We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

Throughout what is now the more than 50-year history of the computer many theories have been advanced regarding the contribution this machine would make to changes both in the structure of society and in ways of thinking. Like other theories regarding the future, these should also be taken with a pinch of salt. The history of the development of computer technology contains many predictions which have failed to come true and many applications that have not been foreseen. While (...) we must reserve judgment as to the question of the impact on the structure of society and human thought, there is no reason to wait for history when it comes to the question: what are the properties that could give the computer such far-reaching importance? The present book is intended as an answer to this question. The fact that this is a theoretical analysis is due to the nature of the subject. No other possibilities are available because such a description of the properties of the computer must be valid for any kind of application. An additional demand is that the description should be capable of providing an account of the properties which permit and limit these possible applications, just as it must make it possible to characterize a computer as distinct from a) other machines whether clocks, steam engines, thermostats, or mechanical and automatic calculating machines, b) other symbolic media whether printed, mechanical, or electronic and c) other symbolic languages whether ordinary languages, spoken or written or formal languages. This triple limitation, however, (with regard to other machines, symbolic media and symbolic languages) raises a theoretical question as it implies a meeting between concepts of mechanical-deterministic systems, which stem from mathematical physics, and concepts of symbolic systems which stem from the description of symbolic activities common to the humanities. The relationship between science and the humanities has traditionally been seen from a dualistic perspective, as a relationship between two clearly separate subject areas, each studied on its own set of premises and using its own methods. In the present case, however, this perspective cannot be maintained since there is both a common subject area and a new - and specific - kind of interaction between physical and symbolic processes. (shrink)

In recent years, the relationships between systems of symbolic representations and cities have given rise to an often rich and stimulating consideration among various specialists in human sciences, namely, historians, anthropologists, semiologists and sociologists, among others. Urban conglomerates can no longer be conceived as simple assemblages of more or less functional constructions. The city is as much a mental concept as it is a physical reality. It is made up of images that give it a meaning. It does not exist (...) independently of the sum of subjective interpretations that are continually made by its inhabitants. Our Western perception of the city may be influenced by romanesque literature or the memory of a painting, in other words, by imaginary worlds. It varies according to individual memory: each of us is attached to the different urban spaces of his souvenirs, emotions arising from family history or the duration of a lifetime. These personal projections are all the more important because they command a certain number of daily actions and furnish a framework of orientation to every citizen. They contribute to giving a moral quality to urban space and transform physical objects into concepts, into more or less determined signs. (shrink)

Introduces the problem of the symbolic structure of physics, surveys the modern history of symbols, proceeds to an epistemological discussion of the role of symbols in our knowledge of nature, and addresses key issues related to the methodology of physics and the character of its symbolic structures.

본 논문은 주자가 사용했던 상징부호들을 추적해가면서 기존에 주목하지 않았던 주자 천도론의 주제를 새롭게 구성하려는 의도를 지니고 있다. 주자의 천도론 속에서 도입된 상징은 의인화의 형태를 띠거나 우리가 대자연 속에서 쉽게 접할 수 있는 동물의 형태로 가시화되어 있다. 가시화되어 있는 상징은 대부분 정체성보다는 ‘동태성’의 특징을 지니고 있다. ‘사람과 말’의 상징은 사람의 역할이 지니는 비중의 대소 여부에 따라 상이한 해석으로 발전하게 되었다. ‘사람과 말’의 상징은 吳澄에 의해서 ‘활시위와 활’의 상징으로 이해되었고, 曹端에 의해 ‘活人과 말’로 상징으로 이해되었으며, 退溪에 이르러서는 ‘사람과 말’의 상징이 약화되어 ‘理의 (...) 體用’이론으로 대체되었다. ‘시냇물의 유행’은 도가 만물을 통해 발현하는 도체유행을 상징하고 있으며, 이 상징은 ‘體相用’의 구조를 지닌다. 형이상자인 본체는 작용을 지니고 있는데, 이 작용은 ‘형체’를 통해서 또는 ‘형체와 함께’ 유행발현한다. 따라서 ‘시냇물’은 도체가 형상을 입어 발현하는 형태이므로 ‘도체유행’ 자체를 상징한다. ‘솔개와 물고기’의 상징은 솔개가 하늘로 비상하고 물고기가 연못에서 뛰어노는 기상은 천도의 운행이 지닌 역동적인 세계관을 상징하는 동시에 사람이 수양을 통해 다다른 도체유행의 경계를 상징하고 있다. 명대의 薛瑄과 우리나라의 퇴계는 모두 이 상징이 지니는 수양의 경계를 강조하였고, 특히 퇴계는 이 도체유행을 ‘敬’ 공부를 통해서 다다를 수 있는 하나의 경계로서 이해하였다. 이 상징들은 그 의미가 ‘천명의 유행’과 ‘도체의 유행’의 영역 안에서 드러나고 있다는 점에서 천도론의 역동적인 세계관을 대표하고 있다. ‘사람’, ‘시냇물’, ‘솔개’, ‘물고기’는 천도유행의 능동성, 주재성, 역동성, 발현성, 가시성, 자연스러움을 포괄한다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Athenian Democratic Ideology and Herodotus' HistoriesSara ForsdykeIt is an oft-repeated refrain in studies of Athenian politics that we have no ancient treatises that systematically describe Athenian beliefs about the value of democracy.1 Although we can reconstruct some democratic values from the institutions and practices of the Athenian state, scholars have had to rely on elite writers such as Thucydides, Plato, and Aristotle, or on the more allusive references in (...) Athenian drama in order to get at the positive tenets of democratic political theory. Recently, oratory has been shown to be a valuable source for democratic political values. Great progress has been made in elucidating Athenian political thought and ideology from all these sources.2In this article, I wish to point to a rather neglected source for Athenian democratic ideology, namely Herodotus' Histories. While parts of the Histories (especially the constitutional debate) have been studied for Greek political thought, less has been made of the Histories as a source for Athenian democratic political beliefs.3 I argue that democratic [End Page 329] political values form the background against which several of Herodotus' narratives resonate and that thus these narratives may provide fruitful ground from which to extract some central themes, symbols, and ideas of Athenian democratic ideology.Herodotus' narratives dealing with Athens are the obvious place to look for signs of Athenian political values, since they ultimately derive from Athenian sources. Yet full utilization of these narratives as a source for democratic beliefs has been hampered by the view, argued by Jacoby and accepted by many current historians, that Herodotus relied primarily on the aristocratic family traditions of the Alcmeonidae for his Athenian narratives and hence that his narratives do not reflect the beliefs of the Athenians as a whole but only those of a particular aristocratic family.4 [End Page 330]This view has been challenged, most recently by Rosalind Thomas in her pathbreaking study of the nature of oral traditions in archaic and classical Greece. Thomas argues that Herodotus' Histories, and in particular his account of the liberation of Athens from the Peisistratid tyranny, reflects a wide variety of traditions, including popular or polis traditions as well as family ones. Certain elements of Herodotus' account, she argues, are decidedly unflattering to the family of the Alcmeonidae and can only be explained by Herodotus' utilization of non Alcmeonid and, in particular, wider polis traditions.5Thomas's revisions of the dominant view of Herodotus' versions of Athenian history open the way for a new evaluation of Herodotus' narratives as a source for polis traditions, or widespread Athenian beliefs about their history and the origins and nature of their political system.6 Furthermore, since these polis traditions were orally transmitted, and oral traditions are shaped by the values of the group that transmits them, they should reveal the values of the fifth-century Athenians from whom Herodotus heard them.7 Herodotus' narratives about early Athenian history, therefore, can be used as a source for widespread, fifth-century Athenian political beliefs and values, as well as partisan family traditions.8In the first part of this article, I argue that comparison of Herodotus' use of the verb in his Athenian narratives with the occurrence of this word in Athenian dramatic and historical texts reveals that this was a key term in the Athenians' understanding of the value of democracy. Specifically, I argue that the word was used by the Athenians to describe the forceful subjection of a people by a tyrant and was associated with Athenian ideas about the weakness of societies ruled by [End Page 331] a tyrant in contrast to the strength of free societies with a democratic political system. In the second half of this article, I argue that the theme of tyranny/civic weakness versus democracy/civic strength underlies Herodotus' presentation of some non-Athenian narratives. In particular, I argue that structural and thematic parallels between the conversation between Xerxes and Demaratus in the Histories and the conversation between Atossa and her messenger in Aeschylus' Persians reveal that the contrast between tyranny and freedom in the Demaratus episode is derived from Athenian democratic ideology.Athenian Democratic Ideology in Herodotus' Athenian NarrativesHerodotus' first... (shrink)

Research in archaeology and anthropology on the evolution of modern patterns of human behavior often makes use of general theories of signs, usually derived from semiotics. Recent work generalizing David Lewis’ 1969 model of signaling provides a better theory of signs than those currently in use. This approach is based on the coevolution of behaviors of sign production and sign interpretation. I discuss these models and then look at applications to human prehistoric behavior, focusing on body ornamentation, tools, (...) and other artifacts. (shrink)

Language is the species-specific human version of the animal system of communication. In contrast to non-human animals, language enables humans to invent a plurality of possible worlds; reflect upon signs; be responsible for our actions; gain conscious awareness of our inevitable mutual involvement in the network of life on this planet; and be responsibly involved in the destiny of the planet. The author looks at semiotics, the study of signs, symbols, and communication as developing sequentially rather than (...) successively, more synchronically than diachronically. She discusses the contemporary phenomenon that people in today's society have witnessed and participated in, as part of the development of semiotics. Although there is a long history preceding semiotics, in a sense the field is, as a phenomenon, more "of our time" than of any time past. Its leading figures, whom Petrilli examines, belong to the twentieth and twenty-first century. Semiotics is associated with a capacity for listening. This capacity is also the condition for reconnecting to and recovering the ancient vocation of semiotics as that branch of medical science relating to the interpretation of signs or symptoms. The pragmatic aspect of global semiotics studies the impact of language or signs on those who use them, and looks for consequences in actual practice. In this respect, Petrilli theorizes that the task for semiotics in the era of globalization is nothing less than to take responsibility for life in its totality. (shrink)

Determinismus und Indeterminismus in der modernen Physik is one of Cassirer’s least known and studied works, despite his own assessment as “one of his most important achievements”. A prominent theme locates quantum mechanics as a yet further step of the tendency within physical theory towards the purely functional theory of the concept and functional characterization of objectivity. In this respect DI can be considered an “update”, like the earlier monograph Zur Einsteinschen Relativitätstheorie: Erkenntnistheoretische Betrachtungen, to Substanzbegriff und Funktionsbegriff, a seminal (...) work considering only classical and pre-relativistic physics. But how does DI cohere with the three volumes of The Philosophy of Symbolic Forms providing a systematic survey of symbolic meanings in diverse aspects of culture, each with its own mode of “objectification” via self-created signs and images? Cassirer’s “phenomenology of cognition” via distinct types of symbolic form locates Dirac’s Principles of Quantum Mechanics as an exemplar within physical theory of purely symbolic thought, a realm of pure relations and their correlated meanings. In particular, Dirac’s characterization of the new notion of “physical state” in quantum mechanics by a “symbolic algebra of observables” severed from particular representations points to a limiting pole of the Bedeutungsfunktion, the third and highest mode of symbolic formation. (shrink)

In der 1970 gegr ndeten Reihe erscheinen Arbeiten, die philosophiehistorische Studien mit einem systematischen Ansatz oder systematische Studien mit philosophiehistorischen Rekonstruktionen verbinden. Neben deutschsprachigen werden auch englischsprachige Monographien ver ffentlicht. Gr ndungsherausgeber sind: Erhard Scheibe (Herausgeber bis 1991), G nther Patzig (bis 1999) und Wolfgang Wieland (bis 2003). Von 1990 bis 2007 wurde die Reihe von J rgen Mittelstra mitherausgegeben.

The article is an inquiry into the contribution that choreology made to the Russian/State Academy of Artistic Sciences (GAKhN) as both an institutional and research project. Choreology was a new discipline that Aleksei Sidorov and Aleksandr Larionov created following up Vassily Kandinsky’s idea that dance and, more widely, the art of movement, should be a subject of scholarly and scientific investigation. In his capacity as the academic secretary of GAKhN, Sidorov founded the Choreological Laboratory (1922–1929), and Larionov served as its (...) head. Both took an active part in movement analyses, made sketches and notes, and used photography to capture dance movements and to create a system of dance notation. Their search was informed by Allgemeine Kunstwissenschaft, and especially by Heinrich Wölfflin; at the same time, their interest in dance notation grew from their search for occult signs and symbols. In Sidorov’s notes and sketches from the 1920s, one can see the process of making signs for a language of dance notation. The attempt by the Russians to schematize movement and find an abstract language for dance paralleled an effort by the Central-European choreographer and dance theoretician, Rudolf von Laban. A unique and only half-realized project, choreology was a valuable contribution to the new “artistic sciences.”. (shrink)

The ancient Thracian megalithic and stone-hewn sacred places are full of symbols closely connected with the Thracian mythology and ancient cult practices which were typical for this area. Among them the most numerous are the huge stone-hewn human footprints, which in Bulgarian folklore were regarded as the footprints of the hero Krali Marko, who was thought of as the guardian of the people in Bulgaria. In the contemporary science studying Thrace he is believed to have been the folklore successor (...) of the Thracian Dionysus.Marking the sacred place with a stone-hewn footstep altar of the hero was authentic evidence for the believers in ancient times that the god had been there in primordial mythological times. In this way, through the contact with the divine, the monumental rock turns into sacred and the place turns into a sanctuary. The raw becomes boiled, Nature becomes culture. With the establishment of Christianity as the sole religion in the Roman Empire since the 4th century, some of the Thracian megalithic sanctuaries have been abandoned. Others have been Christianized. Later, others in the Middle Ages were converted into Islamic sacred places. In this way they became permanently sacred places on the Balkans. Part of the signs-symbols in them have a new meaning in the spirit of the new religions.Key words: anthropology; history of culture; religion; mythology; archaeology. (shrink)

Many secret signs and symbols area associated with the Yoruba as we have it amongst many tribes in Nigeria. Some of these signs and symbols have deep meanings and have connotations amongst the tribe. They form the everyday language of the people and a thorough understanding of them is key in their relationship with one another as a people. The objective of this study is to express the cultural connotations of selected symbols in relation to (...) the Yoruba people of Nigeria. The study hinges on the theories of Mimesis, Structural Formalism and Semiotics. This was validated through ethnographic study of symbols such as art, architecture, clothing, body marks and decorations among others to discover deep and hidden information about cultural beliefs and assumptions among the people under study. Pertinent literatures were reviewed, interviews were conducted, information was sourced from the internet and personal experience was explored. The study points out to the fact that a lot of deep and secret meanings are attached to the selected signs and symbols. The paper concludes that meanings expressed are generally accepted by a host of the Yoruba people; however, there could be slight differences in belief system from one locality to another. The paper had contributed to the pool of knowledge by bringing unknown and hidden meanings of selected signs and symbols of the Yoruba people to limelight. The paper recommends that signs and symbols commonly used in communication among the Yoruba people of Nigeria should incorporated into the curricula of schools; especially Yoruba as a subject and taught to preserve the tradition from extinction. It is also recommended that folklores, mythology and oral tradition be encouraged among younger generation so as to preserve cultural values. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 208 Seiten: 167-176.

What does it mean to drive a Cadillac? What does 'cuckoo' suggest about the bird? -- two examples explored in this investigation of the history of language signs and of what philosophers, linguists, and others have had to say about them. Rudi Keller shows how signs emerge, function, and develop in the permanent process of language change. He recombines thoughts and ideas from Plato to the present day to create a new theory of the meaning and evolution (...) of icons and symbols. By assuming no prior knowledge and by developing his argument from first principles, Rudi Keller has written a basic text which includes all the necessary features: easy style, good organization, original scholarship, and historical depth. This is a non-technical book which will interest linguists, philosophers, students of communications and cultural studies, semioticians/semanticists, sociologists, and anthropologists. (shrink)

By providing symbolic (operates by means of signs) and intuitive (operates without signs) types of cognition, G.W. Leibniz in the “Reasoning about cognition, truth and ideas” laid the foundation for the problem of visibility discussions in 18th century. Proceeding from Leibniz’s ideas, Chr. Wolff in the “German metaphysics” built a detailed doctrine about figurative and contemplating cognition, giving priority in the field of application and the degree of clarity to the first type. Wolff’s doctrine almost immediately became classic (...) and found a lot of supporters. J.G. Darjes and G.F. Meier moved the metaphysical distinction of cognition distinctions to logic. A.G. Baumgarten in the “Metaphysics” offered a new criterion of symbolic and intuitive cognition distinction. J.N. Tetens scrutinized the opposition of symbolic and contemplating cognition from the point of a priori and a posteriori opposition. J.H. Lambert in the “New Organon” brings the interest back to the figurative cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Materialism and Aesthetics: Paul de Man’s Aesthetic IdeologyJonathan Loesberg (bio)Declaring theories dead is an old and venerable method of declaring an end to our need to read them. As a result, theories die these days with dizzying frequency. It took most of the nineteenth century before Benedetto Croce declared what was dead in Hegel, and at least he intended to recuperate what he declared to be living. At the (...) 1996 MLA convention, in the space of only a couple of sessions, I heard both new historicism and cultural studies declared dead. Compared to Croce’s somewhat resigned attitude to Hegel’s mature demise, one must mourn the first theory, cut down suddenly in its vibrant adolescence, and the absolute infant mortality of the second. But surely the deadest of all dead theories is deconstruction. Indeed deconstruction must be dead, since its death has been declared with roughly the same frequency with which old vampire movies declare the death of the protagonist, who we know will nevertheless dependably arise for the next installment. Paul de Man, in particular, considering the regularity with which he is declared dead, threatens to become our most undead theorist. Certainly, he has published far more prolifically since his seeming demise in 1983 than he did prior to it. He made a prominent postmortem appearance when his World War II collaborationist writing emerged, and for a period, it became all but impossible to write about his later literary theoretical work without addressing these fifty-year-old newspaper articles. 1 By 1990, though, one could see de Man’s death reoccurring, though rather ambiguously. Thus in two articles written only a year apart in Diacritics, the same author first declared that de Man’s work was available “in near entirety” and that “substantial progress has been made in [its] interpretation” [Redfield, “Humanizing De Man” 35] and then later opened a second essay arguing that the theories had “not become any easier to assimilate” [Redfield, “De Man, Schiller, and the Politics of Reception” 50]. And now, with the doubly posthumous appearance of Aesthetic Ideology, the assured certification of deconstruction’s death occurs again. 2 For instance, a review in the New York Times, warning off those readers who might be attracted to the book because of the “lurid glow 8cast by the opportunistic anti-Semitism of the wartime years,” declares not merely de Manian deconstruction but the aesthetic theories of Kant and Hegel to be without current [End Page 87] interest. 3 And Lingua Franca, in a piece reporting the end of Minnesota’s Theory and History of Literature series (Aesthetic Ideology and Theodor Adorno’s Aesthetic Theory mark the last books of the series), sums up this last work in the series and possibly the last work of de Man this way: “the book also reminds us—in its pristinely linguistic approach to ‘great’ literary and philosophical texts—that the moment of unadulterated deconstruction has long since passed.” 4 Astonishingly, Minnesota Press sent this death certificate to me as part of the publicity packet it sends to reviewers.Of course theories die differently. Since their extinction, putative or actual, is not human, we may declare their death joyously and without guilt, or work toward their revivification without messy transactions in graveyards. They die so readily and return without melodramatics because they lack a real biological limit to which we attach their significance. When we see their significance, we declare them alive. Either not seeing their significance or wishing they had none, we as easily sentence them to death. Whether or not de Man’s theories of reading or language are living or dead, to this process of declaring theoretical death and life, Aesthetic Ideology relates directly. In the first instance, it does so in its status as a published object. In a certain sense, it is, as we have seen, dead on arrival. Its central essays on Kant and Hegel—“Phenomenality and Materialism in Kant,” “Sign and Symbol in Hegel’s Aesthetics,” and “Hegel on the Sublime”—have already been published and have received commentary as part of a larger coherent work on aesthetics that has long been announced. Even the previously unpublished essays—“Kant... (shrink)

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. Cassirer's thought also anticipates the renewed interest in the origins of analytic and continental philosophy in the Twentieth Century and the divergent paths taken by the 'logicist' and existential traditions, epitomised by his now legendary debate in 1929 with the philosopher Martin (...) Heidegger, over the question "What is the Human Being?" The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation of all three volumes, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Taken together, the three volumes of The Philosophy of Symbolic Forms are a vital treatise on human beings as symbolic animals and a monumental expression of neo-Kantian thought. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

This essay presents a phenomenological analysis of the functioning of symbols as elements of the life-world with the purpose of demonstrating the interrelationship of individual and society. On the basis of Alfred Schutz''s theory of the life-world, signs and symbols are viewed as mechanisms by means of which the individual can overcome the transcendences posed by time, space, the world of the Other, and multiple realities which confront him or her. Accordingly, the individual''s life-world divides itself into (...) the dimensions of time, space, the social world and various reality spheres which form the boundaries or transcendences that the I has to understand and integrate. Signs and symbols are described as appresentational modes which stand for experiences originating in the different spheres of the life-world within the world of everyday life, within which they can be communicated, thereby establishing intersubjectivity. Schutz''s theory of the symbol explains how social entities – such as nations, states or religious groups – are symbolically integrated to become components of the individual''s life-world. The following paper reconstructs Schutz''s concept of the symbol as a crucial component of his theory of the life-world, which is seen as an outstanding phenomenological contribution to the theory of the sign and the symbol in general. (shrink)

In our research and teaching we explore the value and the place of rhetoric in education. From a theoretical perspective we situate our work in different disciplines, inspired by major ‘turns’: linguistic, cultural, anthropological/ethnographic, interpretive, semiotic, narrative, literary, rhetorical etc. In this article we engage in the discussion about what all these turns might entail for education by elaborating on what it implies to read the world as a ‘text'—as is central in a semiotic approach—and by introducing new rhetoric in (...) general, and the work of the literary critic and rhetorician Kenneth Burke in particular, as a possible theoretical and methodological resource. We illustrate its application in the analysis of a fictional narrative. Our aim is to explore how an understanding of education as rhetoric can be integrated into the teacher education curriculum. (shrink)

The article aims to provide a semiotic interpretation of the sign of the Ecclesiastical Court within the legal framework from temporal and spatial perspectives. The starting point of the research is the idea that the history of the Russian Ecclesiastical Court is inextricably linked to the history of Russian society and secular court. Consideration of the pre-revolutionary ecclesiastical and secular law helps us explore principles of the ecclesiastical proceedings and organization, identify contradictions in understanding modern Ecclesiastical Court. Its (...) sign is not only limited to the legal interpretation. In his novel The Brothers Karamazov, Dostoevsky F. M. gave the sign of the Ecclesiastical Court symbolic meaning and, thus, expanded it beyond the existing legal framework. The Ecclesiastical Court is one of the symbols of Russian spirituality which is reflected in the concept of “Russian soul”. Rational elements of the sign of Ecclesiastical Court as well as its sensual and metaphorical components, are analyzed using the category of Truth. Clearly, the Cross is sign-symbol for Christianity. But if applied to the concept of Ecclesiastical Court, the Orthodox Cross becomes a sign-index. As a result, several semantically heterogeneous meanings of the sign of Ecclesiastical Court are revealed and described. (shrink)

This paper examines the translation of literary terminology as cultural sign in the selected versions of the History of Chinese Literature in the Anglophone world. It argues that classical Chinese literary terminology with its rich connotations and strong prescriptiveness as „symbol‟ in semiotics, holds great difficulty for translators and scholars. Its inherent social and cultural elements in determining the meaning of these terms cannot be transferred across cultures, thus causing problems such as „neutralization‟ either in free or literally translation (...) or transliteration of these terms. The paper points out that an ideal way out for translation of classical Chinese literary terms should be transliteration coupled with proper notes. Although not qualified as translation in the strict sense, transliteration could, in some way, remind the readers of the heterogeneity of the term, thus offsetting the negative effect by the “neutralization” of the term. It could also guarantee the term‟s independency with the ultimate aim to make the term accepted by and integrated into the culture of the new land. (shrink)

The article deals with the professional decorative and applied art of Krasnoyarsk from the 50s of the twentieth century to the present. The aspect of consideration is the use of the ethnographic motif of the Krasnoyarsk Territory and the features of its embodiment in the products of Krasnoyarsk artists of decorative and applied art. Using the example of the creativity of N.V. Kasatkina, A.G. Tkachev, A.S. Moskvitin, A.S. Migas, S.E. Anufriev and E.A. Krasnova, the aspects of the use of the (...) ethnographic motif and their transformation over time, which led to the formation of archeoart in modern decorative and applied art and the features of its embodiment in the works of the main conclusions of the study are shown. The principles of the use, functioning and transformation of signs of an ethnographic motif in works of decorative and applied art in the Krasnoyarsk Territory are presented. The process of forming a new style in art took place from quoting and simple stylization of individual objects of ethnography in the works of artists to the gradual increase of signs of an ethnographic motif in the works of masters, which led to the formation of a new understanding of the region in art. The main visual concept of modern archeoart is the representation of Yenisei Siberia as the "cradle of humanity". The ethnographic motif associated with the history and mythology of indigenous peoples becomes the starting point in the artistic image, through which the elevation of regional visual signs to symbols understandable to every person takes place. (shrink)

In this original work of psychoanalytic theory, John Muller explores the formative power of signs and their impact on the mind, the body and subjectivity, giving special attention to work of the French psychoanalyst Jacques Lacan and the American philosopher Charles Sanders Peirce. Muller explores how Lacan's way of understanding experience through three dimensions--the real, the imaginary and the symbolic--can be useful both for thinking about cultural phenomena and for understanding the complexities involved in treating psychotic patients. Muller develops (...) Lacan's perspective gradually, presenting it as distinctive approaches to data from a variety of sources, such as cognitive, social and developmental psychology, literature, history, art, and psychoanalytic treatment. The book's first four chapters present Muller's reading of selected data from child development research, psychology and linguistics, approximating a semiotic model of "normal" development. The following three chapters examine in a Lacanian framework the structural basis of psychotic stages as indicative of massive semiotic failure in development. The final chapters on human narcissism suggest reasons that "normal" development may be impossible. (shrink)

Based on two years of ethnographic fieldwork in an urban elementary school, this volume is an examination of how school division politics, regional economic policies, parental concerns, urban development efforts, popular cultures, gender ideologies, racial politics, and university and corporate agendas come together to produce educational effects. Unlike conventional school ethnographies, the focus of this work is less on classrooms than on the webs of social relations that embed schools in neighborhoods, cities, states, and regions. Utilizing a variety of narratives (...) and analytical styles, this volume: * explores how curriculum innovations are simultaneously made possible by and undermined by school district politics, neighborhood histories, and the spatial and temporal organizations of teachers' and parents' lives; * situates the educational discourse of administrators and teachers in the changing economic and political climates of the city; * analyzes the motivations behind an effort by school and business proponents to refashion classrooms within the school into business enterprises, and of children's efforts to make sense of the scheme; * examines the role of the school as a neighborhood institution, situating it at the intersections of city planners' efforts to regulate city space and children's efforts to carve out live spaces through out-of-school routines; * contemplates the meaning of school as a site for bodily experience, and looks at how patterns of space and control in the school shaped children's bodies, and at how they continued to use body-based languages to construct maturity, gender, and race; and * investigates the school as a space for the deployment of symbolic resources where children learned and constructed identities through their engagements with television, comic books, movies, and sports. _Tangled Up In School_ raises questions about how we draw the boundaries of the school, about how schools fit into the lives of children and cities, and about what we mean when we talk about "school.". (shrink)

Der Autor legt hier die erste Gesamtdarstellung der antiken Ansätze zu einer vergleichenden Zeichentheorie der Künste (Poesie, Plastik, Malerei, Musik, aber auch darstellendes Verhalten in der Lebenspraxis) vor, die für die Herausbildung und Entwicklung der griechischen Ästhetik, Literatur- und Kunsttheorie konstitutiv waren. Von Simonides über Empedokles, Gorgias, Platon und Aristoteles bis zur Stoa (von Chrysipp bis Poseidonios) und zu den Epikureern (von Epikur bis zu Philodem) werden alle wichtigen Positionen und Debattenlinien zwischen Spätarchaik und Späthellenismus behandelt, eingebettet in eine breit (...) angelegte Analyse des semiotischen Feldes (Zeichen in Medizin, Rhetorik, Geschichtsschreibung, Logik, Epistemologie, Physik und anderen Wissenschaften). Die poetologisch, kunsttheoretisch und musikologisch relevanten Probleme einer vergleichenden Zeichentheorie werden in konkreten Literatur- und Kunstanalysen am Material entwickelt (Euripides, hellenistische Plastik, Philodems Epigramme, Lukrez' De Rerum Natura). (shrink)

Ideas about heredity and evolution are undergoing a revolutionary change. New findings in molecular biology challenge the gene-centered version of Darwinian theory according to which adaptation occurs only through natural selection of chance DNA variations. In Evolution in Four Dimensions, Eva Jablonka and Marion Lamb argue that there is more to heredity than genes. They trace four "dimensions" in evolution -- four inheritance systems that play a role in evolution: genetic, epigenetic, behavioral, and symbolic. These systems, they argue, can all (...) provide variations on which natural selection can act. Evolution in Four Dimensions offers a richer, more complex view of evolution than the gene-based, one-dimensional view held by many today. The new synthesis advanced by Jablonka and Lamb makes clear that induced and acquired changes also play a role in evolution.After discussing each of the four inheritance systems in detail, Jablonka and Lamb "put Humpty Dumpty together again" by showing how all of these systems interact. They consider how each may have originated and guided evolutionary history and they discuss the social and philosophical implications of the four-dimensional view of evolution. Each chapter ends with a dialogue in which the authors engage the contrarieties of the fictional "I.M.," or Ifcha Mistabra -- Aramaic for "the opposite conjecture" -- refining their arguments against I.M.'s vigorous counterarguments. The lucid and accessible text is accompanied by artist-physician Anna Zeligowski's lively drawings, which humorously and effectively illustrate the authors' points. (shrink)

In Gilles Deleuze's philosophy, becoming is one of central metaphors; and the concept of becoming resonates with a number of contemporary debates in educational theory (Semetsky 2006, 2008). Several of Deleuze's philosophical works were written together with practicing psychoanalyst Felix Guattari (Deleuze and Guattari, 1987; 1994), such a collaboration bringing theoretical problematic into closer contact with practical concerns and socio-cultural contexts. Deleuze and Guattari conceptualized their philosophical method as Geophilosophy, privileging geography over history and stressing the value of the (...) present-becoming, that is, a possibility for becoming-other in each and every present moment. In this chapter we explore Deleuze's dynamics of becoming-other situated within a larger milieu of informal education in terms of learning from experience as a mode of cultural pedagogy. Deleuze's pedagogy implicit in his philosophy entails the reading of signs, symbols, and symptoms that lay down the dynamical structure of experience. Experience cannot be limited to what is immediately perceived; still, the Deleuzian line of flight or becoming is real even if "we don't see it, because it's the least perceptible of things" (Deleuze, 1995, p. 45). We are affected by experience, and thinking enriched with its affective dimension is always experimental, like a process of trying, testing, and creating. Experience is future-oriented, lengthened and enfolded, representing an experiment with what is new, or coming into being, becoming. (shrink)

This paper attempts to illustrate a process of analysis that will hopefully open a path to more complete and useful definitions of sign and symbol. It applies a form-content analysis to the metaphysical properties of these two concepts. The objective is to locate criteria necessary and sufficient to derive formal definitions for these terms. Wittgenstein’s concept of “forms of representation” is analyzed and applied to the topic. Criteria are outlined that determine the appropriateness of the sign and symbol to be (...) applied as labels. Criteria of definition are then developed using gesture, metaphor, and several other example types to illustrate the use of the criteria in distinguishing between sign and symbol. The structural organization of these two concepts proved to be especially complex and led to what some readers may find somewhat obscure. It is not our intention to be purposefully obscure. (shrink)

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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Examines the development iun the period between Descartes and the mid 19th century of the concept of form in semantics.

Eric Voegelin and Eugen Rosenstock-Huessy provide an interesting and important contrast in their Augustinian diagnoses of modernity and the role of revolution and faith in salvation in history. For Eric Voegelin the desolation of modern humanity springs from its unreal elevation of the self – its Gnostic inheritance – and its immanentization of God and the eschaton into history and progress. In keeping with this is the moderns’ failure to appreciate that the symbolic order required for a fulfilling (...) human community and experience relies upon the necessity of maintaining God as a beyond in relation to society, man and world. Rosenstock-Huessy is also concerned that the failure of the moderns to understand the sign and significance of God is disastrous. And like Voegelin he is deeply opposed to modern Gnosticism and the pathologies that emerge from it, but Rosenstock-Huessy is also interested in something that is not Voegelin’s primary concern – mainly the role of providence in history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERAL AND METAPHORICAL USES OF DISCOURSE IN THE REPRESENTATION OF GOD IN HIS SEMINAL work on the theory of signs, Charles Morris affirms that human beings are " the dominant sign-using animals" and that" the human mind is inseparable from the functioning of signs-if indeed mentality is not to be identified with such functioning." 1 By means of acculturation we learn to use and interpret signs, (...) both linguistic and non-linguistic; and by virtue of these capacities we can appropriately designate the human animal as homo symbolicus, homo loquens, and homo sapiens. Indeed, all forms of human culture presuppose the ability to use and interpret signs, including that form of human culture which leads us to speak of ourselves as homo religious. Over the years I have come to understand and speak of religion as a community with its cultus. There is the community, be it triba1, national, or universal with its polity or structure and ongoing history; and there is the cultus with its organic system of linguistic and nonlinguistic signs, encompassing ·such elements as stories, creeds, scriptures, doctrines, theologies, confessions, prayers, chants, songs, rites, rituals, sacraments, artifacts, etc. Like any other cultural system, scheme or network of signs one can characterize a religious cultus as an inter -subjective set of signs whose usage is determined by the implicit or explicit rules that govern the relations of signs to each other; the relations of the signs to the objects which the signs designate or denote, or stand for in some way; and the relations of signs to the users or interpreters of these signs and to those who are affected by these signs in some way. 1 Charles W. Morris, FoundatioJi of the Theory of Signs, in International Encyclopedia of Unified Science, Vol. I, No. 2 (Chicago: University of Chicago Press, 1939), p. L 6~7 628 WILLIAM L. POWER: Given this understanding of community and cultus, one can describe a religion as an organized group of socially interdependent human beings which uses or employs ·a system of linguistic and nonlinguistic signs to represent reality in its various modalities and mixtures of good and evil and to affect human ways of life on the basis of that representation. Altering the terminology somewhat, one could say that a religious community uses its cultus to proclaim, enact, and display a comprehensive worldview.and to form and tr:msform the ethospathos of human beings in their solidarity and solitude. Expressed semiotically, there is the system of signs of a particular community, the intended signification of these signs, and the significance of these signs for those who use and are affected by them. What distinguishes a religion from other forms of human culture is that a rel·igious cultuml sy•stem or a religious community with its cultus is primarily concerned with ultimate or supreme reality or with that which is divine, holy, or sacred and that reality's bearing on and relevance for human life and well-being. In short, a religion is a cultural system which functions to map the whole of re.ality and to acculturate in desirable ways or to civilize. If a religion is a cultural system, then one can identify three distinct yet inseparably related dimensions of every religion. There is 1) the cultural dimension consisting of the interrelruted signs, symbols and expressions of a cultus; 2) the reality and value dimension consisting of the ontological and axiological purport of the cultus; and 3) the experiential dimension consisting of the existential import of the cultus. It is this thioo dimension which has led many in the past and in the present to speak of religion as piety, consciousness of things divine, ultimate concern, religiousness, etc. In the tradition of Peircian semiotics, one can speak of these three dimensions as the syntactic, semantic, and praigmatic dimensions of a religion; and they can be analyzed and studied with the aid of syntactics or syntax, semantics, and pr:agmatics, which as a unity LITERAL AND METAPHORICAL USES OF DISCOURSE 629 constitute the discipline of semiotics. As Peirce recognized, modem semiotics is continuous with the Medieval trivium of grammar, logic, and rhetoric-the semiotics of almost a millennium a;go... (shrink)

Resumen Paul Ricœur elabora una crítica a la postura hermenéutica de la escuela de la sospecha con el fin de complementar sus supuestos con la recuperación de una epistemología histórica. De esta manera surge una nueva comprensión hermenéutica según la cual han de analizarse los signos y símbolos diseminados en la historia. Bernard Lonergan asume esta empresa y profundiza en una epistemología trascendental que recupera la subjetividad, cuya forma de conocer será capaz de autoapropiarse y, con ello, instaurarse como referente (...) de validación en la comprensión de la significación hermenéutica.Paul Ricœur develops a critique of the hermeneutic position of the school of suspicion to complement their assumptions the recovery of a historical epistemology. Consequently a new hermeneutic understanding arises whereby the signs and symbols spreaded throughout history are to be analyzed. Bernard Lonergan undertakes this enterprise and delves into a transcendental epistemology which recovers subjectivity. This subjectivity’s way of knowing will be capable of self-appropriation, hence becoming a validation reference for the understanding of hermeneutic meaning. (shrink)