Dans cet article, nous appuyant sur un corpus de 3 444 075 tweets correspondant à 44 107 210 tokens (mots, signes de ponctuation, émojis, émoticônes, etc.) recueillis en décembre 2016, nous nous intéressons aux procédés de segmentation à l’œuvre dans les tweets. Après avoir évoqué certaines caractéristiques de ces écrits particuliers, nous rappelons les procédés généraux de segmentation à l’écrit : les signes de ponctuation et les connecteurs. Nous nous penchons ensuite sur la segmentation opérée dans les tweets par ces (...) deux procédés généraux. Enfin, nous montrons que les émoticônes et les émojis constituent des procédés spécifiques permettant de diversifier les stratégies de segmentation des utilisateurs de tweets (et d’autres écrits numériques, tels les SMS et les courriels). (shrink)

I examine the ideas leading up to Wittgenstein's pronouncement at Tractatus 5.4611 that signs for logical operations are punctuation marks.

Qurʾān was revealed to the Prophet Muḥammad (pbuh) not as a written document, but by word of mouth over a period of approximately 23 years. He dictated the verses to the scribes of revelation. After this, Abū Bakr compiled the written verses; i.e. gathered between two covers. Thus when the Qurʾān was compiled as a text, a number of addresses lost their characteristics. This situation, which is a result of the shortcomings in inscription, suggested the necessity of separating the verses, (...) preserving the recitation method (waqf places) learned from Prophet and transmitting the Qurʾān towards new learners. As a result, the science of al-Waqf and al-Ibtidāʾ has emerged. The systematics of al-Sajāwandī was chosen among the people who systematized the waqfs marks and the mushafs that we have today are arranged according to the systematics of al-Sajāwandī. At this point, the issue of showing other addressing features of the Qurʾān, such as the emphasis, in text appeared as an area that to be considered. The aim of this study is to analyze this issue and to focus on the possibility and method of realizing the subject. If punctuation marks are to be added to the Qurʾānic text, this should be done by taking into account the characteristics of punctuation marks in Arabic. According to comparison between punctuation and wakf marks, it was seen that they have different characteristics. First difference is the systematic difference. Punctuation marks in modern Arabic script are divided into four groups: end marks, tone marks, quotation marks, and the signs used in mathematics. However, al-sajawānds consists of only end/stop marks. In this case, al-sajawānds do not function as punctuation marks indicating tone of voice/emphasis and quotations. The second difference is that punctuation marks are more about the meaning than waqf marks. Because waqf marks do not oblige reader to understand only one of the possible meanings. However, punctuation marks limit or even determine the meanings. In addition, waqf marks are also based on the recitation(s) of the Prophet/al-qirāʾat al-manqulah. Correct comprehension depends on correct reading. For correct reading, addressable features must be able to be incorporated into the text as much as possible. Today’s muṣḥaf, cannot show emotions, emphasis to the reader. Beside, each of the characteristics of waqf marks (al-waqf al-muʿānaqah ext.) cannot meet the end marks found in today’s punctuation marks. In this case, we can add emphasis marks to text in order to reflect the emphasis that are missing from them by keeping al-sajāwands. Likewise, the question of to where/whom the word belongs to, which may cause confusion in text, can be resolved with quotation marks. Hereby, it has been concluded that a pseudonym system that can reflect the emphasis features of the Qurʾān and show quotations, should be developed in addition to al-sajāwands. So, our proposal includes the following steps: keeping al-sajāwands existing in the muṣḥaf; placing the emphasis marks in today's punctuation marks, which will serve this function in places where the emphasis and tone of prayer’s voice cannot be reflected in writing; putting quotation marks. Thus, it will be possible to develop a system that can show the linguistic, grammatical, semantic, phonetic, emotional and reciprocity dimensions of address in the writing/text. In this context, the punctuation marks that we find useful to be added to the muṣḥaf are emphasis marks (:!؟) and some quotation marks («»: -). قَالَ فَمَنْ رَبُّكُمَا يَا مُوسٰى؟ قَالَ رَبُّنَا الَّذ۪ٓي اَعْطٰى كُلَّ شَيْءٍ خَلْقَهُ ثُمَّ هَدٰى. Tāhā 20/49-50 As an example, in this verse, there is a real question that is expected to be answered. Then a question mark can be put at the end of this sentence. In addition, a dot mark can be placed at the end of the answer sentence to indicate that the answer is concluded. (shrink)

Artificial life uses computer models to study the essential nature of the characteristic processes of complex adaptive systems proceses such as self-organization, adaptation, and evolution. Work in the field is guided by the working hypothesis that simple computer models can capture the essential nature of these processes. This hypothesis is illustrated by recent results with a simple population of computational agents whose sensorimotor functionality undergo open-ended adaptive evolution. These might illuminate three aspects of complex adaptive systems in general: punctuated equilibrium (...) dynamics of diversity, a transition separating genetic order and disorder, and a law of adaptive evolutionary activity. (shrink)

The purpose of this study was to investigate how the subjective impression of English speech would change when pause duration at punctuation marks was varied. Two listening experiments were performed in which written English speech segments were rated on a variety of evaluation items by both native-English speakers and non-native speakers (native-Chinese speakers and native-Japanese speakers). The ratings were then subjected to factor analysis. In the first experiment, the pauses in three segments were made into the same durations, (...) from 0.075 to 4.8 s. Participants rated the segments on 23 evaluation items on a rating scale from 1 to 10. A varimax rotation after PCA (principal component analysis) led to two factors that were related to speech style. These two factors could be interpreted as representing speech naturalness and speech rate. Speech segments with a pause duration of 0.6 s received the highest naturalness evaluation, while perceived speech rate decreased as the physical pause duration increased, without any changes in utterance segments. In the second experiment, a full-factorial design of pause durations (0.15, 0.3, 0.6, 1.2, and 2.4 s) within and between sentences, i.e., for commas and for periods, was implemented in two speech segments. The original speech segments and speech segments without any pauses were also included as control conditions. From ratings on 12 evaluation items, similar to Experiment 1, two factors representing speech naturalness and speech rate were obtained. The results showed again that the perceived speech rate decreased with an increase only in pause duration. As for speech naturalness, the highest evaluations occurred when pause durations were 0.6 s within sentences, and either 0.6 or 1.2 s between sentences. This recommends fixing all pause durations to 0.6 s as a practical way to train non-native speakers to make their spoken English appear more natural. (shrink)

A common method of improving how well understood a theory is, is by comparing it to another theory which has been better developed. Radical interpretation is a theory which attempts to explain how communication has meaning. Radical interpretation is treated as another time dependent theory and compared to the time dependent theory of biological evolution. Several similarities and differences are uncovered. Biological evolution can be gradual or punctuated. Whether radical interpretation is gradual or punctuated depends on how the question is (...) framed: on the coarse-grained time scale it proceeds gradually, but on the fine-grained time scale it proceeds by punctuated equilibria. Biological evolution proceeds by natural selection, the counterpart to this is the increase in both correspondence and coherence. Exaption, mutations, and spandrels have counterparts metaphor, speech errors, and puns respectively. Homologous and analogs have direct counterparts in specific words. The most important differences originate from the existence of a unit of inheritance occurring in biological evolution - there is no such unit in language. (shrink)

This article reports results from a program that produces high‐quality animation of facial expressions and head movements as automatically as possible in conjunction with meaning‐based speech synthesis, including spoken intonation. The goal of the research is as much to test and define our theories of the formal semantics for such gestures, as to produce convincing animation. Towards this end, we have produced a high‐level programming language for three‐dimensional (3‐D) animation of facial expressions. We have been concerned primarily with expressions conveying (...) information correlated with the intonation of the voice: This includes the differences of timing, pitch, and emphasis that are related to such semantic distinctions of discourse as “focus,”“topic,” and “comment,”“theme” and “rheme,” or “given” and “new” information. We are also interested in the relation of affect or emotion to facial expression. Until now, systems have not embodied such rule‐governed translation from spoken utterance meaning to facial expressions. Our system embodies rules that describe and coordinate these relations: intonation/information, intonation/affect, and facial expressions/affect. A meaning representation includes discourse information: What is contrastive/background information in the given context, and what is the “topic” or “theme” of the discourse? The system maps the meaning representation into how accents and their placement are chosen, how they are conveyed over facial expression, and how speech and facial expressions are coordinated. This determines a sequence of functional groups: lip shapes, conversational signals, punctuators, regulators, and manipulators. Our algorithms then impose synchrony, create coarticulation effects, and determine affectual signals, eye and head movements. The lowest level representation is the Facial Action Coding System (FACS), which makes the generation system portable to other facial models. (shrink)

Some recent studies in computational linguistics have aimed to take advantage of various cues presented by punctuation marks. This short survey is intended to summarise these research efforts and additionally, to outline a current perspective for the usage and functions of punctuation marks. We conclude by presenting an information-based framework for punctuation, influenced by treatments of several related phenomena in computational linguistics.

According to the standard view on the issue, the habit of marking questions with a particular typographical sign in Greek and Latin script does not arise prior to the eighth or ninth century. This period is generally credited with the ‘invention’ of the question mark (excepting Syriac evidence, which points to the fifth and sixth centuries). The purpose of the present article is to correct this view. It argues that the first indication for the use of a typographical sign that (...) marks questions can actually be detected no later than during the reign of Emperor Hadrian (a.d. 117–38), that is, more than half a millennium before the traditional date of the invention. The chief witness is Nicanor of Alexandria, who does not seem to have used question marks himself, but criticizes the misappropriation of another punctuation mark to that purpose. He thus indirectly testifies to the existence of question marks. Comparable traces can also be found later in the exegetical works of some Christian commentators. (shrink)

Volume 7 of the Tsinghua manuscripts contains multiple historiographical narratives interspersed with punctuation. This article looks into two manuscripts likely prepared in the same workshop and possibly by the same scribe. I examine how punctuation in the manuscripts engages with the structure of the texts, forming a particular reading experience and understanding of the sectioning of the narrative. The article suggests that the use of punctuation in these manuscripts reflects the punctuator’s understanding of the narrative divisions and (...) main points of the texts. Far from merely marking individual sentences, the punctuation selectively marks sections and subsections in the narrative, corresponding to changes of interlocutor, scene and setting, and key information supporting a particular reading of the sense of the texts. The punctuator chose to amplify certain aspects of the narrative—for example, advisors outdoing their superiors—by highlighting certain sections of the text more than others. By examining the ways in which punctuation and nar- rative structure interact in these two case studies, the article aims to understand the complex relation between punctuation and narrative structure. In doing so, it evaluates the potential agency of punctuators in shaping the reading experience of early historiographical narrative texts. (shrink)

The rule books, though they claimed to heed only the call of logic, were nonetheless bound by their historical context: punctuation guidelines have been heavily indebted to intellectual, cultural, and aesthetic trends. No matter what analytical authority rule books claimed, their codifications had at least as much to do with their historical context as with syntax. When punctuation is properly contextualized, it can yield insight into problems that transcend disciplinary boundaries: it asks us to consider how we communicate (...) within the disciplines and beyond them and how disciplines create and maintain interpretive norms. It is this account of punctuation that I begin to develop here.I want to track the much-maligned semicolon and its fellow punctuation marks as rules for their usage were established and evolved. I consider the consequences of the nineteenth-century explosion of systems of grammar rules by way of the story of a semicolon in a statute that deprived Bostonians of late-night liquor from 1900–1906. The “Semicolon Law,” as it came to be known, exemplifies problems of interpretation still live in legal theory. I contrast the demands of legal formalism with the expectations of close reading in the humanities and social sciences. I conclude by attending to the inheritance left to us by nineteenth-century grammarians' impassioned attempts to bring order to English: The Chicago Manual of Style. I raise some critical questions about our attitudes towards rules, and consider how those attitudes influence our approach to punctuation and our passions about semicolons. (shrink)

Punctuation has so far attracted attention within the linguistics community mostly from a syntactic perspective. In this paper, we give a preliminary account of the information-based aspects of punctuation, drawing our points from assorted, naturally occurring sentences. We present our formal models of these sentences and the semantic contributions of punctuation marks. Our formalism is a simplified analogue of an extension --- due to Nicholas Asher --- of Discourse Representation Theory.

This study evidences turn actions done by ellipsis marks-only turns and blank turns as employed in quasisynchronous chats that are not discussed in prior literature. A brief introduction to the research background of ellipsis marks in online chats is followed by a description of the data collected before delving into the actions done by ellipsis marks-only turns and blank turns. Data were culled from multi-party chats among tertiary students during a critical reasoning class. A Conversation Analysis-informed approach (...) is applied in this article to analyze the preference organization of elliptical turns that illustrate several turn actions which include responses signaling disagreement, confusion and disapproval besides initial actions of eliciting responses and holding the floor. More than punctuation marks or paralinguistic restitution of silences, their interpersonal meaningfulness in sequential context and differentness/similarity vis-a-vis temporal silences are demonstratively shown in microscopic and interpretive description of chat excerpts. (shrink)

Smalgyaxian (Tsimshianic): located along Nass River, the lower reaches of the Skeena and on coastal and island communities around and below mouth of Skeena and in Metlakatla, Alaska. Four languages: Coast Tsimshian (CT), Southern Tsimshian (ST); Nisg̱aʼa (Ni), Gitksan (Gi). The punctuation indicates subgrouping: Nisg̱aʼa and Gitksan are very close, the distinction being more political than linguistic. Southern Tsimshian (Sgu̎u̎x) is spoken by only a few people (in one..

The theory of punctuated equilibrium holds that long periods of morphological stasis in fossil lineages are interrupted by bursts of geologically rapid evolutionary change. Philip Kitcher’s long and distinguished career is not directly analogous to this pattern, but his philosophy exhibits stasis and change. He has both maintained a position or line of argument consistently and shifted significantly in his views. These evolutionary patterns are on display in the volume co-edited by Mark Couch and Jessica Pfeifer, both of whom were (...) advised by Kitcher though at different institutions. The Philosophy of Philip Kitcher consists of an introduction plus 11 chapters devoted to central themes in Kitcher’s oeuvre. In each chapter, distinguished colleagues offer sustained engagement with one theme followed by a succinct and magnanimous response from Kitcher. The format is illuminating and helps display the complex evolutionary dynamics in the thought of an eminent contemporary philosopher. (shrink)

Previous research shows that females use more exclamation marks than males, often to establish rapport. The purpose of the present studies was to test whether people associate texters’ use of exclamation marks with friendliness and femaleness. If this association is due to normative expectations, we hypothesized that females would appear less friendly if they did not use an exclamation mark in texting. In Study 1, participants rated a texter using an exclamation mark to be highly female and highly (...) friendly. The gender results disappeared when friendliness was controlled for. In Study 2, we tested whether friendliness ratings decreased if texters violated gender-associated punctuation. Participants rated a texter with a gendered name on friendliness. Regardless of gender, participants inferred greater friendliness to texters using an exclamation mark. That is, there was no evidence of a cost for violating this gender expectation. We conclude that people predict that a texter using an exclamation mark is likely to be female, but do not penalize females for not using an exclamation mark. (shrink)

This paper deals with the question of the logicality of modal logics from a proof-theoretic perspective. It is argued that if Dos̆en’s analysis of logical constants as punctuation marks is embraced, it is possible to show that all the modalities in the cube of normal modal logics are indeed logical constants. It will be proved that the display calculus for each displayable modality admits a purely structural presentation based on double-line rules which, following Dos̆en’s analysis, allows us to (...) claim that the corresponding modal operators are logical constants. (shrink)

The Tractatus contains twodifferent proofs of the Grundgedanke, or thenonreferentiality of logical constants. In thispaper, I explicate the first proof in TLP 5.4s andreconstruct the less explicitly stated second proof. My explication of the first proof shows it to beelegant but based on an invalid inference. In myreconstruction of the second proof, the main argumentis that the sign of a logical constant does not denotebecause it possesses the punctuation-mark-nature. Andit possesses the punctuation-mark-nature because,given the analyticity thesis in TLP (...) 5, one canestablish for everyday language an adequate symbolismwith N as the sole fundamental operation such that itssign is a bar indicating merely the order and scope ofits application. (shrink)

Commercial advertisements are considered informative discourse, whereas the manipulative effects of their verbal and visual strategies have been ignored. According to van Dijk (2006), manipulation in mass media is performed by drawing the audience’s attention to information A rather than to B, by providing irrelevant or incomplete information, and by playing emotional games. Since the analysis of manipulative effects of semiotic features used in advertisements is scarce, the present research project investigates the potential manipulative effects of semiotic aspects used in (...) Persian printed advertisements, and the influence of the Iranian sociocultural context on designing these visual messages. A corpus of 160 Persian printed advertisements was analyzed; the results revealed that their semiotic features, especially those which are meaningful based on the sociocultural context of Iran, tend to inculcate relevant information and meaning in consumers, in order to control their minds and subsequently their purchases. The findings of this study include six theme-based categories of semiotic manipulation strategies: Celebrity images, Creative images, Punctuation marks, Natural images, Seasonal images, and Cultural images. The results are discussed along the lines of research methodology in discourse and semiotic analysis. (shrink)

In the paper the author explores the question ‘Did Wittgenstein (re)invent emoticons?’ in three sub-questions. What did he draw and for which purposes? What are emoticons? Are there similarities and differences between his drawings and emoticons? The answers are following. Wittgenstein has drawn faces from the 1930s to the 1940s which are graphically and by use like emoticons. He presented a philosophical problem of interpretation of faces. Emoticons as made of written and typed punctuation marks or as drawings (...) were invented and used centuries before the 1930s, but common and popular use started in the 1960s. Previous inventions were probably unknown to Wittgenstein, and his faces probably didn’t influence later inventions. His faces and emoticons are graphically similar and made with the similar purposes. Differences are that he only used drawings and never written or typed punctuation marks, and he used them to deal with problems of emotions and perception (similar to his problems of the duck-rabbit head). These answers are connected to available textual and interpretative evidence, interpretations are given in propositions from (a) to (p), and summarized in the conclusion (r). Some consequences of visual thinking on philosophical thinking are also drawn in terms of a future research. (shrink)

This book first published in the year 2021 June. Paperback: 240 pages Publisher: Kuhn von Verden Verlag. Includes bibliographical references. 1). Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 19th century. 5). Philosophy, German and Greek Influences Metaphysics. 6). Nihilism (Philosophy). 7). Eternal return. I. Nietzsche, Friedrich Wilhelm, 1844-1900. II. Ferrer, Daniel Fidel, 1952-.[Translation from German into English of Friedrich Nietzsche’s notes of 1881]. New Translation and Notes by Daniel Fidel Ferrer. Many of the notes have never been (...) translated into English before. Go inside the workshop of a great philosopher's mind and read these notes. Table of Contents Introduction and Preface (Pages: 1-11 ) Notebook: 11 = M III 1. Spring - Autumn 1881 11 [1 to 348] (Pages: 12-167 ) Nietzsche’s Notebooks in English: a Translator’s Introduction and Afterward (Pages: 168-183 ) The thought of the eternal return of the same (Pages: 184-197 ) Later Recapitulation note of 1888 14 [188] (Pages: 198-204 ) Rejection of the idea of eternal (Pages: 205 ) Translation of 4 notes by Nietzsche on Perspectivism (Pages: 206-210 ) Nietzsche gets some final few words (Pages: 211-216 ) Bibliographies (Pages: 217-236 ) Project started in summer of 2012. No one else has read this book for errors. As always, any errors, mistakes or oversights etc. are mine alone. Given a couple more years, I could improve this book. This is a philosophical translation and not a philological translation. If you want to get in to more philological details you must learn German (see Nietzschechannel plus many published books on the topics). Translation notes. I have not tried to fix, polish-up, or clarify Nietzsche’s unpublished writings. Some of the translator have really refined Nietzsche’s ideas and positions. I have not “fixed” Nietzsche. I have not dropped or added words or changed the wording to make Nietzsche’s position clearer or stronger (others have done enough damage). Learn German and read the texts in German – my best recommendation and advice to you the reader. There are groups on the internet that work on all the details of translating Nietzsche’s remarks. There are many nuances and shades of the meaning in attempting to translate anyone’s language. Some words I could not translate from German and French; and I left those few words in German, but more words in French. I think most of the French texts are quotes that Nietzsche wrote down from French authors that he was reading at the time he wrote these notes. Reader beware. There are many historical and philosophical allusions as in all of Nietzsche’s philosophical writings and these notebooks are similar. Remember these are “notebooks” and include lots of notes or jottings -- and these are neither fragments nor polished drafts for publication. Nietzsche may have written these notebooks from back to front and re-used various notebooks at a later time. In the German text there are missing punctuations marks, missing quotation marks, missing words, abbreviation of words, miss numbered section, working table of contents for project books he wanted to publish, projects outlined, quotes without quote marks. Enjoy reading and thinking with Nietzsche in his unpublished notes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crispin Sartwell SUBSTANCE AND SIGNIFICANCE: A THEORY OF POETRY Jean-Paul Sartre once said that what distinguishes the writer of poetry from the writer of prose is that the poet "considers words as things and not as signs."1 I think that this claim embodies a deep insight into the nature of poetry, and I want to develop it into a reasonably precise account of what poetry is. The immediate problem (...) that arises from Sartre's view is that it seems mysterious how anyone could regard words as objects without being fundamentally confused. For it is clear that Sartre thinks that the poet regards words as material objects. But a word, or a sequence of words such as a poem, is not a material object. A word or a poem can appear in many places at the same time; it can be inscribed, read, recited, or mentally traversed. The poem "itself" is not identical with any of these particular manifestations. I can burn my copy of Shakespeare's sonnets, but I cannot burn Shakespeare's sonnets; a poem is, in the phrase of Arthur Danto, "logically incombustible."2 Shakespeare's manuscript is lost; the sonnets live on. My recitation of a poem ends, say, at three o'clock, but the poem itself does not cease to exist at three o'clock. If identical objects cannot have divergent properties, then the poem is not identical with any of its particular manifestations. Nor can we identify a poem as the scattered, diffuse object consisting of all its inscriptions or recitations; to do so would be to identify the poem with a (perhaps massive) repetition of itself. A sonnet has fourteen lines, but the set of all the inscriptions ofShakespeare's "Shall I compare thee to a summer's Philosophy and Literature, © 1991, 15: 246-259 Crispin Sartwell247 day" is an item with an extraordinarily large number oflines. The poem itself does not grow as the set of its inscriptions grows. The poem, to repeat, is not a material object; rather, it is that which all the manifestations of it have in common; it is the structure or sequence which all the inscriptions and recitations share in virtue of which they are inscriptions and recitations of the poem. Now I do not intend to tackle the ontological problems surrounding poetry in any full-fledged way; to do so would strand us in extremely rugged metaphysical terrain. The ontological status of a poem might be in some ways analogous to the ontological status of a number, a property, and other purportedly "abstract" objects. And one cannot distinguish works ofpoetry from works ofprose (and, again, the project here is to make such a distinction) ontologically. Moby Dick is logically incombustible, as are, discouragingly enough, government reports. I propose, then, to adopt a familiar way of talking about the poem itself in distinction from its inscriptions, recitations, and mental traversais; I shall term a poem a type of which there are tokens. The tokens are the inscriptions, recitations, and so forth; the type is what these inscriptions and recitations have in common. The type/token terminology was first adopted by Peirce, and has been taken up by Wollheim, among many others.3 In itself, such terminology does little to disperse various ontological problems, but I am going to proceed in the touching faith that such puzzles can eventually be solved, because the theory of poetry I will develop depends on some such distinction being made out. And though the theory could perhaps be reconstructed even on a fairly thoroughgoing nominalism, I am going to treat poems as abstract entities, because as far as I can see, nominalism of the type endorsed by Nelson Goodman, for example, introduces more difficulties than it solves. Goodman identifies inscriptions ofa poem (for example) as items which display sameness ofspelling, which, relative to a system of notation, correspond exactly with regard to the sequence of letters, spaces, and punctuation marks.4 Among other things, this makes poetry (or any linguistic item) impossible to translate into different languages; it even makes it impossible to update, say, The Canterbury Tales into contemporary spelling. Now in fact there are severe and special translation problems... (shrink)

The aim of this book is to help students write mathematics better. Throughout it are large exercise sets well-integrated with the text and varying appropriately from easy to hard. Basic issues are treated, and attention is given to small issues like not placing a mathematical symbol directly after a punctuation mark. And it provides many examples of what students should think and what they should write and how these two are often not the same.

Every word of the Qur'an ensures the understanding of the divine will. The foundation signs in it were created for this purpose. Just like the punctuation marks that ensure the correct understanding of a Turkish sentence, the foundation marks in the Qur'an have assumed the same function. The signs of foundation, which give the opportunity to breathe by interrupting the recitation at the places where the mana is completed, and the signs of ibtida, which provides the recitation (...) starting from the appropriate place for the integrity of the meaning, have a significant importance in the authentic interpretation of the Qur'an. The scholar, who wrote very important works related to the field and brought an independent topic under the name of "Secâvend" to the science of recitation, undoubtedly Muhammad b. Tayfur es-Secavendi. According to him, it is considered obligatory to dwell on the foundation denoted by the remzi (م) in the mushafs. Because when vasl is performed in these places, the nature and meaning of the verse changes. Based on these reasons, a foundation is different from other types of foundations. In this study, the signs of the need for foundation were examined within the framework of the verse integrity, and it was analyzed why Secavendi considered it necessary to make a foundation, taking into account the possible meanings that may occur in the case of vasl. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Few Words Can the Shortest Story Have?Amihud GileadOf the best shortest story, we have only tales. According to one of them, Ernest Hemingway was proud of being the author of a story written in merely six words: "For sale: baby shoes, never worn." He considered this as his best story.1 Interviewing Gary Paulsen, Lori Atkins Goodson heard another version:Probably the best writing ever done was by Hemingway and (...) several other writers—I think it was in North Africa. During a drunken discussion, somebody said that they should write the best and shortest story they could write. They all had stories. Hemingway came up with six words: "For sale: Baby shoes. Never used."... Isn't that great? That's all there is. Six words. There's a book, there's a movie, there's a short story, there's a poem—anything you want to do with those six words, you can do it. It's just amazing what you can do with your words.2I greatly prefer the first version to the second despite its musicality or semi-rhythm. The minor colon is better than the major full stop and the capital letters. The whole story is genuinely minor in tone, and its great power rests upon this tone. "Used" is much less evocative and more commercially practical than "worn." "Used" draws the attention to the shoes, whereas "worn" intimately relates to the dead baby. Yes indeed, these six words can initiate a book, a feature movie, and the like; yet, as you will see below, I prefer to think about a whole world centered around, or arising out of, Hemingway's six words. Whether his six-words story is the shortest ever written is quite a different question, which will not be discussed in this paper.A very short story may comprise more than six words, say, seventeen, [End Page 119] such as the following: "The last man on earth sat alone in a room. There was a knock on the door" ("Knock" by Fredric Brown).3Which of these two stories is the better? The shorter one, Hemingway's story in the first version. Why? Not only because there is not a single superfluous word or, even, a letter or punctuation mark; each word, each mark must be there, each is necessary for the story. Hemingway's six words create or initiate a whole story, actually a universe, of sorrow, bereavement, mourning, solitude, silence, untimely death, despair, loss, and tragedy.4 Thus, each word in this story gets the utmost meaningfulness or significance that a word may have. Hemingway's story shows us a tragic world of dread "in a handful of" six words, each of which is very simple. In contrast, although Brown's story bears a lot of tension and it is quite enigmatic (Who is knocking on the door? God, the Devil, an alien? Or is it simply a hallucination?), it conveys much less in seventeen words than do Hemingway's six. Brown's seventeen words do not create or reveal a world, let alone a universe. They create some tension, perhaps a thrill, possibly an enigma but not a world. There is certainly some puzzle that the reader may attempt to solve, but not much more.Even in this respect, Hemingway's story is more enigmatic: What is the purpose of the sale of this baby's shoes? Is there some hope that what cannot be used for the lost baby will be useful for another, living baby? Or is it the stinginess of the dead baby's parents or relatives? Or is it their poverty that forces them to sell even these little shoes? Or is it their wish not to possess these shoes any longer despite their great significance? Regarding this last possibility, it is more suitable to sell them than to throw them away. In any of these possibilities, the shoes have some value. And the enigma under discussion is certainly tragic in any of these possibilities.In contrast, Brown's story suggests merely a puzzle, not a tragic enigma. Such a puzzle may be found even in pulp fiction, not in fine writing, whereas... (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or (...) determining the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Corcoran, J. 2007. Syntactics, American Philosophy: an Encyclopedia. 2007. Eds. John Lachs and Robert Talisse. New York: Routledge. pp.745-6. -/- Syntactics, semantics, and pragmatics are the three levels of investigation into semiotics, or the comprehensive study of systems of communication, as described in 1938 by the American philosopher Charles Morris (1903-1979). Syntactics studies signs themselves and their interrelations in abstraction from their meanings and from their uses and users. Semantics studies signs in relation to their meanings, but still in abstraction (...) from their uses and users. Pragmatics studies signs as meaningful entities used in various ways by humans. Taking current written English as the system of communication under investigation, it is a matter of syntactics that the two four-character strings ‘tact’ and ‘tics’ both occur in the ten-character string ‘syntactics’. It is a matter of semantics that the ten-character string ‘syntactics’ has only one sense and, in that sense, it denotes a branch of semiotics. It is a matter of pragmatics that the ten-character string ‘syntactics’ was not used as an English word before 1937 and that it is sometimes confused with the much older six-character string ‘syntax’. Syntactics is the simplest and most abstract branch of semiotics. At the same time, it is the most basic. Pragmatics presupposes semantics and syntactics; semantics presupposes syntactics. The basic terms of syntactics include the following: ‘character’ as alphabetic letters, numeric digits, and punctuation marks; ‘string’ as sign composed of a concatenation of characters; ‘occur’ as ‘t’ and ‘c’ both occur twice in ‘syntactics’. However, perhaps the most basic terms of syntactics are ‘type’ and ‘token’ in the senses introduced by Charles Sanders Peirce (1839-1914), America’s greatest logician, who could be considered the grandfather of syntactics, if not the father. These are explained below. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation (...) class='Hi'>marks make the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

This brilliant and engaging critical encounter between Jean-Francois Lyotard and Eberhard Gruber has as its focus a single punctuation mark-the hyphen connecting "Jew" and "Christian" in the expression "Judeo-Christian." While focusing on the nature, meaning, and function of this hyphen, the authors are able to analyze many of the essential differences between Judaism and Christianity, as well as the most significant historical and political consequences of these differences from the Roman Empire to the Shoah. Beginning with a reading of (...) the Letters of Paul, they contrast the Jewish and Christian positions on a variety of issues ranging from emancipation, history, sacrifice, incarnation, faith, law, and sexual difference to the value that is accorded reading, writing, and interpretation within these two traditions. (shrink)

We take em-dash as our sample punctuation mark and examine its usage from a discourse perspective, using sentences from well-known corpora. We particularly comment on how dashes can give hints on information structure, focus, and anaphora. Throughout the paper Discourse Representation Theory is used as a framework.

In this paper, we propose a new approach to absurdity in the context of natural deduction for intuitionistic and classical logic. It combines the aspects of both the logical approach, which treats absurdity as a propositional constant, and the structural approach, which treats absurdity as a structural punctuation mark signalling the dead end of derivations. In particular, we will treat absurdity as an impossible command, that is, a speech act composed of an imperative force indicator, and the false propositional (...) constant, that is, a proposition that cannot be true by definition. In return, we obtain a framework that constitutes a middle ground between the logical and structural approaches. For example, it allows us to consider the ex falso quodlibet rule as a kind of structural rule, specifically, a semi‐structural rule, and at the same time also maintain that negation can be reduced to implication of absurdity, specifically, to its propositional content. (shrink)

In the opening chapter of the Iudicium de Dinarcho Dionysius quotes a passage from the Περì μωνμων of Demetrius Magnes, mat the end of which come the words δ λξις ςτ το Δεινρχου κυρως θικ πθος κινοσα σχεδòν τ πικρí μóνον καì τ τóν το Δημοσθθενικο χαρακτρος λειπομνη το δ πιθανο καì κυρíιυ μηδν νδονσα. [I have deliberately omitted all punctuation marks, because the punctuation of this sentence is still doubtful, though I hope to suggest a possible (...) interpretation of its meaning at the end of this article.] Now there is nothing in this sentence or in the words preceding it to indicate beyond all possibility of doubt the precise meaning ofκυρíως θικ. And in such circumstances, to allow free play to personal prejudices regarding the significance of thephrase is more than dangerous. The whole problem of θικ λξις has been treated too cursorily. If one mentions the phrase to a non-professional student of Greek, who, however, has some acquaintance with the Attic orators, he immediately replies: ‘I suppose you mean the sort of thing you meet in Lysias.’ And he is to beexcused, because, after all, that is the predominant meaning of the term. But it has other senses, and therefore one must fight shy of vague statements like that of Finke, who, after quoting the above lines, comment: ‘Demetrius Magnus attribuit ei τν κυρíαν λξιν qua non sit Demosthene inferior’; or of Burgess, who enumerates qualities, ideas, and topics ‘of special value to the epideictic and court orators, ’ among which appears θοποια which he merely translates ‘impersonation or delineation of character, ’ without offering any further comment. Sandys talks of ‘the ethical warmth of colouring, by which the dullest details are lit up with a fresh life and interest.’ Gromska is even more vague (and seems almost to confuse θς and χαρακτρ: ‘Grammatici antiqui, qui de Hyperide tractabant, de eloquentiae eius genere disputabant, orationum Hyperidearum compositionem et θς respicientes, i.e. quantum in arte rhetorica et oratoria valeret, examinantes.’ In the hope, therefore, of being able to represent the difficulty inherent in these lines, and of attempting to remove it, or at any rate to shed a broader beam of light upon it than has been shed hitherto, I propose to review very briefly the fluctuations of meaning in the life of this phrase and its equivalents, as we find them used in the critical writings of the Greek philosophers and rhetoricians. (shrink)

Pascal's work is punctuated by a paradox. On the one hand, only a handful of the texts that constitute it are explicitly political; on the other hand, it is haunted by a constant political concern. To resolve this paradox, the paper shows that Pascal incites us to rethink the very definition of politics. Emerging on the basis of a double human nature marked by the Fall, violence is an ontological problem that arises from the need to preserve an infinite object (...) for human love. For this reason, its solution lies in affective self-regulation, which makes politics an exclusively behavioralist field that cannot be a part of the intimacy of individuals who belong to another order. Thus, Pascalian politics does no more than serve the same gesture of the divine creation of the human being that keeps him alive to praise God. Pascalian politics is, then, an indirect way of realizing God’s will: its _différance_. (shrink)

A defense of amorality as both philosophically justified and practicably livable. While in synch with their underlying aim of grounding human existence in a naturalistic metaphysics, this book takes both the new atheism and the mainstream of modern ethical philosophy to task for maintaining a complacent embrace of morality. It advocates instead replacing the language of morality with a language of desire. The book begins with an analysis of what morality is and then argues that the concept is not instantiated (...) in reality. Following this, the question of belief in morality is addressed: How would human life be affected if we accepted that morality does not exist? The book argues that at the very least, a moralist would have little to complain about in an amoral world, and at best we might hope for a world that was more to our liking overall. An extended look at the human encounter with nonhuman animals serves as an illustration of amorality’s potential to make both theoretical and practical headway in resolving heretofore intractable ethical problems. (shrink)

Various commentaries on the use of animals in biomedical research and related.

In §93 of The Principles of Mathematics, Bertrand Russell observes that “the variable is a very complicated logical entity, by no means easy to analyze correctly”. This assessment is borne out by the fact that even now we have no fully satisfactory understanding of the role of variables in a compositional semantics for first-order logic. In standard Tarskian semantics, variables are treated as meaning-bearing entities; moreover, they serve as the basic building blocks of all meanings, which are constructed out of (...) variable assignments. But this has disquieting consequences, including Fine’s antinomy of the variable and an undue dependence of meanings on language. Here I develop an alternative, Fregean version of predicate logic that uses the traditional quantifier–variable apparatus for the expression of generality, possesses a fully compositional, non-representational semantics, and is not subject to the antinomy of the variable. The advantages of Fregean over Tarskian predicate logic are due to the former’s treating variables not as meaningful lexical items, but as mere marks of punctuation, similar to parentheses. I submit that this is indeed how the variables of predicate logic should be construed. (shrink)

Resumo: O artigo aborda a interpretação da poesia tardia de Hölderlin feita por Theodor W. Adorno. Seu objetivo principal é demonstrar os passos da análise estética do discurso proferido em 1963 à Hölderlin-Gesellschaft, pontuando a presença da ideia de parataxis. Assim, o artigo divide o procedimento de Adorno em três camadas interpretativas: os conceitos de teor de coisa, lei imanente da configuração e teor de verdade. Primeiro, Adorno busca as referências filológicas e de sociologia da arte para insistir na proximidade (...) de Hölderlin com o idealismo alemão, estratégia empregada para refutar a leitura de Heidegger, então corrente na Alemanha. A seguir, Adorno analisa a configuração poética para demonstrar como Hölderlin tomava parte nos debates filosóficos do período, marcando sua posição e afastando-se da teoria do conhecimento e filosofia da história de Hegel. Por fim, o teor de verdade resgatado da análise estética sugere conceitos já empregados por Adorno em sua filosofia de juventude, como história natural, mas também prepara noções que aparecerão somente na Dialética negativa, obra que responde à crítica da razão formulada pelo próprio autor na Dialética do esclarecimento. A tese central do artigo consiste na transversalidade da ideia de parataxis. Palavras-chave: Theodor W. Adorno; Friedrich Hölderlin; teor de coisa; teor de verdade; parataxis. Verankerung in den Namen, Verharren in den Ideen. Adorno spielt Hölderlin auf. Zusammenfassung: Der Aufsatz geht um Theodor W. Adornos Interpretation von Hölderlins Spätlyrik. Das Hauptziel hier ist es, die Schritte der ästhetischen Analyse der im Jahr 1963 Rede an die Hölderlin-Gesellschaft zu demonstrieren und dabei die Präsenz der Idee von Parataxe zu betonen. So gliedert der Aufsatz Adornos Vorgehen in drei interpretative Schichten: die Begriffe Sachgehalt, immanentes Gesetz der Gestaltung und Wahrheitsgehalt. Erstens sucht Adorno nach philologischen und kunstsoziologischen Bezügen, um an die Nähe Hölderlins zum deutschen Idealismus zu erinnern. Das war eine Strategie, mit der er die damals in Deutschland gängige Heidegger-Interpretation widerlegen ward. Im Folgenden analysiert Adorno die poetische Gestaltung, um zu zeigen, wie Hölderlin an den philosophischen Debatten seinerzeit teilnahm, seine Position markierte und sich von Hegels Erkenntnistheorie und Geschichtsphilosophie entfernte. Der aus der ästhetischen Analyse gerettete Wahrheitsgehalt schlägt zuletzt Begriffe vor, die Adorno in seiner Jugendphilosophie schon verwendet hat, wie etwa den Begriff der Naturgeschichte, bereitet aber auch Begriffe vor, die erst in Negativer Dialektik erscheinen werden, einem Werk, das auf die vom Autor selbst in Dialektik der Aufklärung formulierte Vernunftkritik antwortet. Die zentrale These des Aufsatzes besteht in der Transversalität der Idee von Parataxe. Stichwörter: Theodor W. Adorno; Friedrich Hölderlin; Sachgehalt; Wahrheitsgehalt; Parataxe. Anchor in Names, Persistence in Ideas. Adorno plays Hölderlin. Abstract: This paper deals with Theodor W. Adorno’s interpretation of Hölderlin’s late poetry. It aims to demonstrate each step of the aesthetic analysis of his well-known speech delivered in 1963 to the Hölderlin-Gesellschaft, and punctuates the presence of parataxis’ idea through the essay. Thus, the paper divides Adorno’s procedure into three main concepts: thing content, immanent law of configuration and truth content. First, Adorno asks philology and sociology of art for help to insist on Hölderlin’s closeness to German Idealism, a strategy employed to rebut Heidegger’s version, then current in Germany. Next, Adorno analyses the poetic configuration as to demonstrate how Hölderlin took part in philosophical debates of his time, marking his position out and moving away from Hegel’s theory of knowledge and philosophy of history. Finally, the truth content rescued from the aesthetic analysis suggests concepts already mobilized by Adorno in his youthful philosophy, such as natural history, but also prepares some notions that will appear only in Negative Dialectics, a work known as a reply to the critique of reason formulated by the author himself in Dialectics of Enlightenment. The central thesis of this paper consists in the transversality of parataxis’ idea. Keywords: Theodor W. Adorno; Friedrich Hölderlin; thing content; truth content; parataxis. Data de registro: 01/08/2023 Data de aceite: 24/01/2024. (shrink)

The term ‘sustainability’ is vague and open to interpretation. In this paper we analyze how firms use the term in an effort to make the concept their own, and how it becomes a premise for further decisions, by applying a bottom-up approach focusing on the interpretation of ‘sustainability’ in the Norwegian salmon-farming industry. The study is based on a strategic selection of informants from the industry and the study design rests on: 1) identification of the main drivers of sustainability, and (...) 2) the application of five different discursive strategies to analyze how the firms maneuver to legitimize ‘sustainability’ in their conduct. We employ the Critical Discourse Analysis framework, which emphasizes how discourses provide different concepts of meaning. The sustainability concept is assessed based on how sustainability is brought into action by social actors in a legitimate way, and how this action results in sustainable practices. The empirical case of the study is the verbal justification of sustainability practices among representatives of the Norwegian salmon-farming industry. We aim to find out how these representatives translate the rather vague directives of the sustainability concept into legitimate choices that resonate with the firms’ contextual environment, hence, how the salmon farmers perceive, explore, interpret, explain, enact, and defend the diverse landscape of sustainability when implementing professional decisions. We found a trend of passive adaptation to external requirements, such as public regulations and regulative requirements from certification bodies. At the same time, there are progressive forces that attempt to improve the sustainability of the farming practices by involvement in research and innovation projects or cooperation with other firms, e.g. the contribution from offshore engineers in developing high seas farms. The strategies outlined and discussed cannot be seen as a typology to categorize the firms. More than one discursive strategy may be involved in one firm’s choice, and the strategies may work on different levels. (shrink)

This paper is about the interaction and the intertwinement between history of science as a historical process and history of science as the historiography of this process, taking molecular biology as an example. In the first part, two historical shifts are briefly characterized that appear to have punctuated the emergence of molecular biology between the 1930s and the 1980s, one connected to a new generation of analytical apparatus, the other to properly molecular tools. The second part concentrates on the historiography (...) of this development. Basically, it distinguishes three phases. The first phase was largely dominated by accounts of the actors themselves. The second coincided with the general ‘practical turn’ in history of science at large, and today’s historical appropriations of the molecularization of the life sciences appear to be marked by the changing disciplinary status of the science under review. In a closing remark, an argument is made for differentiating between long-range, middle-range and short-range perspectives in dealing with the history of the sciences. (shrink)

In apparent conflict with the popular conception of veterinarians as animals' best friends, the Veterinarian's Oath, as well as its clarifying Principles of Animal Welfare, imply that animal welfare is entirely derivative from human welfare. This article calls for an explicit alignment of the Oath and Principles with the priority of nonhuman animals.

My point of departure is the observation that people ubiquitously turn to aesthetic practices in response to the loss of a loved one. I argue that profound loss catapults the bereaved person into an alternate “world” that differs in marked ways from the world we usually occupy, an alternate world lacking even the basic coherence we need to function. Aesthetic practices facilitate restoration of coherence to our experience, as well as reconnection with the social world and recovery from the breakdown (...) that profound loss involves. While the aesthetic notion of closure is frequently invoked in connection with the needs of the bereaved, I suggest that while containing the emotions experienced in connection with loss is vital if they are to be processed, unrealistic aspirations toward closure can encourage expectations that harm the bereaved. By contrast, I suggest that the aims of aesthetically punctuating experience and communicating through aesthetic gestures are beneficial for helping the bereaved adjust to their new circumstances. (shrink)

An examination of split-brain syndrome, and whether split-brain patients have two minds.