, he views literary words practically as images, endowing them with both an affective and representative status and illustrating the word-image through the figure of a drawing or dessin. The novel’s word-images or dessins solve an important (...) problem in his phenomenology: in order to represent, they do not need an original perception as other, more typical images do. While the dessin suggests the opportune possibility of representation without presentation, it also introduces ambiguity in meaning, running counter to Sartre’s demand that linguistic signification be clear and transparent. Sartre attempts to contain such ambiguity by ascribing the image-like, representative use of words to poetry in What’s Literature? but I argue that the dessin indeed allows for a more comprehensive understanding of the linguistic sign and representation that covers both poetry and prose. (shrink)

This essay examines how Brazilian literature has broached changes in the country’s political and social scenario since 2013. Literary production has not only considered socio-political upheavals such as the 2013 protests, the 2016 impeachment of President Dilma Rousseff, and, more recently, the assassination of Rio city council member Marielle Franco as well as the 2020-21 COVID-19 pandemic. Literature has also expanded the signification of “democracy,” broadening the democratic lexicon by employing a language of both demands and entitlements (...) and dispute. By creating a democratic imaginary that oscillates between vindication and exigency, contemporary Brazilian literature delineates the tensions inherent to present-day democratic culture, poised between expanding rights and what scholars have called a "democratic erosion."Keywords: Democracy. Democratic Erosion. Literature. Poetry. ResumoEste ensaio examina como a literatura brasileira tem abordado mudanças no cenário político e social do país desde 2013. A produção literária não aborda apenas levantes sociopolíticos como os protestos de 2013, o impeachment da presidente Dilma Rousseff em 2016 e, mais recentemente, o assassinato da vereadora Marielle Franco e a pandemia COVID-19. A literatura também tem expandido o significado de “democracia”, ampliando o léxico democrático ao empregar uma linguagem de demandas, direitos e disputa. Ao criar um imaginário democrático que oscila entre a reivindicação e a denúncia, a literatura brasileira contemporânea delineia as tensões inerentes à cultura democrática atual, equilibrada entre a expansão de direitos e o que os estudiosos chamam de "erosão democrática".Palavras-chave: Democracia. Erosão Democrática. Literatura. Poesia. (shrink)

In this article, I attempt to restore the philosophical significance of that nonformalizable, noniterable, “singular’ element of natural language that I call “style.” I begin by critically addressing the exclusion of such instances of natural language by both semantics‐oriented logical analysis and a restricted variation of structuralist linguistics. Despite the obvious advantages – with regard to style – of ”pragmatic“approaches to language, such pragmatism merely returns to rule‐determination in the guise of “normativity.” Although style by definition resists any kind of (...) rule‐determination – whether posed in terms of semantics or intersubjective regulations of speech‐acts – there can be no consideration of language that ignores the persistence of style in natural language. In terms of cognition, any discursive agent understands more than allowed by either semantics or speech‐act theory. I ascribe this element of excessive signification to the role of style. My principal thesis is twofold: (1) a hermeneutic approach (exemplified by Schleiermacher) to literature should reveal the heuristically decisive role played by style in philosophy; and, more radically still, (2) style, in fact, may be crucially determinative of philosophical discourse in general. I suggest that a closer scrutiny of the lesser‐known works of Ludwig Wittgenstein, conventionally regarded as having dreamt of a “philosophy without style,” may consolidate the restoration of style's philosophical import. (shrink)

This article argues that Sartre's distinction in What Is Literature? between prose and poetry should be understood in the light of his earlier distinction in The Imaginary between two kinds of meaning. Sartre argues against the “Cartesian picture” of consciousness in The Imaginary, specifically concerning our experience of images. Not only is a mental image not an “inner object” mediating between consciousness and the world, even a picture drawn on paper should not be understood as an object standing between (...) the viewer and what this picture represents. Our experience, Sartre argues, is that of seeing things in a picture rather than seeing through it, such that the meaning of pictures and images in general is embodied in them and cannot be separated from them. He then goes on to contrast this kind of embodied meaning with a kind of meaning that can be completely grasped independently of its expression and identify the two with painting and language respectively. It is for this reason, this article argues, that Sartre later sees poetry as a deviation from language's proper function. This rigid distinction is maintained by Sartre until the end of his career, and the change that some commentators found in him are its outcome rather than a revolt against it. In contrast, Merleau-Ponty has demonstrated more convincingly that sense and signification are both essential aspects of linguistic meaning, and their relation is much more dynamic and complimentary than Sartre would have allowed. (shrink)

Readers expecting a history of nineteenth‐century pathology are in for a surprise. They will find instead a self‐conscious example of cultural studies, critical of some assumptions made in this field and of some feminist writing, but containing some alarming sentences like “My goal has been to give shape to the accidental palimpsests of an inveterately verbal, and increasingly visual, culture; to assemble a particular series of hermeneutic loose ends into a coherent account of how an extraordinarily bizarre system of (...) class='Hi'>signification came into being” . With learned English like that, who needs Latin? But once we get into the main part of the book, things get much better. We are confronted with a study of the fringes of science, in popular writings, in literature, and in raree‐shows, one working from sources that the more austere scientifics of the Victorian period despised and that historians of science are prone to ignore. Metaphor and analogy are everywhere, and sensitive stomachs will be churned by vivid accounts of disease, deformity, and surgery.The first chapter is concerned with the cholera morbus, the plague of the nineteenth century, and with the way it could be perceived as an indicator of social ills. John Ruskin's word “illth” as an opposite of health is revived, and the terrible blackness of the shriveled and dehydrated victims of this disease imported from the East is linked with colonial and racist notions. The theme that a healthy body is like a well‐run state leads into the next chapter, on breast cancer. Surgery was not only agonizing but ineffective in the first half of the nineteenth century, but then the survival rate after three years rose gradually from 4.7 percent to 45 percent by 1900. O'Connor asks whether this saga, with cancer seen as cellular overproduction, reveals close connections with gender construction and the symbolic importance of breasts, concluding that it does not and that the language used really was neutral rather than sexual.She then looks at amputations and artificial limbs, seeing amputation as a threat to the whole masculine body that could be countered by prostheses almost undetectable to the observer. This allows reflection on illustration, where curiously disembodied hands are shown carrying out amputations; on dissembling and artificiality; on materialism; and on metaphors of wholeness and replacement and of extending senses and capacities. We see some extraordinary advertisements where men with artificial legs climb ladders and skate, perhaps on thin ice. The final chapter examines deformity, with monsters and freaks . P. T. Barnum is prominent here, but interesting links are also made to the Great Exhibition at the Crystal Palace and its successors and the numerous museums that were such a feature of the Victorian period. They are strikingly placed in a continuum, rather than opposed, in a discussion of chaos and order, capitalism and health, deformity and degeneration. Wonder is presented as the key to modern sensibility, and there is a nice quotation on page 152: “If Beauty and the Beast should be brought into competition in London at the present day, Beauty would stand no chance against the Beast in the race for popularity.” Readers will have been led into a fascinating world at the periphery of the respectable science that most of us study and will rejoice in the extraordinary sights they see. (shrink)

Une enigme litteraire - celle, posee par les textes prefaciels de Vitruve dans leur signification et leur date - qui se resout par une histoire de mots, l'histoire des mots latins du livre, dont la langue francaise et nombre de langues ...

The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning (...) in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body. (shrink)

Introduction -- Ethics and aesthetics, theories of intersection -- Memory, redemption and salvation -- Disembodied tellers and delayed signification -- Orality and the ethics of telling -- Healing hands, harming hands -- "Body talk": beloved and fragmentation.

Personnalité et irrationalité chez Merleau-PontyUne personnalité est l’ensemble des traits et des qualités propres à une personne spécifique. Il s’agit d’un être humain concret, considéré dans sa totalité et distinct des autres individus. Merleau-Ponty s’est peu intéressé au concept de “personnalité”. Mais il fait référence au concept de totalité pour un individu lorsqu’il parle d’ “existence” ou d’ “être humain”. Grâce à la clarification du concept merleau-pontien de personnalité, je voudrais démontrer ce qui suit : la philosophie merleau-pontienne de la (...) structure caractérise la personnalité humaine comme un tout. Cette idée est héritée du “personnalisme” de la psychologie française inauguré par Ribot. La personnalité ainsi définie possède une rationalité téléologique (un objet visé). Cependant, lorsque Merleau-Ponty propose plus tard le concept d’“institution”, il souligne que toute signification de l’expérience humaine se fonde sur une expérience particulière et sur un point de vue concret ayant valeur de dimension, de niveau, ou encore sur un critère qui donne un sens à l’expérience suivante. S’il en est ainsi, les êtres humains doivent posséder une irrationalité fondamentale au coeur de leur personnalité ; irrationalité désigne une attitude attachée à une expérience particulière ou à un point de vue singulier. Les hommes peuvent “ré-instituer” leur expérience, c’est-à-dire abolir et transformer une dimension, un niveau ou un critère de l’expérience en y intégrant d’autres points de vue à travers leurs relations intersubjectives. Ils gagnent ainsi en nuance et en objectivité. Cependant, ils ne parviennent jamais à une rationalité totale si celle-ci se définit par une pensée totalement objective, universelle et non située, capable de voir le monde de nulle part. La ré-institution pourrait aussi entraîner une rupture dans la personnalité de quelqu’un et la rendre complexe et multiple, sans être pathologique pour autant.Personalità e irrazionalità in Merleau-PontyLa personalità è l’insieme delle qualità e dei tratti peculiari di una certa persona. È un essere umano concreto, preso nella sua interezza e distinto dagli altri individui. Merleau-Ponty non si è mai occupato molto del concetto di “personalità”. Ma si è riferito a tale concetto di totalità di un individuo sotto i nomi di “esistenza” o “essere umano”. Chiarendo la concezione merleau-pontiana della “personalità”, intendo sostenere che la filosofia della struttura di Merleau-Ponty caratterizza la personalità umana come un tutto unificato. Quest’idea è un’eredità del “personalismo” della psicologia francese inaugurata da Ribot. La personalità definita come tale ha una razionalità teleologica (orientata ad un obiettivo). Tuttavia, quando Merleau-Ponty propose più tardi il concetto di “istituzione”, sottolineò più di quanto avesse fatto precedentemente che perché ogni esperienza umana abbia un significato occore stabilire una particolare esperienza ed un punto di vista concreto quale dimensione, livello, o criterio che dia significato all’esperienza successiva. Se così è, gli esseri umani devono avere una fondamentale irrazionalità nel profondo della loro personalità, intendendo con irrazionalità un atteggiamento che è legato ad una particolare esperienza o punto di vista. Gli esseri umani possono “re-istituire” la loro esperienza, ovvero, riconsiderare una dimensione, un livello, o un criterio dell’esperienza attraverso l’integrazione degli altri punti di vista grazie alle loro relazioni intersoggettive. Guadagnano, così, sfumature e obiettività. Tuttavia, non possono mai realizzare la razionalità completa se per razionalità s’intende il pensiero completamente oggettivo, universale, imparziale, che guarda il mondo da nessun luogo. E la re-istituzione potrebbe creare una fessura decisiva nell’identità personale di un uomo, e rendere tale personalità complessa e “multipla,” anche se non necessariamente patologica. (shrink)

Contemporary sociosemiotics is a way to transcend borderlines between trends inside semiotics, and also other disciplines. Whereas semiotics has been considered as an interdisciplinary field of research par excellence, sociosemiotics can point directions at transdisciplinary research. The present article will try toconjoin the structural and the processual views on culture and society, binding them together with the notion of signification. The signification of space willillustrate the dynamic between both cultures and metacultures, and cultural mainstreams and subcultures. This paper (...) pays attention to the practice of sociocultural semiotisation of space and territorialisation by diverse examples and different sociocultural levels that imply semiotic cooperation between several members of groups that can be characterised as socii. We analyse territorialisation by graffiti, by furnishing spatial environment through artistic manners, by shaping the semiotic essence of cities through naming, renaming and translating street names, by pinning and structuring territories with monuments, by landmarking and mapping cultural space through individualisation of cities. We will see how principles of semiotisation of space are valid on different levels (individual and social, formal and informal, democratic and hegemonic, cultural and subcultural) and how these principles form a transdisciplinary object of study as ‘semiotisation of space’, and how space can be regarded as a genuinely transdisciplinary research object. Individual, culture, and society are connected in such an object both as constituents and as a background of study. (shrink)

The implementation of international human rights laws at the national and local levels relies on the framing of norms. Recent research has shown that international norms regarding child marriage have shifted from setting a minimum age limit to building the agency of girls to resist the practice, which can be either active or passive. Active agency requires taking action for its purpose, whereas passive agency involves acting in situations with limited options. The dominant discourse on child marriage often portrays girls (...) as victims, and this article adds to the existing literature on how child brides exert agency utilizing semiotics approach. Based on an extended qualitative study conducted at _Quarit Woreda_, the Amhara Regional State of Ethiopia, the article explores how the girls have been exerting transformative agency to resist the practice, or at least exercise limited agency to enforce their marital choice. It also contrasts them with female parents, where the latter are found to uphold mythical signification being one among the central norm holders. By doing so, the contribution seeks to understand the semiotic system—the structural resources that support versus socio-cultural factors that constrain their agency. This article also discusses the multifaceted difficulties faced by girls in challenging the well-established norm and the creative strategies they use to overcome impediments through networking and collaboration pathways. Lastly, the article suggests potential future interventions that aim to enhance girls’ transformative agency which in turn supports the effective enforcement of child marriage law in the study area. (shrink)

The object of study in the present article is birds, more precisely the sounds of birds as they are represented in Estonian nature writing. The evolutionary and structural parallels of bird song with human language are reviewed. Human interpretation of bird sounds raises the question, whether it is possible to transmit or “translate” signals between the Umwelts of different species. The intentions of the sender of the signal may remain unknown, but the signification process within human Umwelt can still (...) be traced and analysed. By approaching the excerpts of nature writing using semiotic methodology, I attempt to demonstrate how bird sounds can function as different types of signs, as outlined by Thomas A. Sebeok. It is argued that the zoosemiotic treatment of nature writing opens up a number of interesting perspectives that would otherwise remain beyond the scope of traditional literary analysis. (shrink)

The paper applies the theoretical frameworks of epistemic injustice and narrativist philosophy of history to read the process of re-signification of an event that took place in a prison in the city of Buenos Aires, Argentina, in 1978, called “Massacre in the Seventh Ward” or “Mutiny of the Mattresses”. By looking into this case, we explore the exercise of epistemic resistance through category expansion, drawing on the most recent developments on hermeneutical injustice as a deficiency in the application (and (...) not only in the content) of the available concepts. This allows us to identify the selected case as an example of hermeneutical injustice, and to highlight some characteristics of such injustice that remain under-analysed in the specialised literature, linked to agency, temporality, and the concrete forms adopted by resistance. Among the latter, we highlight the role that can be played by the exercise of what in philosophy of history has been called the “practical past”: an intervention in the dispute of meanings about the past, born out of an explicit commitment to the present. Finally, the conclusions present some caveats to be considered in the study of epistemic injustice in the context of institutions such as prisons. (shrink)

Despite the hadiths and narratives that warn about the interpretation of the Qur’ān by opinion, the question of how Qur’ānic verses can be understood is about the nature of Qur’ānic exegesis. These narratives, which limit the interpretation to the exact field and indicate the invalidity of the specification of the intention with the imprecise information, bring with it the question of how to understand the Qur’ān in each period and society. The issue that has been questioned in the frame of (...) the commentary from the earliest periods is based on the possibility of commenting besides the narration and defining the area that the thought belongs to the commentator. In this context, it is seen that the distinction between the conceptualization of tafsīr-taʾwīl words in classical commentary literature deals with the subject of the tafsīr, their belongings, epistemological values and contexts. Mainly, this study will question whether authors who do not distinguish between tafsīr-taʾwīl categorize the information about commentary in a different context, then it will analyze two basic approaches on tafsīr and taʾwīl. In the paper, it will be suggested that these classifications in the classical literature should be evaluated together within the framework of the search for methodology in exegesis. Summary: The Prophet, who was the first glossator of the Qur’ān, forbade people to talk about the Qur’ān with their own judgments. The prominent people of the companions refused to comment on some words that were closed in meaning (garīb). The words quoted from Abū Bakr and ʿUmar on this subject are quite famous. However, the Qur’ān is a universal book revealed to be understood in all ages and geographies till the doomsday. The fact that all the verses were not interpreted by the Prophet, and the expansions of meaning observed in the Qur’ān wording necessitate the interpretation of the Qur’ān. The fact that the Prophet forbade people to talk with their own judgments about the Qur’ān and the necessity of understanding the Qur’ān in every era constitutes a dilemma that must be explained. The resolution of this issue will both determine the legitimacy of tafsīr (interpretation) and reveal the difference between the Prophet's tafsīr and the tafsīrs by other people. In this context, a distinction was made between the interpretations of the Prophet and of the companions who witnessed the revelation period from the Tabarī (d. 310/923) in the classical tafsīr literature and the interpretations by glossators in terms of their bindingness and information values. Thus, before even starting the interpretation, glossators questioned the possibility of interpretation of the Qur’ān without the tafsīr of the Prophet and the narratives from the companions that have the force of hadith marfūʿ.It is seen in classical tafsīr literature that distinctions between the tafsīr of the Prophet and the interpretations of the glossator are usually constructed on the terms of tafsīr and ta'wil, to which terminological meanings are attributed. In this regard, the methodology of Māturīdī (d. 333/944) is quite specific and clear. According to Māturīdī, tafsīr is an exact field. Only the tafsīr of the Prophet and the narratives of the companions that have the force of marfūʿ can be included in this field. Taʾwīl, on the other hand, is an area based on supposing. Preferences to be made from possible meanings are supposition and related to taʾwīl. The fact that Māturīdī included the explanations of the Prophet and his companions in the tafsīr field and stated that they expressed exact information shows that he regarded this information in the value of the statement of mutakallim. The data included in the field of taʾwīl are not as the data included in the field of tafsīr in terms of their bindingness and information value. The interpretations made in the field of taʾwīl include supposition; so they cannot be attributed to the desire of God. The field that the Prophet forbade people from declaring their own views is the field of tafsīr in the methodology of Māturīdī. The exactness of this field is an indication that the tafsīr is related to God's desire. It is not right to declare an opinion with supposition in the field that is exact and definite. Even though the interpretation in the field of tafsīr is in accordance with the truth, this cannot eliminate the responsibility of the interpreter that make determinations based on supposition in the exact and definite field. Some scholars, such as Qushayrī (d. 465/1072), also classify the narrative-sagacity areas by means of tafsīr-taʾwīl concepts. This classification deals with the data that is the subject of tafsīr in terms of their belongingness. Indeed, tafsīr science includes both the data that are linked with transmission and non-transmittable elements that can be achieved by following a methodology. Non-transmittable elements included in the taʾwīl field by those who make a distinction between tafsīr and taʾwīl based on narrative-sagacity are the meanings reached through linguistic efforts. Language is an element that holds possibilities in itself. Considering closeness of meaning, multi-meanings, metaphors and allusions in the wording, it can be thought that the meanings reached by linguistic methods include supposition. In the methodology of Māturīdī, the field of tafsīr is composed of the explanations of the Prophet and the narratives of the companions who witnessed the revelations while in the classifications of those who make a distinction between tafsīr and taʾwīl based on narrative-sagacity, tafsīr generally includes narratives. When the issue is handled within the framework of the desire of God and the statements of the mutakallim, it seems that the classification of Māturīdī is more punctual. However, it is understood that this approach does not give a satisfactory answer to the subsequent situations and bindingness of the mentioned data. In the classifications based on narrative-sagacity, the narratives in the field of tafsīr are taken as a whole without analyzing their health grades and their signification. However, some of these narrations are not authentic; so, in this respect it is a problematic issue that they are the subjects of the field of tafsīr. Besides, sometimes there can be different narrations about the tafsīr of verses from the companions. The evaluation these narratives in a field attributed to the desire of God may also pose a problem. The linguistic data that both Māturīdī and those who make a distinction between tafsīr and taʾwīl based on narrative-sagacity include in the field of taʾwīl does not appear to have a homogeneous structure -as is the case with the narratives-. Indeed, among this data, there are elements whose meanings are quite hard to determine as well as firm ones that possibly have only one meaning. It is controversial that these expressions, which have only one meaning and to the validity of whose meaning other evidence point out are included in the field of taʾwīl.The distinction between meaning and interpretation fields in tafsīr is very important in terms of tafsīr methodology. This field designation is in a way a description of nature of the science of tafsīr. Thus, in matters where the human intelligence remains insufficient with the tafsīr narratives from the Prophet, the bindingness of the narratives from the companions are clarified; furthermore, beyond the narrative, the validity and the information values of interpretations of the glossator are determined. In this regard, the tafsīr-taʾwīl distinctions made in the classical tafsīr literature provide us with a rich content and a multifaceted point of view. However, when addressed separately, these distinctions present a number of problems in terms of scope and applicability. Our study proposes the evaluation of tafsīr-taʾwīl distinctions in classical literature together while the meaning-interpretation fields are specified in the framework of the search for methodology in tafsīr. Thus, the incomplete aspects of the classification will be eliminated and a much more comprehensive and functional classification will be achieved. At this point, the methodologies of some figures as Tabarī, who is known to have used the terms of tafsīr and taʾwīl in the same meaning, must also be evaluated separately. Indeed, when the works of these names are analyzed, it is seen that these names also distinguish the meaning-interpretation fields in tafsīr, but they do not do this through the tafsīr-taʾwīl concepts. (shrink)

From the Greek satyr to the American Mickey Mouse and from the Chinese dragon to the Egyptian Sphinx, animals and animal/humans have come throughhuman imagination into myth, legend and story. This combination or fusion of animal and human in literature presents a double signification. At the same time that our attention goes to the animality of the human, we may also entertain the humanity of the animal. Besides blending of physical and psychological characteristics, these ancient and modern characters (...) of world texts may embed authentic experiences of communion or communication between humans and animals. The texts may be understood as signifying the limits of both the human and the animal and the possibility of the humanimal. Humanimality signifies the fusion of human and animal which dissolves the ordinary dualism of human subject and animal object and allows for intersubjectivity unmarked by specific biological limitations. This kind of intersubjectivity occurs in the contact of communication and is often an occasion for awe on the part of the human if not of the animal. We may understand such awesome communication as imitation, non-verbal cooperation, and as teaching and learning. Three poems by the author, reproduced in the Appendix, “The Ravens Fly Yet,” “Neighbors,” and “The Lesson,” provide the literary fields in which humanimal phenomena may appear. (shrink)

It has been a long time since the concept of iconic signs was proposed by C. S. Peirce. From that time on, we have been increasingly realizing that semiotic systems are for the most part established just on some type of similarity. But the more we see the sphere of analogical signification expanding its realm, themore we become aware of how inadequate is the notion of a simple relationship connecting locally a physical object with a second object, or with (...) a mental entity.There is, on the other hand, the more refined theory of sign conceived by Ferdinand de Saussure, but this theory, by its very definition, addresses a restricted domain, and definitely does not include the field of those signs which rest on analogical associations.The main purpose of this article is then to show how the more polished Saussurean model can act as a starting point for a general restatement, primarily intended to embrace the signs that rest on an analogical basis. We may so speak of a “neoclassical”, innovative semiotic theory, able to join the latest “sociosemiotic” approach with the most precious foundations of our discipline. (shrink)

Ludwig Wittgenstein's interest in the writings of Rabindranath Tagore, is recognized among scholars worldwide though little has been written on his fascination with Tagore's poetry and symbolic plays. In Language, Limits, and Beyond, Priyambada Sarkar explores Tagore and Wittgenstein's philosophical arguments on the concept of 'threshold of language and meaning', highlighting the systematic connections between Tagore's canon and Wittgenstein's early works. Situatingher study in the early 1900s, when Tagore's poetry had just become available in Europe, Sarkar finds similarities between Tagore's (...) and Wittgenstein's exploration of the limits of language. She argues that Wittgenstein's early philosophy can be better understood when juxtaposed with Tagore.Drawing parallels between the worlds of philosophy and poetry, Sarkar identifies the point of convergence of their two philosophies in the realm of language, tracing how they reach surprisingly similar conclusions through entirely different paths of inquiry. Sarkar finally claims that such important points of contact will help one to arrange the pieces of the Tractarian jigsaw puzzle in a manner where all the pieces of logic, language, world, and the mystical will fall into place and form acoherent picture. (shrink)

Until very recently, feminist criticism has not had a theoretical basis; it has been an empirical orphan in the theoretical storm. In 1975, I was persuaded that no theoretical manifesto could adequately account for the varied methodologies and ideologies which called themselves feminist reading or writing.1 By the next year, Annette Kolodny had added her observation that feminist literary criticism appeared "more like a set of interchangeable strategies than any coherent school or shared goal orientation."2 Since then, the expressed goals (...) have not been notably unified. Black critics protest the "massive silence" of feminist criticism about black and Third-World women writers and call for a black feminist aesthetic that would deal with both racial and sexual politics. Marxist feminists wish to focus on class along with gender as a crucial determinant of literary production. Literary historians want to uncover a lost tradition. Critics trained in deconstructionist methodologies with to "synthesize a literary criticism that is both textual and feminist." Freudian and Lacanian critics want to theorize about women's relationship to language and signification.· 1. See my "Literary Criticism," Signs 1 : 435-60.· 2. Annette Kolodny, "Literary Criticism," Signs 2 : 420.Elaine Showalter is professor of English at Rutgers University. The author of A Literature of Their Own: British Women Novelists from Bronte to Lessing, she is currently completing The English Malady, a study of madness, literature, and society in England. (shrink)

Roland Barthes was suspicious about the ability of music and voice to signify, as revealed in many of his writings. However, his somewhat limited views on music and voice need not to restrain from profiting his semiotic theorising and his reasoning, which can be adapted for musical instances in ways not envisaged by Barthes. The Neutral (Le Neutre) is a recurrent topic in Barthes’s oeuvre from his first book, Writing Zero Degree (1953) up to his 1978 lecture series on The (...) Neutral in Collège de France (published in 2002). This paper explores how Barthes’s Neutral may enhance a special kind of listening. The enigmatic sonorities emitted by the Invisible Choir in Richard Wagner’s Parsifal (1882) serve as the foil in this task, more precisely a phrase voiced by female altos and male tenors (“Nehmet hin meinen Leib [...]”, Act I). It is not its semantic content mediated by (written) language that is of interest here but how this phrase has been voiced, andfurthermore, how Barthes’s Neutral may be heard in and beneath it. Several commercially available live recordings made in Bayreuth have offered playground for listening to and for The Neutral. As my analysis shows, the audible Neutral is not a separate entity but works in conjunction with other modes of signification: visual, textual, biographical, spatial. (shrink)

Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of (...) articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification. (shrink)

The connections between forms of code and coding and the many crises that currently afflict the contemporary world run deep. Code and crisis in our time mutually define, and seemingly prolong, each other in ‘infinite branching graphs’ of decision problems. There is a growing academic literature that investigates digital code and software from a wide range of perspectives –power, subjectivity, governmentality, urban life, surveillance and control, biopolitics or neoliberal capitalism. The various strands in this literature are reflected in (...) the papers that comprise this special issue. They address topics ranging from social networks, mass media, financial markets and academic plagiarism to highway engineering in relation to the dynamics and diversity of crises. Against this backdrop, the purpose of this essay is to highlight and explore some of the underlying themes connecting codes and codings and the production and apprehension of ‘crisis’. We analyse how the ever-increasing intermediation of contemporary life by codes of various kinds has been closely shadowed by a proliferation of crises. We discuss three related aspects of the coupling of code and crisis (signification, performativity and excess) running across these seemingly diverse topics. We and the other contributors in this special issue seek to go beyond the restricted (and often restricting) understanding of code as the language of machines. Rather, we view code qua programs and algorithms as epitomizing a much broader phenomenon. The codes that we live, and that we live by, also tell us about the ways in which the ‘will to power’ and the 'will to knowledge' tend to be enacted in the contemporary world. (shrink)

From the Greek satyr to the American Mickey Mouse and from the Chinese dragon to the Egyptian Sphinx, animals and animal/humans have come throughhuman imagination into myth, legend and story. This combination or fusion of animal and human in literature presents a double signification. At the same time that our attention goes to the animality of the human, we may also entertain the human(al)ity of the animal. Besides blending of physical and psychological characteristics, these ancient and modern characters (...) of world texts may embed authentic experiences of communion or communication between humans and animals. The texts may be understood as signifying the limits of both the human and the animal and the possibility of the humanimal. Humanimality signifies the fusion of human and animal which dissolves the ordinary dualism of human subject and animal object and allows for intersubjectivity unmarked by specific biological limitations. This kind of intersubjectivity occurs in the contact of communication and is often an occasion for awe on the part of the human if not of the animal. We may understand such awesome communication as imitation, non-verbal cooperation, and as teaching and learning. Three poems by the author, reproduced in the Appendix, “The Ravens Fly Yet,” “Neighbors,” and “The Lesson,” provide the literary fields in which humanimal phenomena may appear. (shrink)

To talk about the sociology of literary representation is, first and foremost, to propose to historicize representational activity at that crucial point where its social and linguistic dimensions intersect.1 The troublesome incongruity between these two dimensions need not be minimized, but it can be grappled with as soon as the presuppositions of either the hegemony of the subject or that of language itself are questioned. In this view, the position of George Lukács tends to ignore the state of extreme vulnerability (...) and recurrent jeopardy in which representation has always found itself, just as Michel Foucault’s diametrically opposed view of the ultimate hegemony of discourse obliterates or displaces a lot of unbroken contemporary representational practice. Even more important, both these quite different approaches may be said to appear monistic in that the gaps and links between what is representing what is represented are viewed either in terms of closure and continuity or in terms of rupture and discontinuity. But as I shall proceed to glance at some representational strategies in the late modern period, the question needs to be faced whether it is not precisely in these gaps and links, and in the way in which, simultaneously, the gaps are closed and the links are broken up, that historical activity can be seen to assert itself.If the contradiction of system and event, of predetermination and performance can be seen to affect representational activity, and if this contradiction can at all be formulated in terms of a sociological Erkenntnisinteresse, issue of historicity must be discussed on more than one level: not only on the level of what is represented but also on the level of rupture between them as well as their interdependence) together and to attempt to interconnect the semiotic problematic of signification and the extratextual dimension of representativeness, as involving changeful relations of writing, reading, social reproduction, and political power. In this view, the use of signs, although never quite reducible to a referential function, must be reconsidered and this question needs to be asked: under which conditions and in which respects would it be possible to talk of sociology in that area of instability itself which marks the relations between signifier and signified, between the author’s language and the reader’s meaning? Robert Weimann is professor of English and American literature at the Zentralinstitut für Literaturgeschichte, Akademie der Künste, Berlin DDR. His books in English include Shakespeare and the Popular Tradition in Theater and Structure and Society in Literary History. His most recent book-length study in German is Shakespeare und die Macht der Mimesis: Repräsentation und Autorität im Elisabethanischen Theater. (shrink)

This article aims to demonstrate the interdependence of semantics and noetics against the referentialist trend in Abelard studies conceiving semantics as confined to the truth/falsity function. The article takes as a turning point of the argument Abelard’s question “can a true proposition generate a false understanding?” which secondary literature does not take into account. Starting from the analysis of this question, the article aims to show the development of an enhanced notion of understanding compared to the Boethian one. The (...) core of this enhanced notion of understanding is the action of attentio, which is the condition for the elaboration of a coherent and global definition of signification. The analysis of the mental action of attentio entails the description of other kinds of mental actions, leading one to conceive understanding as a multi-layered complex of actions. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Fashion is defined by an infinite variation of a single tautology … stripped of content, but not of meaning. A kind of machine for maintaining meaning without ever fixing it, it is forever a disappointed meaning. … [I]t … becomes the spectacle human beings grant themselves of their power to make the insignificant signify; Fashion then appears as an exemplary form of the general act of signification, thus rejoining the very being of literature which is to offer to (...) read not the meaning of things but their signification.Meaning is distributed according to a kind of revolutionary grace; its power becomes so autonomous that it can act at a distance and in the end dissolve substance itself. … [M]eaning denies substance... (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory of (...) aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory. (shrink)

Semiotic Theory of Learning asks what learning is and what brings it about, challenging the hegemony of psychological and sociological constructions of learning in order to develop a burgeoning literature in semiotics as an educational foundation. Drawing on theoretical research and its application in empirical studies, the book attempts to avoid the problematization of the distinction between theory and practice in semiotics. It covers topics such as signs, significance and semiosis; the ontology of learning; the limits of learning; ecosemiotics; (...) ecology and sexuality. -/- The book is written by five of the key figures in the semiotics field, each committed to the belief that living is a process of interaction through acts of signification with a signifying environment. While the authors are agreed on the value of semiotic frameworks, the book aims not to present an entirely coherent line in every respect, but rather to reflect ongoing scholarship and debates in the area. In light of this, the book offers a range of possible interpretations of major semiotic theorists, unsettling assumptions while offering a fresh, and still developing, series of perspectives on learning from academics grounded in semiotics. -/- Semiotic Theory of Learning is a timely and valuable text that will be of great interest to academics, researchers and postgraduates working in the fields of educational studies, semiotics, psychology, philosophy, applied linguistics and media studies. (shrink)

Paul Ekman is an American psychologist who pioneered the study of facial behaviour. Bringing together disciplinary history, life study, and history of science, this paper focuses on Ekman’s early research during the twenty-year period between 1957 and 1978. I explicate the historical development of Ekman’s semiotic model of facial behaviour, tracing the thread of iconicity through his life and works: from the iconic coding of rapid signs; through the eventual turn from classifying modes of iconic signification using gestalt categories (...) to classifying modes of producing iconic sign-functions using minimal units; to the role and importance of iconicity for the study of the facial expression of emotion, both in terms of the similarities between iconic and analogue signs as well as the differences between facial coding and linguistic signification. In this intellectual genealogy, I argue not only that Ekman relied extensively upon conceptualizations and terminologies from semiotic thought for the creation of the Facial Action Coding System (FACS), but also that the question of iconicity is the pivotal problem across the many discoveries and innovations in what I term ‘Ekmanian faciasemiotics’. (shrink)

Although it is well known that Gestalt theory had an important impact on Merleau-Ponty’s philosophy throughout his career, there is still no detailed study either of its influence on his ideas or of his own understanding of the notoriously polysemic notion of Gestalt. Yet, this notion is a key to Merleau-Ponty’s fundamental project of overcoming “objective thought” and its inherent dichotomies. By indicating how signification or ideality can be immanent in, rather than opposed to, matter, it compels us to (...) redefine both consciousness and the world it is bound up with. The aim of this article is to clarify Merleau-Ponty’s notion of Gestalt against the historical background that he refers to, including Kurt Goldstein’s theory of the organism that was crucial for his interpretation of it. -/- On sait que la théorie de la Gestalt a eu un impact majeur sur la philosophie merleaupontienne. Il n’existe pourtant pas d’étude extensive de l’influence de cette théorie sur les thèses de Merleau-Ponty ou sur sa compréhension propre de la notion fort polysémique de Gestalt. Or cette notion s’avère être l’une des meilleures clés pour comprendre le projet fondamental du dépassement merleau-pontien de la « pensée objective » et de ses dichotomies. En effet, en montrant comment le sens ou l’idéalité sont immanents, plutôt qu’opposés, à la matière, la Gestalt conduit à définir à nouveaux frais la conscience et le monde auquel elle est liée. L’article vise à clarifier la conception de la Gestalt chez Merleau-Ponty à partir de son fond historique. On étudie en particulier la théorie de l’organisme de Kurt Goldstein, qui a été essentielle pour l’interprétation merleaupontienne de la notion de Gestalt. -/- Benché sia noto che la Gestalttheorie abbia avuto un impatto rilevante sull’intero tragitto della filosofia di Merleau-Ponty, non esiste ancora uno studio dettagliato dell’influenza del gestaltismo sulle sue idee né sulla sua comprensione di un concetto notoriamente sfaccettato come quello di Gestalt. Tuttavia proprio questa nozione costituisce una chiave d’accesso fondamentale al grande progetto merleaupontyano di oltrepassare il “pensiero oggettivo” insieme alle dicotomie che lo accompagnano. Indicando come il significato o l’idealità possano essere immanenti, anziché opposti, alla materia, tale nozione ci obbliga a ridefinire tanto la coscienza quanto il mondo a cui essa è legata. L’obiettivo di questo articolo è quello di chiarire la nozione merleaupontyana di Gestalt nel suo contesto storico, con particolare riferimento alla teoria dell’organismo elaborata da Kurt Goldstein, determinante per l’interpretazione merleaupontyana della nozione di Gestalt. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)