ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own traumatic (...) experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

Recent work in the theoretical humanities has given increasing importance to what has been termed posthumanism and hypertextuality. For many within the humanities, posthumanism and hypertextuality have become accessible as a result of studies which have interdisciplinarily explored concerns that have evident implications for the humanities interest in aesthetics, ethics, politics, mind, cognition, identity, subjectivity and language. The work of Donna Haraway, N. Katherine Hayles, Elaine Graham, George P. Landow and others has been at the forefront of these (...) initiatives. What perhaps needs to be looked at now is the extent to which the interdisciplinary work that has been built up in this new field (which has been called new cultural theory) is a developing episteme, and how it might affect future ways of writing and thinking in the humanities. The paper proposed attempts to explore how new cultural theory, and especially the digitalist strain in the theoretical humanities, might profitably explore ways of integrating certain key concepts and practices in posthumanism and hypertextuality. Familiarity with the literature of both discourses reveals that while the two have obvious affinities, these have not always been approached in ways which would allow the conceptuality of one field to productively merge with those of the other. What seems to be particularly pressing is some speculation on how thought itself is reshaped through interaction with the new modalities of writing and language, and through attunedness to the potentialities of new posthuman ways of being. For this reason, some reflections will be offered on the implications of present and futuristic practices involving Internet culture and cyborg studies. (shrink)

What can it mean to criticize when you are inside the work itself? In a immersive electronic or digital environment critic is not distanced on a platform based on firm principles. Yet criticism self-awareness and commentary remain possible. This essay examines various techniques for dealing with immersive environments critically.

This article employs Umberto Eco’s 2004 novel The Mysterious Flame of Queen Loana as an exemplar of the hypertextuality of Eco’s semiotic theory. Eco’s project illustrates existential semiotics, providing a corrective to Euro Tarasti. For Tarasti signs reveal possibilities for transcendence in the lived world with ‘omnipresent’ meaning in an enunciative dialogue between signs and a semiotic subject. Tarasti’s existential signs are communicative alerts that illuminate a semiotic subject’s journey of transcendence, creating meaning via infusion of signs with signification. (...) This article forgoes Tarasti’s insistence on transcendence. The vitality of existential semiotic signs is displayed through Eco’s hypertextual approach to semiotics manifested in The Mysterious Flame of Queen Loana. Eco’s insights model an existential semiotic, correcting Tarasti’s pragmatically flawed but theoretically significant undertaking. Our rationale for explicating the scope of Tarasti’s work exemplifies an existential disconnect between information accumulation and signification. We present Tarasti’s project due to its fundamental signification for understanding the importance and vitality for existential semiotics. Existential semiotics illuminates the signifying function of communication in the presence of the ineffable. (shrink)

Drawing on recent work on the nature of the numbering system of the _Tractatus_ and Wittgenstein’s use of that system in his composition of the _Prototractatus_, the paper sets out the rationale for the online tool called__ __ The University of Iowa Tractatus Map. The map consists of a website with a front page that links to two separate subway-style maps of the hypertextual numbering system Wittgenstein used in his _Tractatus_. One map displays the structure of the published _Tractatus_; the (...) other lays out the structure of the _Prototractatus_. The site makes available the full text of the German and the two canonical English translations.__ __While we envisage the map as a tool that we would like a wide variety of readers to find helpful, we argue that our website amounts to a radically new edition of Wittgenstein’s early masterpiece, with far-reaching implications for the interpretation of that text. In particular, we claim that our visually compelling presentation of the book’s overall structure delivers on Wittgenstein’s cryptic claim in a letter to his publisher that it is the numbers that “make the book surveyable and clear”. (shrink)

In the past, no research has been found on onomastics from a mystical perspective in literature. This study investigated onomastics in the tetralogy of novels by Ki Padmasusastra. The main point of view is the meaning of Javanese cosmology. Qualitative methods are used as research guidelines. The primary data are four Javanese novels. Hermeneutic techniques and content analysis are applied to analytical strategies. The results showed that the onomastics in TNKP are symbols of Javanese cosmology. This element of Javanese cosmology (...) has transformed onomastics through three things: the novel title, figure's name and location name. The symbolisation of the onomastic is implicit because it is wrapped in the aesthetics of the literary language. The name structure of each onomastic subsection has no clear meaning because the name element is intended for the sense of 'the other'. Names have an explicit function, namely as hypertextual fragments of symbols that transcend the narrative text structure. An important implication of this investigation is that onomastics can promote the transdisciplinary aspects of religion in international theology in the study of narrative texts. The cosmological transformation of Java can be reflected in various parts of culture, including in novels. TNKP is a cross-disciplinary meeting: fiction, linguistics, mystical, social, cultural and philosophical, contributing to further theological studies.CONTRIBUTION: This article contributes to the purpose of HTS Teologiese Studies/Theological Studies to promote the transdisciplinary aspects of religious studies in the international theological arena of hermeneutic and philosophical studies behind the narrative text. (shrink)

This essay explores the discoved place in human noosphere called as "Cosmos-not-Here," encompassing the speculative realms of science fiction, religious eschatology, and theoretical astrophysics. The content of "Cosmos-not-Here" contrasts with the same of "Cosmos-Here," representing humanity's tangible explorations and mastery of the physical universe. The text delves into how the Cosmos-not-Here operates as a mental construct, offering humanity an imaginative escape into utopian visions and hypertextual narratives, while disregarding the constraints of established physical laws. -/- The discussion emphasizes humanity's innate (...) psychological drive, metaphorically expressed as "forward and upward," linking it to a sacred yearning for cosmic harmony and expansion. This drive manifests culturally in phenomena like Russian aspirations, illustrated by the "Gagarin Smile," and the global fascination with cosmic-themed speculative fiction, games, and spiritual constructs such as astrology. -/- The essay concludes by identifying a universal "Cosmic-We" ethos, characterized by a shared attraction to the cosmos as a concept of transcendence and infinite potential, reflecting humanity's enduring pursuit of meaning beyond the utilitarian confines of terrestrial existence. The analysis reveals the philosophical resonance of this semantic cluster with ancient and medieval cosmologies, suggesting its timeless significance in human thought. (shrink)

This book is a formidably compelling source of insights for those who are interested in subjects ranging from moral philosophy, social justice, hermeneutics and education. It reconciles traditional theories of ethics by re-framing them through hypertextual techniques, bringing together contrasting and contradictory ethical views.

There are two main tendencies regarding the recent Italian translations from Heidegger: on the one hand there is a tendency of making his thought comprehensible to the Italian public by any means; on the other hand there is the determination to render the text so faithfully as to risk stretching the limits of the Italian language – and having to resort to references to the glossary, as is the case of the latest translation of Holzwege. The admirable thinking efforts that (...) also laybehind the attempts in the latter tendency can be better supported by hypertextual electronic publishing. (shrink)

Resumen: Diversos académicos han analizado la influencia de Toynbee y Spengler en la conocida saga Foundation, escrita por Isaac Asimov y considerada una de las más importantes de la ciencia ficción. Sin embargo, nuestra hipótesis es que, si bien existe un cierto diálogo transtextual con los trabajos de ambos autores, es en la obra del historiador griego Polibio, Historias, donde se halla la principal relación de tipo hipertextual. Comparando la anaciclosis descrita por Polibio con la evolución política que Asimov narra (...) en sus novelas, comprobamos que las semejanzas no solo alcanzan a los diferentes sistemas de gobierno, sino incluso a la misma secuencia en que estos se suceden. El resultado es una obra que permite una interesante lectura palimpséstica, enriqueciendo sensiblemente la experiencia del lector con formación humanística.: Several scholars have analyzed the influence of Toynbee and Spengler, in the well-known saga of the Foundation, written by Isaac Asimov and considered one of the most important of science fiction. However, although there exists a transtextual dialogue with Spengler's and Toynbee’s works, our hypothesis is that the main hypertextual relationship must be searched in the work of the Greek historian Polybius, Histories. Comparing the anacyclosis described by Polybius with the political evolution that Asimov narrates in his novels, we can see that similarities not only reach different systems of government, but even the very same sequence in which they happen. The result is a work that allows an interesting palimpsestic reading, significantly enriching the experience of those readers possessing humanistic knowledge. (shrink)

The Internet allows for the efficient dissemination of texts, thereby creating a rich hypertextual environment that is potentially conducive to stimulating the free exchange of ideas in a manner worthy of the modern scholar. However, the fact that any user whatsoever may disseminate texts in this manner presents two distinct problems. First, finding relevant resources on the Internet may take a fair amount of time and, second, once resources are found, determining their reliability is often difficult if the user is (...) not already an expert in the field of the resource under consideration. These problems -- efficiency in searching and academic quality-control -- are surmountable with existing technology, and many laboratories around the world are working hard to shape this technology into a variety of academic information retrieval services. (shrink)

In order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film director Michelangelo Antonioni. From the perspective of this present study, the decisive role of semiotics in relation to photography is that it promotes an interactive process between artist and spectator. The methodology employed (...) in this study to demonstrate how previous systems of language inspire a semiotic dialogue and produce multiple interpretations is a combination of Umberto Eco’s concept of open work and French narratological theories of hypertextuality. Through an examination of the Italian cinematic influence in the work of Miles Aldridge, this paper demonstrates how generating interpretations becomes an essential element of a photograph’s aesthetics. (shrink)

Literary writing in the digital era is evolving using languages that have a much greater dynamic potential than those known hitherto. The very phrase `text processing' implies the notion of writing `in process', which has very recently been joined by another possibility, the unrestricted circulation of texts on networks on a worldwide scale, without spatial limits and in real time. In the arena of writing that is no longer simply textual but hypertextual, literary writing is becoming highly dynamic, intertextual, fragmentary, (...) interactive and playful. In this article the author discusses the implications of digital publishing and warns of the unexpected consequences of replacing the book, entirely or partly, with new instruments and techniques of communication and information. (shrink)

Resumen: Este artículo trata sobre la construcción de significados e interpretación conjunta de la obra literaria por medios digitales. Para ello, se hace una revisión a la realidad digital de la literatura y sus procesos de recepción: la lectura digital no viene determinada tanto por la naturaleza del texto como por el comportamiento del lector digital. Internet ha facilitado la creación de espacios de afinidad en los que los usuarios pueden reunirse en torno a sus aficiones, intereses u objetivos. Se (...) generan, así, comunidades de lectores en los que debaten, analizan y elaboran fanworks que, en suma, conforman el fandom. Desde esta perspectiva, es la comunidad, como inteligencia colectiva, y no el autor, la que establece los límites de la interpretación textual: decide qué es o no canónico. Todo ello permite llegar a la conclusión de que estas prácticas letradas permiten a los usuarios realizar una lectura virtualmente digital caracterizada por la sincronización y socialización de los procesos de comprensión e interpretación textual. Lo realmente interesante es la construcción del fanon pues se genera una lectura multilineal, hipertextual, transmediática, reactiva, y, sobre todo, consensuada.: This article deals with the construction of meanings and joint interpretation of the literary work by digital means. Thereby, a review of the digital reality of literature and its reception processes are made. Digital reading is not determined as much by the nature of the text as by the behavior of the digital reader. The Internet has facilitated the creation of affinity spaces where users can gather around their hobbies, interests or objectives. Thus, communities of readers are generated to debate, analyze and elaborate fanworks that, in short, make up the fandom. From this perspective, it is the community, as collective intelligence, and not the author, that sets the limits of textual interpretation: they decide what is or is not canonical. All of this allows us to conclude that these literacy practices allow users to perform a virtually digital reading characterized by the synchronization and socialization of the processes of comprehension and textual interpretation. The most interesting issue is the construction of the fanon because it generates a multilinear reading, hypertextual, transmedia, reactive, and, above all, consensus reading. (shrink)

The edition of the Nachlass from the early thirties by Michael Nedo and the completion of the "Bergen Electronic Edition" (BEE) have provided Wittgenstein scholars with all the material required to investigate the author's philosophical development starting with his auto-criticism of the "Tractatus" and leading to his later views. Wittgenstein's strategy of dictating from his notebooks and cutting up the typescripts to rearrange paragraphs into sequences of remarks is well documented in Nedo's edition and the BEE provides convenient facsimile access (...) to every page Wittgenstein wrote or edited throughout the process. Some researchers have begun to revise received opinions that were based upon the "books" previously published by the trustees. (Hrachovec 2002, 2004, Kientzler 1997, Nyiri 2002, Pichler 2004, Stern 2002) Yet, the scientific community has barely begun to discover the richness and density of the philosophical endeavor manifesting itself in this material. There has, understandably, been an interest to trace the origin of remarks, well-known from the "Philosophical Investigations", providing some background to Wittgenstein's most popular ideas. Various doctrines of what is becoming known as the "middle Wittgenstein" have been noticed, but they have themselves been perceived as more or less consolidated theories. Wittgenstein's editorial activity has been recognized as a hypertextual undertaking avant la lettre, yet there has been insufficient attention to the philosophical impact of these hypertextual strategies themselves. It is all too easy to be caught by someprovisional result captured on a printed page and to overlook the fact that some of its philosophical significance can only be recognized by considering its genesis. (shrink)

The meditations in this book map out the hypertextual pathways of our global techonological system, looking for its limits and ours, by drawing on the philosophy of German idealism and Homeric and pre-Socratic views on identity, substance, hospitality, and homecoming.

The subject of this article is bibliological reflection on Umberto Eco’s novel. Its storyline is a pretext for asking the questions about the reader’s identity. Is human the sum of all the texts one has read? What is the importance of books for constructing the self? How does the printed text influence its reception, given the location of literature in the context of mass culture? Moreover, the article reflects on the role of illustrations in literature as well as on the (...) way in which illustrations function in a printed text. Furthermore, the article investigates the roles of pictures and their importance for the composition of storyline. Umberto Eco’s novel is seen here as a hypertextual book. (shrink)

Following the much-vaunted ‘death of the author,’ this article investigates the re-emergence of the author's subjectivity (and the relation of this to readers' strategies) in electronic texts. Specifically, it looks at the design of ‘hypertextual transpositions’ — a particular kind of information-intensive hypermedial application presenting a ‘classic’ literary text by providing an electronic version and a series of multimedial added materials that can be used in reading, enjoying, and/or studying the literary text. By closely analyzing a sample of ‘hypertextual transpositions,’ (...) the article seeks to demonstrate the ways in which design considerations in the creation of these electronic artefacts are tantamount to a re-emergence of the author's subjectivity. The technology of ‘hypertextual transpositions’ facilitates devices and reading strategies that are simply not available to traditional print texts. Nevertheless, it will be shown that hypermedial versions of ‘classic’ texts reinstate customary principles of authorship while also introducing some new facets of authorial subjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Space, Place and Capitalism: The Literary Geographies of “The Unknown Industrial Prisoner” by Brett HeinoDavid McLaughlinSpace, Place and Capitalism: The Literary Geographies of “The Unknown Industrial Prisoner” BY BRETT HEINO Singapore: Palgrave Macmillan, 2021I would not be the first to describe Brett Heino’s new book as timely. Its publication in 2021 coincided with the fiftieth anniversary of the first publication of David Ireland’s The Unknown Industrial Prisoner (1971). (...) This experimental novel, centered on a “kaleidoscopic vision” of its characters and their lives, tells the story of a group of workers at the Puroil refinery in a fictionalized part of Sydney. In Heino’s own words, this project emerged from a desire to write about industrialization and representation in Australian fiction. Working primarily as a legal scholar and historian, this work represents his first foray into literary geography.At the heart of Heino’s argument is a question: What does literature know about space? In his pursuit of a spatially-directed reading of The Unknown Industrial Prisoner, Heino eschews work in literary geography that cultural geographers might recognize— particularly the writings of Sheila Hones, the doyenne of an emerging interdiscipline of literary geography, whose practitioners work at the interstices between literary studies and geography. Heino criticizes this interdisciplinary literary geography as being too focused on establishing the “sovereignty” or “imperialism” of fictional space at the expense of recognizing the [End Page 132] role of literature in the world. Arguably, such a stance is a misreading of the thinking within literary geography that “reading literature is essentially an experimental process in which the categorical distinction between the frames of ‘fact’ and ‘fiction’ become blurred,”1 and where the “ontological distinction between literary and non- literary spaces” is undermined.2 Neither of these statements supposes that reading literature is a practice by which the world falls away and nothing remains but the book. Instead, following Doreen Massey’s idea that space is a complicated process of events and happenings, literary geographers in this mold argue that fiction is a part of life as it happens, and reading is a constitutive practice in the co- production of space.In its place, Heino emphasizes a form of literary geographical thinking that understands literature’s role as being separate from, but intimately connected to, the actual world. His theoretical framework is multi-layered, borrowing from Marxist literary scholars, including Terry Eagleton and Fredric Jameson, and Marxist geographers, including Henri Lefebvre. In essence, however, it can be expressed neatly in the following quotation from geocritic Bertrand Westphal:Fiction does not reproduce the real, but actualises new virtualities that had remained unformulated, and then goes on to interact with the real according to the hypertextual logic of interfaces... fiction detects possibilities buried in the folds of the real, knowing that these folds have not been temporised.3I think that Heino’s rejection of what he characterizes as poststructural literary geography, of the kind represented in his analysis of Sheila Hones’s work, misses some opportunities. First, there are similarities between his conception of literary geography and those he leaves aside— not least, their shared acceptance of the productive tension that sits between literature as text and world as practical, non- representational, and exceeding narrative. Secondly, the shared aim of both approaches is to understand how “representation ‘takes place’ and precisely how texts are part of what happens.”4 This is particularly powerful in the light of Heino’s aim to understand the development and contents of literary texts in materialist terms. Despite these areas [End Page 133] of convergence, Heino’s argument that literary geography’s potential to analyze class and political structures remains untapped is well founded. This is where Heino’s contribution is at its strongest.Heino’s work is at its most convincing when he discusses the realities of “abstract space” that both permeate the spaces of The Unknown Industrial Prisoner and structure the very fabric of latter- twentieth century Australia. Running through both Heino’s critique and Ireland’s novel is an understanding “that the inherent drive of capital is towards the creation of a fragmented, homogenised and hierarchised space within which it can produce and... (shrink)

The transformation of the text from the pre-information technology and Gutenberg modes to the model marked by information or digital technology is such that it substantially changes not only the concept of the text but also the nature of philology itself. This paper presents and discusses the problems encountered in producing a digital edition of the Zibaldone Laurenziano, Giovanni Boccaccio’s handwritten manuscript conserved in the Laurenziana Library in Florence (Pluteo XXIX, 8). The Medieval text in general, and even more with (...) the case of a zibaldone-type text, has intrinsic characteristics that clash with the immobility and definitive nature typical of the print text. The digital edition has been defined by Lebrave as the “critical edition of the 21st century.” It can be based on hypertextuality and hypermediality, using the internet as a resource, and is perfectly able to render textual movement, restoring the text to its specific mobility. Il passaggio del testo dalla modalità pre-informatica e gutemberghiana, a quella segnata dall’informatica o digitale è tale da cambiare sostanzialmente non solo il concetto di testo ma anche la natura stessa della filologia. Il saggio presenta e discute i problemi incontrati nel lavoro volto a stabilire un’edizione critica informatizzata dello Zibaldone Laurenziano, manoscritto autografo di Giovanni Boccaccio, conservato alla Biblioteca Laurenziana di Firenze (Pluteo XXIX, 8). Il testo medievale (e ancor più un testo del tipo-zibaldone) presenta delle caratteristiche intrinseche che entrano in contraddizione con l’immobilità e la natura definitiva tipiche del testo a stampa. L’edizione informatizzata, quella che si può basare sull’ipertestualità, sull’ipermedialità e sul ricorso alla rete, quella che Jean-Louis Lebrave ha definito come “l’édition critique au XXI.e siècle” (Lebrave 127), è perfettamente in grado di rendere il movimento testuale, restituendo al testo la sua rigorosa mobilità. (shrink)

The new contexts of literary education allow for the creation of digital reading and writing practices related to what specialised literature calls digital literature. Among these practices and with an eminently theoretical content and with an example of this content, in this paper, we want to focus our gaze on cyberpoetry, conceived as an exercise in literary creativity that firstly involves use of technology and specific software for the digital creation of poetic texts and, last but not least, knowledge and (...) mastery of poetic language and the literary conventions linked thereto. From this point of view, in initial teacher training, we work with future teachers to create cyberpoems with a dual purpose: on the one hand, to reflect on what literary reading in digital format entails and to rehearse reading mediation processes that can be carried out with this type of literature, and, on the other, to begin in the digital creation of cyberpoems that, later, may be presented and worked in a real context of the school classroom. In this paper, we present digital practices of literary reading that have been created by student teachers in initial training. The creation of these practices has been carried out with the Genially tool. For data collection, the URL of each creation is accessed in order to analyse them. The analysis of the data follows the parameters of the qualitative methodology, specifically based on three categories of analysis for each digital creation: multimodality, hypertextuality and the interaction of each digital reading proposal. The conclusions of all this allow us to affirm that the creation of cyberpoems is an exercise in literary creativity that has to take into account the digital dimension of the literary text and its reading comprehension in a multimodal environment. Thus, the teacher in initial training carries out a digital literary mediation exercise, of a creative type, which he will later carry out in his pedagogical practice. (shrink)

Steven Tötösy de Zepetnek discusses in his paper “New Media Technology, Interculturalism, and Intermediality” the importance of new media technology and the concept of intermediality with regard to the relevance of interculturalism in today's society. Intermediality refers to the blurring of generic and formal boundaries among different forms of cultural practices and in the field of pedagogy. The trajectories of intermedial spaces, actions, and processes of types of new media including the world wide web, hypertextuality, online publishing, blogs, interactive (...) media, etc., suggest possibilities and potentials to work toward interculturalism. Interculturalism is understood as a practice of social life including government at all levels, education and pedagogy, as well as all instances of every-day life towards active recognition and inclusion of the Other and a commitment against essentialisms. In this process, the potential roles of new mediasuggest as of yet un-tapped resources and possibilities. (shrink)

In an ironic rejoinder to the postmodern politics of nature, I will adopt an anthropological perspective on culture, which is conspicuous by its absence in the latest wave of science studies, and reformulate the distinction between nature and culture as a reflexive distinction within culture that emerges with modernity. In order to countering the hypertextualism of the constructivists, I will next sketch out a realist theory of nature. Combining the transcendental realism of Roy Bhaskar with the transcendental phenomenology of Edmund (...) Husserl, I will then try to outline the contours of a realist phenomenology of the ontological regions of physical, animal and human nature. Resuming my anthropological considerations on culture, I will finish the article with a progressive account of how the opposition between regional ontologies and regional typologies could be overcome. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Cambridge Companion to Wittgenstein ed. by Hans Sluga, David G. SternDouglas G. WinbladHans Sluga and David G. Stern, editors. The Cambridge Companion to Wittgenstein. Cambridge: Cambridge University Press, 1996. Pp. ix + 509. Cloth, $59.95. Paper, $18.95.There is a disconcerting lack of agreement about how to interpret Wittgenstein’s texts. The introduction and fourteen essays in this book are cases in point. Stern claims that the phenomenon is (...) due largely to the fact that Wittgenstein’s writings call for a radical change in philosophical sensibility, a change to which there continues to be considerable resistance. He also notes that most of Wittgenstein’s posthumous publications are the result of massive editorial interventions, and that much of his work remains unpublished. The electronic edition of the entire Nachlass, Stern argues, will reveal that Wittgenstein’s writings as a whole constitute a highly interconnected network of remarks—a hypertext. In a similar vein, Sluga suggests that Wittgenstein’s philosophical trajectory reflects the larger cultural shift in this century from modernism to postmodernism. The postmodern, hypertextual aspect of Wittgenstein’s thinking is nowhere better embodied here than in Cavell’s reflections on the importance of context in deciding whether some behavior counts as language use. Cavell’s remarks reproduce and comment on his own lectures on the opening sections of Philosophical Investigations, sections he reads as a commentary on a passage in Augustine.A closely related theme in the essays concerns the status of Wittgenstein’s attempt to avoid replacing older philosophical theories with new ones. Garver maintains that Wittgenstein’s notion of grammar provides a powerful rebuke to speculative or scientific metaphysics, but not to descriptive metaphysics. Glock argues in turn that Wittgenstein’s distinction between grammatical and empirical propositions does not fall prey to Quine’s attack on analyticity. One wonders whether this distinction is purely descriptive. And even if one grants Glock’s claim that grammatical rules are unfalsifiable, how does one decide whether a particular remark about these rules is mistaken? We cannot pass judgment on what for Garver is Wittgenstein’s genuinely critical enterprise without addressing these issues.Doing so also requires us to assess Wittgenstein’s closely related treatment of rule following. Stroud rejects Kripke’s account of this material, claiming that what the relevant passages actually show is that that no explanation of how language in general—and meaning and normativity in particular—is possible. Stroud holds that this conclusion can be felt as dissatisfying. But is it a theoretical conclusion? And why not find it liberating, as Wittgenstein apparently did?Fogelin also emphasizes Wittgenstein’s antitheoretical animus, taking issue with Dummett’s view that Wittgenstein is advancing a use theory of meaning and an antirealist philosophy of mathematics. Like Fogelin, Gerrard challenges Dummett’s view of Wittgenstein’s treatment of mathematics, insisting that for Wittgenstein, truth is not a matter of human agreement. But Gerrard does not tell us what Wittgenstein believes truth is. The question whether there is anything he thinks it is deserves further attention.Some contributors impute to the later Wittgenstein what are clearly theoretical [End Page 643] stances. Bloor argues that what he takes to be Wittgenstein’s linguistic idealism arises from certain sociological assumptions. And Kober attributes a “collective-linguistic idealism” to Wittgenstein on the grounds that the latter thinks that the truth conditions of a sentence depend on, or are part of, its utterance conditions. But, as several of the other essays make clear, it is debatable whether Wittgenstein would agree.A few authors discuss in detail the nature of philosophical theorizing in the early Wittgenstein. Summerfield offers an interpretation of what she takes to be the theory of representation in the Tractatus. She allows, however, that Wittgenstein tells us that one cannot represent the connection between a name and its referent. Ricketts, on the other hand, stresses that the so-called picture theory appears to imply that there can be no such theory. Yet his reading does not abandon the conception of truth as agreement with reality. It is unclear to me that this conception survives the implosion of the text as a whole. Why not kick the entire ladder away... (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

The article considers the issue of legal discourse evolution in the context of today’s civilization informatization in the postmodern era and intercultural dialogue which determines the understanding of fundamental judicial notions relative to the consciousness of an individual as a subject of legal and economic operations, as well as an implementer of social-economic and cultural rights. Given that the Internet environment in the 21st century is characterized by hypertextual discourse, this raises the matter of differentiation between objective and axiological scientific (...) knowledge contributing to a deeper understanding of the universe. The principles of further research in different scientific fields in the context of their social and socialization role in the information society are perceived as the coevolutionary basis of the informational civilization. Also noteworthy is the functional structural analysis of terms’ extraction from the symbolization of the language system, the prospective analysis of legal terms’ functioning, the study of their formal and semantic structure, the classification of legal sublanguage terms and the adjustment, unification and standardization of the term-based system. (shrink)

We live in a digital era, which can be described in various aspects: the digitalization of analogue information storage, the emergence of web society, the replacement of the vertical mass communication model with horizontal social networks, the decrease in the influence of traditional media. The article deals with the main characteristics of the digital era: interactivity, momentariness, hypertextuality, and convergence. The discussion of social network phenomenon and traditional media crisis serves in revealing the following relevant issues of the information (...) space: the information content creation, dissemination, economic models, and changes in consumer behaviour. The oppositions between information reliability, freedom of speech, sociability and individuality are highlighted. (shrink)

The article examines the transformational process in the philosophy of education driven by digitalization, which necessitates a critical re-evaluation of traditional epistemological and ontological categories. The study addresses the dichotomy between classical educational paradigms and emerging approaches that respond to digital innovations. This research aims to analyze the impact of digital technologies on the structure of knowledge, educational institutions, and cognitive interaction methods. It applies poststructuralist and relational analysis methods to conceptualize knowledge as a contingent and variable phenomenon. By employing (...) a multi-discursive approach, the study demonstrates how digital media not only reshape the learning process but also alter the nature of knowledge itself. The relevance of this research is underscored by the context of epistemological relativism that arises in the era of educational virtualization.The study finds that knowledge no longer operates as a static logos but takes on the form of a fluctuating, networked substance, interacting with the subject through multichannel simulations. Traditional educational hierarchies give way to hypertextual and multi-agent forms of knowledge transmission, where the authenticity and credibility of knowledge increasingly depend on dynamic algorithmic and simulacral constructs. The practical significance of this work lies in defining new axiological imperatives for education that focus on enhancing adaptability and critical reflexivity in the learner. The study proposes heuristic methods designed to foster cognitive resilience against informational entropy and to cultivate “flexible thinking” capable of navigating the evolving digital environment.In conclusion, the study emphasizes that the philosophy of education in the age of digital expansion undergoes profound ontological and epistemological changes, transforming the learning process into an interactive and multidimensional phenomenon. Knowledge loses its stability, evolving into a series of cognitive impulses that continually shift in form and structure. This evolution calls for the formation of a new type of educational subject, capable of integrating and critically navigating virtually dispersed informational environments. Accordingly, the article offers a foundational analysis and innovative approaches to the philosophy of education, reflecting the integration of digital technologies as the basis of the contemporary cognitive process, and highlights the importance of harmonizing technocratic and humanistic elements in the educational discourse. (shrink)

In this paper, translation engages not only with metaphors, but the ‘consistent multiplicity’ (Alliez & Feher 1986: 41) of figures of speech that intersemiotically animate Australian artist Brett Whiteley’s (1939-92) verbal and pictorial language. The aim is to address some ‘formative questions […] concerning language, medium and meaning’ (Harrison 2004: 5) by studying the rhetoric devices featuring in two texts: a letter written by Whiteley to his mother in 1979, and the painting Art, life and the other thing (1978). The (...) letter and the painting intersect in a series of hypertextual links, and map language nomadism across words and images. The comparative analysis of Whiteley’s painting and letter displays that the translating process is deeply influenced and sometimes completely transformed by the concurrence of heterogeneous elements. Pictures and words relate to each other: when translation enters, the text is completed. (shrink)

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is also (...) often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

In this paper we will suggest that a hypertextual representation of the text allows us to show different temporal layers of reading and lets us add new ones. We use the notion “layers of reading” as a metaphor to explain how, historically, each reading of a text creates a new layer, an independent “stratum of meaning” -to use a geological term-, that is superimposed to a previous reading. We think the digital edition and the digital reading could create a philosophical (...) methodology, based on the awareness of the historical construction of each layer of reading. (shrink)

The notion of authorship has been widely discussed since the proclamation of the Death of the Author in mid 20th century. Authors are still writing, but a variety of new forms of authorship and new kinds of relations between authors, texts and readers have emerged. Many new forms of authorship are enabled by the use of digital media, which provide a new layer of hypertextual and interactive software in between the ‘author’ as a representation of the human creator and the (...) author as an indexical reference to a text. The paper present a number of these forms which are based on the use of ‘avatars’ as intermediaries between the human individuals and the stories told. It is argued that the use of digital media opens for new trajectories in the development of authorship forms, and that such new trajectories calls for new sorts of research questions and development of new methods. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under (...) conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

This article examines the subjective structure and genesis of personal identity in (some of) Kierkegaard’s pseudonymous writings. Based on a structural analysis of self-awareness (here, in particular, the category of existential becoming, the social embeddedness of the individual and the irreducible fact of mediation of personal identity), the main thesis is that, according to Kierkegaard, personal identity can best be described as a constant interweaving of hypertextual and intertextual layers. Accordingly, the central metaphor of palimpsest is used in order to (...) account for the self-relation as an overwriting process, realized by a constant self-reinterpretation of the individual. The article focuses on certain structural, existential, hermeneutic, and semiotic key aspects of such an interpretation. (shrink)

Radio art evolves due to technological changes. Radio drama is becoming an interactive piece of artwork which exists on the borderland of genres. An interactive audio play uses characteristic features of the classical radio art and unites them with the hypertextual structure. Due to these modifications, there emerges not only a new type of audio play, but also a lot of alternative ways of listening and interpretation. The aim of the article is to present interactive radio drama Alicja 0700, its (...) genre’s determinants in reference to the idea of “the open work”. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This paper examines some textual devices that writers may use to pre-structure the activities of their readers. HyperText Markup Language (HTML) is used as an 'explicating device' to explore how writers can provide reading instructions, and how these can be experienced by readers. Structuring devices like paragraphs and sections, and hypertextual elements like notes and references are investigated in detail. In this way, the paper aspires to contribute to 'an ethnomethodology of textual practices'.

The article is dedicated to the memory of Kostiantyn Dmytrovych Ushynskyi (1823-1871), an outstanding Ukrainian teacher-philosopher, founder and developer of the theoretical foundations of education based on the cooperation of pedagogy and psychology (the middle of the 19th century). In general, the purpose of the article is to update the scientific achievements of prominent compatriot. The article’s goal is detailed in such tasks: the assertion of Ukrainianness as the source or origin of K. Ushynskyi’s personality and creativity; the substantiation of (...) the features of his life philosophy, mentality (the priority of the value of the human soul, heartcentred meaning of human being in the comprehension of life; high personal emotionality, but subject to will; love for the native foundations), which total combination nourished the thinker’s ideas about pedagogical anthropology; substantiation of the peculiar intertextuality of the K. Ushynskyi’s book “Man as an object of education. An attempt at pedagogical anthropology” (1868–1869); an attempt to characterize the worldview and philosophical meanings of K. Ushynskyi’s construction of the psychological and pedagogical foundations of the educational process (cultural conformity, nature conformity, activity as the basis of education), which remains not only the historical heritage of Ukrainian humanitarian thought, but also a variant of an anthropologically sharpened worldview landmark for modern educators. It has been established that in the documentary substantiation of K. Ushynskyi’s belonging to Ukrainian culture, the contribution of the modern local historian and teacher V. Terletskyi became the most important. It is shown that the appeals made by K. Ushynskyi to the thoughts, ideas, opinions of numerous European scientists, writers, historical figures, polemics and dialogues with them on the pages of the book ensured the transition to the creation of a text as a stereophonic intersection with other texts. The author of the article tries to substantiate this feature of the book as a kind of intertextuality of the analyzed scientific work. (shrink)

La integración de libros electrónicos como elementos destinados a favorecer la construcción de aprendizajes en los procesos educativos, supone una serie de conocimientos previos concernientes a las tendencias hipertextuales del e-book que los estudiantes universitarios deberían poseer, dadas las características de la sociedad actual en la que los jóvenes hacen uso cotidiano de ese tipo de tecnología para llevar a cabo diversas tareas. En ese tenor, el presente trabajo da cuenta de una investigación realizada con una población estudiantil de la (...) Carrera de Cirujano Dentista, cuyo objetivo se encaminó a identificar aquellos elementos involucrados con la adopción del libro en formato electrónico como apoyo didáctico para la asignatura Metodología de la Investigación. (shrink)