A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book with a (...) refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This article critiques contemporary feminist theory's frequent ocularcentric readings of the anorexic body as a surface of cultural inscription or as a paradigmatic sign of the female body's alienation through sexual difference. In an initial speculative attempt to find a theoretical framework that might sustain a more generative and embodied account of anorexia, I read anorexia through Butler's theory of gender as psychic `incorporation' because she problematizes an interior/exterior topography of the subject. This Butlerian framework proves problematic because, by establishing (...) an association between visibly queer gender and subversion, it effectively designates as hegemonic any sense of gender as a felt interiority. In a second framework, I draw on Prosser's anti-ocularcentric reading of transsexual `body narratives' derived from Anzieu's theory of the `skin ego'. Filtering Butler's theory of melancholia through this skin ego framework, I find a theoretical space for anorexia as a transitional embodied subjectivity which both re-lives and relieves the melancholic trauma of gender. (shrink)

The relation of social ethics to knowledge production is explored through a study about academic research enquiry on minoritised and racialised populations. Despite social change related to migration and ethnicity being a feature of contemporary Northern Ireland, local dynamics and actors seemed under-studied by its research-intensive ‘anchor universities’. To explore this, a critical discourse analysis of published research outputs (n = 200) and related authors’ narratives (n = 32) are interpreted within this paper through conceptualisations of consciousness. Insiders’ perspectives on (...) the influences and structures of the research journey demonstrate the ways in which research cultures (mis)shape the politics of representation, authorship and ethicality. Societal and political disregard for the new publics, reproduced within universities’ hidden curriculum, has been negotiated and to some extent resisted in the research practices of those marginalised (such as women academics), those entering the system (migrant academics), and those local-born whose referential frames were developed external to local universities. Of concern is that the few research enablers were characterised by techno-rationality and doublespeak, impoverishing the depth of theorisation, complexity and intellectual debate necessary for challenging the existing dysconscious racism and xenophobiaism of the social imaginary. (shrink)

we have recently seen the publication of several books on the narrative and identity of Pragmatism. Perhaps this is a sign that, after the first decade of the twenty-first century, scholars of Pragmatism now have the required distance or historical perspective to be confident about the history of Pragmatism in the twentieth century. In this paper, I examine the narratives of Pragmatism in Richard Bernstein’s The Pragmatic Turn and Colin Koopman’s Pragmatism as Transition.1 In spite of their differences, these (...) scholars argue for an inclusive “big-tent” Pragmatism.2 Their view of Pragmatism in America is optimistic and reconciliatory about the past, present, and future tensions that exist between pragmatist .. (shrink)

Sleep and dream visions as revelations, narrative devices, signs of illness, and aesthetic-artistic formulae alongside their interpretations, are common experiences shared by all cultures throughout the ages. They exhibit an astonishing variety of contexts and meanings. Rather than abstract time, with its mathematical indistinctness, a dialectical concreteness of signs and symbols in culture determines the specificity and character of dream experience and its complex hermeneutic.

Name der Zeitschrift: Language and Cognition - An Interdisciplinary Journal of Language and Cognitive Science Jahrgang: 5 Heft: 4 Seiten: 313-343.

Different people have different perceptions about artificial intelligence (AI). It is extremely important to bring together all the alternative frames of thinking—from the various communities of developers, researchers, business leaders, policymakers, and citizens—to properly start acknowledging AI. This article highlights the ‘fruitful collaboration’ that sociology and AI could develop in both social and technical terms. We discuss how biases and unfairness are among the major challenges to be addressed in such a sociotechnical perspective. First, as intelligent machines reveal their nature (...) of ‘magnifying glasses’ in the automation of existing inequalities, we show how the AI technical community is calling for transparency and explainability, accountability and contestability. Not to be considered as panaceas, they all contribute to ensuring human control in novel practices that include requirement, design and development methodologies for a fairer AI. Second, we elaborate on the mounting attention for technological narratives as technology is recognized as a social practice within a specific institutional context. Not only do narratives reflect organizing visions for society, but they also are a tangible sign of the traditional lines of social, economic, and political inequalities. We conclude with a call for a diverse approach within the AI community and a richer knowledge about narratives as they help in better addressing future technical developments, public debate, and policy. AI practice is interdisciplinary by nature and it will benefit from a socio-technical perspective. (shrink)

The article analyses the gradual development of the narrative and the change in its main features. Initially, the narrative was considered as an authentic reproduction of past experience that is meaningful for the narrator. Later, the definition and study of such attributes of the narrative as sequence, plot, the narrator’s value attitude, and time began. Contemporary research focuses on temporality, causality, the context of narrative formation, certainty (uncertainty) of narrative scenarios, and narrative control. There (...) has been a shift away from viewing the narrative as a finished product towards understanding it as a process of meaning-making from the narrator’s present. Narrative formation is rooted in social or personally meaningful context. (shrink)

The first-person access to the self has been widely recognized by philosophers. But a competing idea arises, challenging the first-person givenness, from those who argue that self-interpretation and self-knowledge are acquired through the third-person perspective. I argue that these two dichotomous perspectives of the self can be mediated by the second-person perspective through dialogical semiosis of narrative. Peirce’s semiotic perspective on the self emphasizes the role of a semiotic subject that participates in sign processes as an interpreting agent. In (...) this sense, the concept of self is acquired through semiosis of narrative and at the same time it is interpreted in narrative world, taking the role of character. It is character which makes a person identifiable as a person, since character is not substance but quality as a recognized pattern or type through time, which becomes a habit of act and thought, thus forming personal identity. Within this context, I argue that from the first-person perspective a deliberate subject of self as “subjective I” and from the third-person perspective a dynamic object of self as “objective I” are mediated by the relationship between self and other as an imaginary relation in narrative world, just like an imaginary line of identity, connecting word with thing. From the second-person perspective, oneself as another forms teridentity (co-identity) in textual world. I shall illustrate the interlock between the semiotic self and narrative identity through Peirce’s semiotic approach to the self and Ricoeur’s theory of narrative identity, analyzing the filmic narrative text of Burning (2018). (shrink)

Er ist der Wanderer, der genau weiß, wohin er schließlich kommen will, auch genau die Hauptstationen seines Weges vorher festgelegt hat und innehält, der sich aber dabei Zeit läßt, um alles Schöne und Interessante, das die Gegend bietet, zu betrachten, und selbst lange Seitenwege zu diesem Zwecke nicht zu scheuen braucht, da er weiß, daß er die Hauptstraße am richtigen Punkte wieder erreichen wird.M. Pohlenz, Herodot, der erste Geschichtschreiber des Abendlandes Anyone familiar with Greek literature knows at once that this (...) can describe no author but Herodotus. As readers have long recognized, travel is a crucial element of Herodotus’ persona not only as an historian and ethnographer but also as a narrator, to the extent that he has been called a tourist and a guide. Pohlenz draws his vivid metaphor from Herodotus himself, who assimilates movement through his narrative to movement through space by several well-known narratorial habits: he points out ‘paths’ of logoi, goes out of his way to justify so-called ‘digressions’ and frequently uses verbs of movement to return to earlier narratives or to preview upcoming ones. However, most scholars have overlooked one important feature by which Herodotus creates this sense of progress through his logoi, although it appears in the programmatic sentence that begins his whole network of narrative signposts and recurs in his voice in the first half of the Histories and in important speeches in the second. (shrink)

I am lying on a small table in a tiny room, dizzy with nausea and apprehension. A young woman busies herself with the preparations of a plaster mold that will be used to position my arm and chest for the twenty five ‘shots’ of radiotherapy that I will undergo during the ensuing five weeks. I had called the hospital that morning to say that I was too sick to come for this appointment. I had better come, said a young man (...) from the department, because if I missed this appointment I would I might not get a new appointment in time start the treatments within the recommended time frame. So I am here, on the table. I mention the nausea to the technician. My apprehension at this moment is that I might become so dizzy as to somehow swirl out of control. The young woman gives me a mask to blunt the smell of the plaster. The procedure will take twenty-five minutes. I keep my mind focused on each breath and get through the ordeal breath by breath. She seems, in contrast to me, gloriously free of distress and worry, listening to the radio while she works. I envy her good fortune. As we finish up the procedure I take a chance and share my experience: I say that being a cancer patient can be tricky because you are sometimes utterly in the grip of the idea that the cancer will spread and you’ll die soon and in a very unpleasant way. After each round of chemo I was admitted to hospital for extreme nausea and dehydration. During those days in the cancer ward some of those who were dying called out and moaned distressingly, sometimes for hours, during the night. I was, at those moments, unable to shake off the belief that I too would be in that state within a few months. The signs of cancer had been missed on the mammogram two years earlier and, when the lump made itself evident, I was in Stage III. When I mentioned this experience of being gripped by the idea of death she said “Oh I know exactly what you mean, my mother has breast cancer, and every time she has an examination I go searching the internet to find out what I can.” This young woman was twenty four, and I fifty six at the time, and she had given me an unexpected small precious gift that I took with me out of that little cupboard of a room.. (shrink)

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and (...) on its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death. (shrink)

Background There is little dispute that the ideal moral standard for surgical informed consent calls for surgeons to carry out a disclosure dialogue with patients before they sign the informed consent form. This narrative study is the first to link patient experiences regarding the disclosure dialogue with patient-surgeon trust, central to effective recuperation and higher adherence. Methods Informants were 12 Israelis, aged 29–81, who underwent life-saving surgeries. A snowball sampling was used to locate participants in their initial recovery process (...) upon discharge. Results Our empirical evidence indicates an infringement of patients’ right to receive an adequate disclosure dialogue that respects their autonomy. More than half of the participants signed the informed consent form with no disclosure dialogue, and thus felt anxious, deceived and lost their trust in surgeons. Surgeons nullified the meaning of informed consent rather than promoted participants’ moral agency and dignity. Discussion Similarity among jarring experiences of participants led us to contend that the conduct of nullifying surgical informed consent does not stem solely from constraints of time and resources, but may reflect an underlying paradox preserving this conduct and leading to objectification of patients and persisting in paternalism. We propose a multi-phase data-driven model for informed consent that attends to patients needs and facilitates patient trust in surgeons. Conclusions Patient experiences attest to the infringement of a patient’s right to respect for autonomy. In order to meet the prima facie right of respect for autonomy, moral agency and dignity, physicians ought to respect patient’s needs. It is now time to renew efforts to avoid negligent disclosure and implement a patient-centered model of informed consent. (shrink)

The great majority of commentators have evaluated the splitting of the moon. The vast majority of them think that it occurred in the Prophet’s period basing their view on the clear statement of al-Qamar 54/1 verse and on related rumors. However, some commentators claim that the moon will split on the doomsday, by referring to the context of the same verse. The same names criticize the rumors claiming that they cannot constituteevidence for the splitting of the moon. To those who (...) think so, from the fact that the splitting of the moon was related by few companions and that it was not recorded in various geographies it is evident that the incident did not happen. It cannot be said that the commentators, who took that the view that the split of the moon were in the period of the Prophet, have similar views in this regard. They have different interpretations in matters such as the realization and the shape of the event. On the other hand, those who claim that the split of the moon is only an idiomatic statement and that the event is only a lunar eclipse, declare that the split of the moon never actually happened. In this study which deals with various interpretations of tafsirs of the splitting of the moon, it is aimed to criticize different opinions on this issue. Document analysis and comparison methods were applied in the article.Summary: The issue of the splitting of the moon has attracted many names from various disciplines, notably the commentators. In the verse of al-Qamar 54/1 mentioning the splitting of the moon has been an important factor for the commentators to evaluate this issue. The ḥadīth narratives regarding the cleavage of the moon are found in many ḥadīth sources, in particular, Ṣahīh al-Bukhārīand Ṣahīh al-Muslim. The rumors about the splitting of the moon, albeit with different forms, are attributed to Anas b. Mālik (d. 93/712), Jubayr b. Muṭ‘īm (d. 59/678-679), ʿAbdallāh b. ʿAbbās (d. 68/687-688), ʿAbdallāh b. ‘Omar (d. 73/692), and ʿAbdallāh b. Masʿūd (d. 32/652-653) One of the rumors about the splitting of the moon, although it is based on ʿAlī b. Abī Ṭālib (d. 40/661)is not found in the authentic ḥadīth sources. In some narrations, it is said that the miracle of the moon's splitting took place upon the request of the polytheists while the others are only mentioned how this miracle happened. On the other hand, it cannot be said that the commentators agree on the split of the moon. The main purpose of this study is to identify these opinions with its basis. Apart from those who do not accept the occurrence of the incident, there are differences of opinion among the commentators who see this event as a miracle of the Prophet Muḥammad. It is possible to classify the disagreements of the commentators in this subject in two headings as the time and manner of occurrence of this incident.Most of the classical commentators, on the basis of narrations, think that the splitting of the moon occurred during the period of Mecca. Among these commentators, al-Wāḥidī (d. 468/1076) and al-Qurṭubī (d. 671/1273), as well as the rumors of this evidence, offer as a proof the verse, "if they see a miracle, they turn away and say that this is a great magic." (al-Qamar 54/2). Some commentators, such as al-Qushayrī (d. 465/1072), accept that this phenomenon has taken place in the past by referring to the opinion of the commentators about the split of the moon. The views of many of the modern-day commentators such as Siddiq Ḥasan Khan (d. 1307/1890), Mawdūdī (d. 1399/1979) and Sābūnī, on this issue, apart from the narrations related to the subject have shaped the general opinion of the commentators. There are differences of opinions among some of the commentators, who accept that the splitting of the moon takes place during the time of the Prophet Muḥammad, as to the reasons and arbitrariness of the incident. According to classical period commentators such as al-Ṭabarī (d. 310/923), al-Samarqandī (d. 373/983), Fakhr al-Dīn al-Rāzī (d. 606/1210), al-Qurṭubī (d. 671/1273), and Shīʿī commentators al-Qummī (d. 329/941), this incident took place upon the Prophet Muḥammad asked for a miracle as evidence for his prophethood by Meccan polytheists. Therefore, these commentators establish a relationship between the splitting of the moon and the prophethood of the prophet Muḥammad. On the other hand, commentators like Sayyid Quṭb (d. 1385/1966) argue that the splitting of the moon cannot be regarded as evidence of the prophethood, citing the fact that the miracles of the Prophet Muḥammad except the Qurʾān were not reported. There is a disagreement about the validity of the narrations related to the events among the commentators, who see the splitting of the moon as a miracle of the Prophet Muḥammad. Ibn Kathīr (d. 774/1373) and Shawkanī (d. 1250/1834) commentators, such as the rumors about this issue as a precise; ibn ʿĀshūr (d. 1879/1973) does not accept the news on this issue as a precise. There are also some commentators who suggest that the splitting the moon will take place in the future. The commentators, who shared this view, especially Rashīd Riḍā (d. 1353/1935) argued that the splitting of the moon did not take place in the past, pointing out that the validity criteria of narrations related to the splitting of the moon, and contradictory issues in the content of the rumors, also most of the people narrated by him/her cannot witness the incident and that it is not possible for people in a certain geography to witness this incident.There are few classical period commentators who suggest that the moon will be split in the future during the apocalypse. The prominent names are al-Ḥasan al-Baṣrī, (d. 110/728), ʿAṭāʾ b. Abī Rabāḥ (d. 114/732) and Abū Bakr al- Aṣamm (d. 200/816). On the other hand, many names such as Rashīd al-Riḍā (d. 1353/1935), al-Marāghī (d. 1364/1945) and al-Shinqīṭī (d. 1394/1974) from the modern period declare that the moon will split during the apocalypse.According to these, in the verses of the al-Qamar 54/1 that apocalyptic scene is mentioned.In the verse, they try to justify the use of the verb meaning of a split in the past tense by introducing some evidence from other verses.According to them, in many verses that speak of apocalyptic scenes, events are expressed in the past tense. There are also commentators who have different evaluations on the way of the occurring event instead of the time concept. Al-Ghazālī (d. 505/1111), Muḥyiddīn Ibn al-ʿArabī (d. 638/1240) and Shāh Walī Allāh al-Dihlawī (d. 1052/1642) do not see the splitting of the moon as a real split mentioned in the verse of the al-Kamer 54/1. According to them, the event is an optical illusion. Muḥammad Asad (d. 1412/1992) connected this illusion to the lunar eclipse. Trying to explain the splitting of the moon by some commentators is one of the commentary differences in this issue. According to Mawdūdī, who did not see this event scientifically impossible, it is possible to reunite a fragmented star with gravity. Without a doubt, Ṭanṭawī al-Jawharī (d. 1940) is one of the names who make the most striking evaluations in this issue. According to him, the miracle of the moon's splitting has many aspects to shed light on scientific studies. Ṭanṭawī al-Jawharī sees the verse as the sign of the moon instead of any other celestial body, as a sign that the moon had long ago broken off from the world. Therefore, Ṭanṭawī al-Jawharī establishes a relationship between the splitting of the month mentioned in the verse and the theories about the separation of the moon in the modern period.One of the arguments about the splitting of the moon is related to the fineness of the language. Some commentators, who draw attention to the expression of the splitting of the moon, which is the expression in the Qurʾān, argue that the purpose of the separation of the moon is the occurrence of truth. According to the advocates of this view, the Arabs use such a statement to express that a work has come to light. According to this, the term "splitting the moon" as means that the Qurʾān expands the darkness in its period. In summary, the commentators make various comments on different grounds such as the narrative expression of the verse al-Qamar 54/1 regarding the splitting of the moon, the narrations about the event, and the language subtleties. (shrink)

This volume provides a critical roadmap through the major historical sources of legal semiotics as we know them today. The history of legal semiotics, now at least a century old, has never been written (a non-event itself pregnant with semiotic possibility). As a consequence, its sources are seldom clearly exposed and, as word, object and meaning change, are sometimes lost. They reach from an English translation of the 1916 inaugural lecture of the first Chair in Legal Significs at the Amsterdam (...) University, via mid 20th century studies on "property" or "contract," to equally fascinating essays on contemporary semiotic problems produced by former students of the Roberta Kevelson Semiotics Roundtable Seminar at Penn State University 2012 and 2013. Together, the materials in this book weave the fabric of semiotics and significs, two names for the unfolding of semiotics in law and legal discourse at least until the second half of the 20th century, and both of which covered a lawyer's focus on sign and meaning in law. The latter is embedded within the cultural imperatives of the civilization that gave these terms meaning and made them an effective tool for the dissection of law, its reconstitution as an instrument to be used by the lawyer to advance the interests of her clients, and for judges as a means to restructure language as a narrative of law whose power could bend behavior to its strictures. Legal semiotics has become an indispensible part of the elite lawyer's toolkit and a fundamental approach to analysis of legal texts. Two previous volumes published in 2011 and 2012 explored the conceptual, methodological and epistemological progress in the field of legal semiotics, the modern forms of semiotics study, and the mechanics of meaning making processes by lawyers. Yet the great lessons of semiotics requires a focus on the origins of the concepts and frameworks that would become contemporary legal semiotics, its origins as an object of the consciousness of meaning making-one whose roots, as lessons for the oracular conversations of law, are expanded in this volume. (shrink)

Both adults’ habits-of-thought and their understanding of children’s stories shape how adults interpret children’s participation in conversations. In the light of the requests on children’s rights that follow from the Convention on the Rights of the Child (CRC) this paper stresses the relevance of authorities having semiotically informed knowledge on children’s meaning-making within conversations with adults. In Article 12, the CRC stipulates the right of children to participate in and to be heard about decisions that affect their everyday lives. According (...) to the same Article, however, these rights can be restrained, based on the authority’s judgements of the child’s age and maturity. Sociological studies have highlighted the importance of adopting the child’s perspective in judging matters that concern her. The present paper further suggests that narrow conceptualization of the sign can help one to observe different levels of meaning in adults’ and children’s conversations better. Although Paul Ricoeur did not investigate children’s narratives per se, his theory of narratives and narrativity offers a phenomenological approach to development that allows for better theoretical discriminations of narrative as a semiotic resource, and can thus assist adults in truly listening to children. (shrink)

Denunciations of child sexual abuse in the sport context have been increasing in the last decades. Studies estimate that between 14 and 29% of athletes have been victim of at least one form of sexual violence in sport before the age of 18. However, studies suggest that many do not disclose their experience of CSA during childhood. This finding is alarming since studies have shown that the healing process usually starts with disclosure. Moreover, little is known about the healing process (...) of CSA experienced in the sport context. The aim of the study is to present a single case study of a CSA in sport to better understand the global experience over time from the perspective of the athlete. A narrative inquiry approach was adopted. Three non-structured interviews were conducted with the participant. Three pathways in the survivor journey have been identified through inductive thematic analysis: pathway to understanding, pathway to disclosure, and pathway to healing. These pathways represent distinct processes but are intertwined as they are dynamic and iterative. Indeed, the survivor explained how she had been, and is still, going back and forth between them. Results are consistent with those found in the literature on CSA in the general population. It suggests that theoretical models of CSA in the general population could be applied to CSA in sport. Practical implications include a need for education and clearer boundaries in the coach-athlete relationship. Sport stakeholders also need to be better equipped to recognize the signs of sexual violence in sport. Our results indicate that qualitative research could be a potential avenue to help victims heal from CSA. It gives them the chance to talk about and make sense of their abuse in a safe space. Finally, our results demonstrate the importance of reviewing the current justice system for victims. It should be based on a trauma-informed approach that places the victim at the center of the judicial process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jesus Becoming Jesus, Volume 2, A Theological Interpretation of the Gospel of John: Prologue and the Book of Signs by Thomas G. WeinandyDaniel A. KeatingJesus Becoming Jesus, Volume 2, A Theological Interpretation of the Gospel of John: Prologue and the Book of Signs by Thomas G. Weinandy, O.F.M. Cap. (Washington, DC: Catholic University of America Press, 2021), xviii + 484 pp.This is an unusual biblical commentary. (...) By his own account, Fr. Weinandy had set out to write a fully orbed systematic theology. While in the process of giving a "respectful nod to Scripture" as a prelude to his systematic study, he found himself caught up and engrossed in the biblical text—and never managed to extricate himself. Changing course, he decided to write "a theological or doctrinal interpretation of the New Testament." Volume 1 of this effort covers the Synoptic Gospels (2018). In this second volume, Weinandy turns his attention to the Fourth Gospel, his aim being "to discern the theological and doctrinal content of John's Gospel" (x).Perhaps the most unusual quality of this study is the complete absence of any secondary literature. Though the author has read commentaries on the Gospels, both ancient and modern, he chose not to consult any other scholars (or ecclesiastical writers) in composing this doctrinal commentary. Given his focused aim—a theological and doctrinal study of the Gospels—he wanted to avoid getting caught up in contemporary scholarly exegetical debates. And so there are no footnotes to secondary sources (a thing probably welcome to many readers).Weinandy alerts the reader at the start concerning his particular approach to this study of the Gospels. Fascinated throughout his career as a systematic theologian with the notion of "act" (and especially with God as "pure act"), he approaches the Gospel narratives primarily from the perspective of Jesus's actions. Specifically, he intends to explore how Jesus "enacts" [End Page 738] his name, "YHWH-Saves," through the saving mysteries revealed in the narrative of the Gospels. Thus the title of his multi-volume work, "Jesus Becoming Jesus," serves as the overarching theological theme of the entire effort. This is how he explains his methodology of "act" and "enactment" in his first volume: "Jesus more and more becomes Jesus in act through his saving acts; he becomes more and more the Savior. He definitively becomes Jesus-in-act with the actions of his saving death and resurrection, which will find completion when Jesus comes in glory at the end of time" (xix). With such attention given to Jesus's actions, Weinandy admits that Jesus's teaching does not receive the same attention. It is not that he ignores Jesus's words, but they function primarily as pointers to Jesus's acts.And yet in another sense, the endpoint of this commentary is to show the Trinity-in-act. "The Father is fatherhood fully in act; the Son is sonship fully in act; and the Holy Spirit is love fully in act. This threefold perichoretic act is the one God fully in act" (xiv). As Jesus progressively enacts his name and identity, so too are the Father and the Spirit revealed according to the "acts" that reflect their hypostatic identities. A consistent feature of this commentary is the sustained attention given to how the Father and the Spirit are involved in the saving actions of Jesus, the Word made flesh. Congruent with this view of the Trinity's perichoretic act, Weinandy often adopts what might be called a "perichoretic syntax," whereby he presents a single reality from the distinct perspectives of the divine persons, restating the same truth in mutually enhancing ways. This grammatical-syntactical style of the commentary is admirably suited to its theme.If we are looking for parallels to this theological-doctrinal approach in the Christian tradition, the commentaries on the Gospel of John by Cyril of Alexandria and Thomas Aquinas come to mind. Like Weinandy, they each work through the Gospel text passage by passage, explaining the meaning of each section, but they are characterized by an overarching doctrinal concern: to present the entirety of the Christian faith through the words of John's Gospel and to... (shrink)

The casting of maize seeds is a tool used by contemporary daykeepers in the Ayöök area of Oaxaca, Mexico, which along with the prognostications and prescriptions of the 260-day calendar, helps to cure illnesses and afflictions. This divinatory practice was also employed by precolonial tonalpouhque, who were experts of reading the tonalamatl, the pictographic manuscripts with calendrical, ritual and oracular content, such as the now called Borgia Group codices. In this article maize divination will be described and analyzed, arguing that (...) maize divination results in images that can be read in a similar way to these codices. The reading of maize is approached here by employing the concepts of signs and symbols as described by Carl Jung and the notions of chronotope and dialogical narratives by Mijail Bakhtin. The Jungian understanding of divinatory practices as a means of gaining consciousness of oneself is also applied to argue in favor of the therapeutic capacity of reading maize, as it offers relief and triggers action. (shrink)

God is dead, but, contrary to Nietzsche’s diagnosis, ‘we’ didn’t kill him; he died of cancer. This perhaps crudely cold and off-putting opening does not refer to a naively metaphorically constituted transcendental abstraction, but to a spatio-temporally situated rock legend, Ronnie James Dio. This study aims at contributing to the burgeoning research field of memory and collective identity by providing a sociosemiotic account of the formation of collective narrative identity. By drawing on the three major categories whereby collective memory (...) is formed, that is artifacts, processes, places, as well as on the three key sociosemiotic metafunctions which are responsible for shaping a cultural event as sign system, the pursued interpretive route seeks to effectively contextualize how collective memory is fleshed out situationally in the context of Dio’s memorial. At the same time, by expanding the interpretive canvass to incorporate phenomenological perspectives on the mode of formation of collective memory, the offered analytic is intent on tracing invisible structures that point to operative mechanisms beyond the formal constraints of a sociosemiotic reading. Both phenomenological and sociosemiotic approaches are reinscribed within an overarching narrativity paradigm, wherein their relative merits in addressing the scrutinized phenomenon are discussed in an attempt to formulate a hybrid sociosemiotic phenomenological perspective of memorial events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante’s Poetics Of The Sacred WordSteven BotterillI hope to make a case that, until recently, would probably have seemed self-evident, or at least uncontroversial: namely, that a positive valuation of the power of human language to express and to represent informs the textual practice of Dante’s Commedia—or, to put it more bluntly, that Dante believes in words.1The language of poetry was, for Dante, the supremely demanding and supremely rewarding (...) form of human eloquence. This much is made clear in his significantly titled treatise De vulgari eloquentia (On Eloquence in the Vernacular), which, having set out—and failed—to identify a truly noble form of the Italian vernacular, takes it as axiomatic that if (or rather when) such a language is brought into being, it will primarily be used by poets in the composition of their poetry. Despite the many subsequent developments in his thought, and despite, above all, the drastic and often underestimated effects of his shift after 1300 from lyric to narrative-dramatic forms and techniques, nothing in Dante’s later works gives us any reason to think that he ever modified this view.Within the narrative of the Commedia, the overriding importance of eloquence is amply demonstrated by the fact that, without it, Dante-character’s journey would never have taken place. It is to poetic eloquence that Dante owes both his visionary experience and his eventual salvation. Confirmation of this initially startling proposition occurs in canto II of Inferno, where Virgil describes his commission from Beatrice to come to the aid of her errant admirer, and explains that he is charged to do so through the use of his “parola ornata” (“ornamented [End Page 154] word”: Inf., II. 67)—not merely a word plucked from the dictionary, however potently charged with salvific meaning, but a word (or, by synecdoche, a language) that is perceptibly embellished with the technical and rhetorical devices recognized by its hearers as constituting eloquence. Virgil, then, is not just to speak the saving word but to pay attention, as both his historical identity and his creator’s agenda require, to the aesthetic and intellectual implications of its usage; and the efficacy of his speech is manifestly dependent on the elegance and persuasiveness of its formulation.Dante-character’s initial recognition of his mysterious interlocutor in Inferno I as “quella fonte / che spandi di parlar sì largo fiume” (“that spring / that pours forth so rich a stream of speech”: Inf., I. 79–80) is thus retrospectively justified: this is the immediately relevant aspect of Virgil’s historical personality, the one that best equips him to become Dante-character’s guide and mentor in Hell and (most of) Purgatory. Likewise, it is under the auspices of another renowned possessor of eloquence, Bernard of Clairvaux, that Dante’s journey reaches its appointed end. The narrative movement through the Commedia is, among much else, a movement from one “parola ornata” to another, from Virgil’s eloquence to Bernard’s, from the pagan word that offers worldly renown to the Christian word that both transfigures the believer in this life and promises bliss in the life to come. The former, however, grounds the process that leads to the latter; and at both ends of the journey the functional significance of the word and its usage remains paramount.We need, however, to be careful at this point, lest we begin too quickly to entertain the notion that the centrality of eloquence in Dante’s thought immediately justifies the conclusion that he accepted the intrinsic validity of poetic language, or, more controversial still, its supremacy over other forms of eloquent discourse. Firstly, Virgil’s is not the only word in the poem distinguished as “ornata.” The epithet recurs in the bolgia of the seducers, as part of the tale of Jason, who “con segni e con parole ornate” (“with signs and with ornamented words”: Inf., XVIII. 91) led Hypsipyle astray and earned himself damnation. Clearly, Jason’s “parole ornate” are morally quite different from Virgil’s: instead of saving they betray, instead of embodying the truth they act as a vehicle of deceit. Their ornamental quality is specious, employed to conceal their... (shrink)

Mental health problems start early in life. However, the majority of adolescents fulfilling the criteria for mental health disorders do not receive treatment, and half of those who do get treatment drop out. This begs the question of what differentiates helpful from unhelpful treatment processes from the perspective of young clients. In this study, we interviewed 12 young people who entered mental health care reluctantly at the initiative of others before the age of 18. Their journeys through mental health care (...) varied significantly despite sharing the same starting point. Our analyses resulted in a model of three trajectories. We describe relational and structural facilitators and obstacles within each trajectory and have formulated narratives highlighting core experiences differentiating them. Trajectory 1 was characterized by a rapid loss of hope, leading the adolescents to conclude that mental health care was not worth the investment. Trajectory 2 was characterized by a lingering hope that never materialized into a constructive therapeutic process despite prevailing efforts by both therapists and adolescents. Trajectory 3 was characterized by genuine meetings, allowing the therapist to transform from an unsafe stranger into a safe, competent, and benevolent adult. We discuss how our results have implications for understanding agency displayed by adolescent clients in therapy, therapist flexibility and authenticity, service organization, and attributional processes influencing clinical judgment and therapeutic processes when adolescent psychotherapy has a difficult starting point. (shrink)

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

The aim of the paper is to investigate paths along which a transformation of the doctrine of natural signs was developed in works by Paracelsians, forming one of the main religious and philosophic currents of Late Renaissance. The modifications of the doctrine are discussed in a context of intensive speculations on the essence of the primordial language of humankind and on the possibility of its restoration, which can describe the intellectual life of that epoch. It is argued that within (...) “chemical philosophy” the possibility of restoration of the Adamic language directly depends on mastering the art of interpreting natural signs, which can give a key to correct understanding of nature. And shifts in the conceptualization of such signatures involved transformations in formulating and solving of the Adamistic problems, which did not exclude reverse causation. It is also ascertained that the most orthodox followers of Paracelsus usually appealed to the Adamistic narrative in order to reinforce legitimacy of the symbolic hermeneutics of nature, developed with chiefly medico-pharmacological purposes. Meanwhile, relatively more independent Paracelsians often paid more attention to linguo-philosophic issues. Realizing the deficiency of the doctrine of signatures for reconstruction of the primordial language, they postulated the necessity of one of the following premises: supplementing the doctrine with a mystical illumination; acceptance of a weaker version, according to which natural signs are just sparse reference points slightly simplifying empirical study of nature; abandonment of search for the Ursprache and constructing its artificial substitute, a universal semiotic system. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Full Collection of Personal NarrativesGianna O'Leary, Paul Hostovsky, Yilu Ma, Leo Almazan, Hilda Sanchez-Herrera, Marisa Rueda Will, Elaine Hsieh, Manuel Patiño, Felicity Ratway, Liliana Crane, Laisson DeSouza, Nilsa Ricci, Linda Pollack-Jackson, Kelley Cooper, Mateo Rutherford-Rojas, Rosa C. Moreno, Maja Milkowska-Shibata, Patricia Coronado, and Catalina Meyer• A Day in the Life of a Spanish Interpreter• Deaf Interpreter• "Call me Dr. XXX!"• Translating Care for the Voiceless Patient• Are We There (...) Yet? A Narrative of Firsthand Interpreter Experiences in the Medical Field and Insights to Aid Language Access Compliance• One Interpreter's Journey of Interpreting for Pregnancy Loss• More Than Words: Communicating for the Quality of Care• From Linguistic Bridge Builder to Aspiring Physician• Towards Language Justice: A Call to Identify and Overcome Structural Barriers• Voices in the Shadows: The Hidden Complexities of Being a Medical Interpreter• The Voice of Patients: The Exclusive Work of a Human Who Can Advocate• Don't Mute the Messenger• The Ramp and the Stop Sign• How Policies and Practices in Medical Settings Impact Communication Access with Deaf Patients and Caregivers• And When May I Cry? Juggling Emotions in Healthcare Interpreting• To Engage or Not to Engage: An Interpreter and a Mother's Need for Connection in the Cardiothoracic Unit• Witnessing Trauma: Emotional Challenges in Medical Interpretation• Being an Interpreter—Beyond Linguistics• 1-800-Quit-NowCopyright © 2024 Johns Hopkins University Press... (shrink)

Offering a pointed response to the perennial question of being, those sympathetic to the philosophical posture of antinatalism proclaim the suffering of the world does not ultimately justify bringing life into it, consequently advancing a moral stance towards procreation. As this particular topic of conversation is unlikely to curry favor with a majority of interlocutors, the antinatalist-as-rhetor faces a seemingly Sisyphean task in issuing a harsh alternative to the more pervasive narrative espousing birth as an occasion for celebration. Cautious (...) to dismiss antinatalism as simply a profane social discourse, I first consider its communicative import as type of tragic rhetoric which identifies birth as a phenomenological disaster that warrants more critical appraisal. Additionally, I examine the utility of embracing a performative writing style to explore this topic insofar as it adds rhetorical dimension to the attempt at communicating the horrors of existence. (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)

In lieu of an abstract, here is a brief excerpt of the content:Stepping Off the Edge of the Earth:A bariatric patient’s journey out of obesityNikki MassieI have been overweight my entire life. When I was born—three weeks early—I weighed 9 lbs., 3 oz. I proceeded to trend on the high end of the weight percentile for my age. By the time I was 14 years old I’d surpassed 200 lbs. By the time I graduated high school I’d hit 250 lbs.Even (...) today, after losing a considerable amount of weight from having Roux–en–Y gastric bypass surgery, I am still considered overweight according to the body mass index.All this is to say that the way I think about my health, my body and my life is very much from the perspective of someone who has never experienced the so–called condition of being “normal.”Enough is EnoughI’ve been asked many times how I decided to have bariatric surgery. The answer isn’t simple. Because I’d been overweight all my life, the notion of being anything but overweight seemed a bit absurd to me. Not absurd as in, “I would not be happy if I were smaller” but more like, “I don’t know if this could ever happen for me and, if it did, who would I be?”Truth be told, I wasn’t entirely unhappy as an overweight woman. By the account of my primary care physician I also was not necessarily unhealthy for an overweight person. I didn’t have high blood pressure or diabetes (I wasn’t even pre–diabetic). My heart seemed to work fine. I was just very, very large.However, I’d been large (or larger than others) my entire life. In many ways my very identity was inextractable from that fact. While I can’t speak for my entire culture, my experience as an African–American woman is one where women of size were not reviled, but celebrated. Being too thin was always presented to me as a negative cultural value, I believe because it was associated with drug use.That means that growing up I didn’t have some of the experiences other obese people had. There were a few people who teased me but they were the exception, not the norm. I don’t recall being lonely because of my size. I dated avidly throughout my adolescence. I was asked to, and went to, both my proms.I proceeded into young adulthood with a few bumps along the way. I suffered a bout of depression in my sophomore year of college and just after my 21st birthday I found the first signs of what would be massive hair loss from alopecia areata (although did not know that’s what it was at the [End Page 107] time). Otherwise, I was fairly healthy and no more or less happy than any other 21 year–old I knew.At age 22, I had my first child, a daughter. This was the beginning of an upward weight climb that took me from being very overweight into very obese. At age 21, I weighed about 240 lbs. (I am 5 ft. 8 inches tall). By the time I was 26 (and after I had a second daughter), I weighed in at 340 lbs.At this point I began to want to lose weight. I no longer liked the way I looked in pictures. My increased clothing size and cost depressed me even further. My attempts at dieting, however, failed miserably. I did seek help from my primary care physicians (I went through several throughout my young adulthood). Each time I’d be given a copy of the food pyramid and a pamphlet explaining the health benefits of losing weight.But how? How exactly does one lose weight? In my mind it was some strange combination of sadistic exercise and starvation. That’s what I saw in magazines. Women who ate the equivalent of one meal per day who exercised many hours a day. I had no desire to do either and so I continued on my trend upward.During that time my mother (now deceased) worried about my weight a lot. I’d... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:To Recognize the Person: Learning from Narratives of Psychiatric TreatmentLinda J. MorrisonTo know what patients endure at the hands of illness and therefore to be of clinical help requires that doctors enter the worlds of their patients, if only imaginatively, and to see and interpret these worlds from the patient’s point of view(Charon, 2006, p. 9).These narratives of psychiatric hospitalization are rich and evocative. We are fortunate to have (...) twelve descriptions appearing side-by-side, each unique in its focus, outlook, detail and narrative tone. Together their interwoven contexts describe personal and work relationships, internal and external help-seeking, encounters in community and hospital settings, and experiences of the psychiatric (psychiatrized) self as supplicant, victim, recipient, participant, product, and active agent over time (Morrison, 2005).Through their collected narratives, the authors create a distinct counterpoint to the more familiar clinical narratives of psychiatric encounters. Ordinarily the professional narrative drives interpretation of a clinical experience, whether medical or psychiatric. The caregivers populating these narratives would probably tell different stories, and the hospital notes and treatment records yet another (Hinsby & Baker, 2004; VanDerNagel et al., 2009). The disjunction between professional and patient narrative is especially true for psychiatric hospitalizations, in which the inpatient’s active narrative becomes a part of the diagnostic and treatment process (Steslow, 2010).In this symposium, the patient’s narrative is a window for interpretive insights into personal experience of the process. Each is a situated retrospective, in which added dimensions of feeling, thought and interaction provide the reader a fuller and more complex awareness of the experience of psychiatric hospitalization. The narratives provide insights about choice and agency, control and harm, safety and strength, hope and frustration, resilience and recovery, empathy and humanity; they also reveal various ethical issues related to the experience of help-seeking and treatment.It is vital to consider what each person wrote: what choices they made in representing their experience; what aspects they focused on, and what they (we imagine) left out. The authors used their own voices to create their own representations. In each narrative, “the person” provides an important standpoint. Who is this person, what is his or her experience? Where is the person in the situation; in what way does he or she appear to those who provide treatment or care? How, if at all, is the treatment pertinent to the person’s concerns? Does it feel helpful or harmful? How does the person find a way to continue, to push through, with the help of (or in spite of) those we hope are providing care? This is the first sign of agency, of choice, of “dreaming.” [End Page 35]As V. Barnard writes in Dreaming: A Recovery Story, “to make a film, one has to dream it first.” All of the authors in this symposium took the risk and the opportunity to create their own stories: what to include, what to leave out, how to tell what they wanted to say. These choices gave them the power to dream: how it was, how it might have been; how it felt, good and bad; the chance to represent their own reality—to themselves, and to unknown others (Morrison, 2006).Dreaming, Choice and Agency“My psychiatric illness is only one part of me. I am a person with hopes, dreams, love, an artist and a fellow helper of my peers.” V. BarnardV.’s narrative describes the potential for positive action, of dreaming herself as a whole into existence. Her themes of choice and agency emphasize the importance of autonomy and the capacity for autonomous action. On the farm, V. was free to choose and take risks, to take on responsibilities, to be “treated with respect as a human being trying to get better rather than a criminal suffering from something that was optional.” From disconnection, she was able to find connection, on her own terms.The support of peers adds a valuable dimension. Being recognized as a peer, a person who shares similar psychiatric experiences and respects the challenge of everyday life, brings another level to supportive relationships. Negative judgments and stigma are reduced by mutual support and acknowledgement of common goals. Mental health... (shrink)

John Cort explores the narratives by which the Jains have explained the presence of icons of Jinas that are worshiped and venerated in the hundreds of thousands of Jain temples throughout India. Most of these narratives portray icons favorably, and so justify their existence; but there are also narratives originating among iconoclastic Jain communities that see the existence of temple icons as a sign of decay and corruption. The veneration of Jina icons is one of the most widespread of all (...) Jain ritual practices. Nearly every Jain community in India has one or more elaborate temples, and as the Jains become a global community there are now dozens of temples in North America, Europe, Africa, and East Asia. The cult of temples and icons goes back at least two thousand years, and indeed the largest of the four main subdivisions of the Jains are called Murtipujakas, or "Icon Worshipers." A careful reading of narratives ranging over the past 15 centuries, says Cort, reveals a level of anxiety and defensiveness concerning icons, although overt criticism of the icons only became explicit in the last 500 years. He provides detailed studies of the most important pro- and anti-icon narratives. Some are in the form of histories of the origins and spread of icons. Others take the form of cosmological descriptions, depicting a vast universe filled with eternal Jain icons. Finally, Cort looks at more psychological explanations of the presence of icons, in which icons are defended as necessary spiritual corollaries to the very fact of human embodiedness. (shrink)

This book examines the concept of meaning and our general understanding of reality in a legal and philosophical context. Starting from the premise that meaning is a matter of linguistic and other forms of articulation, it considers the inherent philosophical consequences. Part I presents Klages', Derrida's, Von Hofmannsthal's and Wittgenstein's explorations of silence as a source of articulation and meaning. Debates about 20th century psychologism gave the attitude concept a pivotal role; it illustrates the importance of the discovery that a (...) word is globally qualified as 'the basic unit of language'. This is mirrored in the fact that we understand reality as a matter of particles and thus interpret the real as a component of an all-embracing 'particle story'. Each chapter of the book focuses on an aspect of legal semiotics related to the chapter's theme: for instance on the meaning of a Judge's 'Saying for Law', on law students training in varying attitudes or on the ties between law and language. Part II of the book illustrates our general understanding of reality as a matter of particles and partitioning, and examines texts that prove that particle thinking is basic for our meaning concept. It shows that physics, quantum theory, holism, and modern brain research focusing on human linguistic capabilities, confirm their ties to the particle story. In contrast, the book concludes that partitions and particles are neither a fact in the history of the cosmos nor a determinant of knowledge and the sciences, and that meaning is a process: a constellation rather than a fixation. This is manifest once one understands meaning as the result of continuously changing attitudes, which create our narratives on cosmos and creation. The book proposes a new key for meaning: a linguistic occurrence anchored in dimensions of human narrativity. (shrink)

What is luxury? The concept has never received proper attention in social theory. It seemed as if luxury was a highly economic concept that did not need any further investigation. Primary and secondary needs are considered to form the basis of the luxury concept. Luxury has been viewed as useless and superfluous because it belongs to the realm of desires instead of elementary needs. This definition has often been used to stigmatize the use and demonstration of luxury. The needs-wants dichotomy (...) was severely criticized a few decades ago. Luxury touches more than the question of necessity in society. This article attempts to outline the formulation of a definition of luxury. We leave the classic concept of luxury in favor of a more socio-semiotic approach of the concept. The bounds between luxury and some specific product property will be cut through. There is no such thing as a luxury good comparable to categories like ‘cars,’ or ‘clothes.’ Luxury is defined as a specific kind of sign value, produced in specific narratives and used in processes of stratification. As a sign, it becomes apparent that luxury is a relative concept. Every social group can be said to have its own luxury. Every social group has in fact a different kind of luxury, which means that a Cartier is no luxury in some cases where a television is highly exclusive in other cases. (shrink)

One of the most striking features of the South African polity, as the 20th anniversary of democratization draws closer, is the intensity of public arguments about race that show no signs of abating any time soon. In the midst of worsening socio-economic inequality, it’s the economic question – of the terms of access to wealth, status and economic power, and of how to erase the residues of apartheid’s economic dispossession – that dominates these arguments. In recent years, the ANC (...) Youth League – a renewal of the Youth League originally created in 1944 and then banned in 1960 – effectively positioned itself at the forefront of this politicization of race. I argue in this essay that from 1994 to early 2012, the contemporary Youth League retained its predecessor’s political persona of precocious provocateur, particularly on matters of race – but differently styled, and deployed to different political ends in the new conjuncture. The repertoire of the Youth League during this period was shaped by a clientelist politics, informed by a version of freedom as a freedom to consume, and the concomitant spectacles of conspicuous consumption that infused the iconography of the ‘new’ South Africa. These tendencies were most dramatically illustrated during Julius Malema’s controversial tenure as Youth League president. Largely disconnected from discursive, deliberative notions of the political, the Youth League’s version of politics became an amalgamation of angry street protest, patronage, and lavish partying, which produced a racialized iconography of being well-heeled and down-trodden in a seamless narrative of black solidarity. (shrink)

As part of the widespread turn to narrative in contemporary philosophy, several commentators have recently attempted to sign Kierkegaard up for the narrative cause, most notably in John Davenport and Anthony Rudd's recent collection Kierkegaard After MacIntyre: Essays on Freedom, Narrative and Virtue. I argue that the aesthetic and ethical existence‐spheres in Either/Or cannot adequately be distinguished in terms of the MacIntyre‐inspired notion of ‘narrative unity’. Judge William's argument for the ethical life contains far more in (...) the way of substantive normative content than can be encapsulated by the idea of ‘narrative unity’, and the related idea that narratives confer intelligibility will not enable us to distinguish Kierkegaardian aesthetes from Kierkegaardian ethicists. ‘MacIntyrean Kierkegaardians’ also take insufficient notice of further problems with MacIntyre's talk of ‘narrative unity’, such as his failure to distinguish between literary narratives and the ‘enacted dramatic narratives’ of which he claims our lives consist; the lack of clarity in the idea of a ‘whole life’; and the threat of self‐deception. Finally, against the connections that have been drawn between Kierkegaardian choice and Harry Frankfurt's work on volitional identification, I show something of the dangers involved in putting too much stress on unity and wholeheartedness. (shrink)

In American Sign Language (ASL) narratives, signers map conceptualized spaces onto actual spaces around them that can reflect physical, conceptual, and metaphorical relations among entities. Because verb tenses are not attested in ASL, a question arises: How does a signer distinguish utterances about past events from utterances within a present conversational context? In narratives, the story-teller’s past-event utterances move the story along; accompanying these will often be subjective comments on the story, evaluative statements, and the like, that are geared, in (...) the present, to the conversational partner. This usage-based study looks at how the ASL signer integrates past and present spaces in a narrative and specifically, integrates the viewpoints associated with each. Blending past and present spaces, while a conceptual notion, is in ASL played out in utterance structure and also in the fact that signed language articulation takes place in a three-dimensional space upon which both the signer and addressee have embodied, perspectivized views. Past and present conceptual spaces both occupy the physical space of articulation, and so the blends are at once conceptual and perceivable. (shrink)

Theoretically, this study is framed within the semiotic tradition of communication theory, which theorizes communication as the intersubjective mediation by signs. Methodologically, this study is guided by Peirce’s semiotic ideas, especially his writing about the commens and commind, or the sign and the object, and the power of a community as the final interpretant performing the process of sensemaking. Results showed how the survivors of a natural calamity symbolically interacted with such calamity, and how this led to a reformation (...) of the way they view themselves and the world. The survivors’ symbolic images captured in narratives, in sketches and drawings, and in poetry helped them to reframe their sense of self and their worldview by believing in common sense and intuition, and by valuing the power of courage, initiative, preparedness, hope, and resilience. An unfortunate irony emerged in their symbolic interaction with the disaster such that their sinning and self-inflicted blame made them think they were worthy of punishment. Nonetheless, this unfortunate irony will change if the survivors continue to reflect on their civic roles, interrogate their environmental and political contexts, and expand their awareness and social consciousness. As these unfold, the survivors will be able to accomplish empowerment, emancipation, and an independent mind. (shrink)

What we generally regard as ‘the face’ should be semiotically understood not as something given and monolithic, but rather stratified – it is at least threefold: biological (face), physiognomic (expression), perceivable (visage) – and relational as it has to be put within a narrative in order to make sense. The face lies at the centre of a whole semiotic system, the form of life, revolving around the issue of identity (which the face – the visage, to be precise – (...) embodies and still does not resolve). What we may call ‘the natural face’ is not, as common sense would suggest, the precondition of the ‘culturalized’ one (featured with modifications ranging from make-up and proper masks to surgery), but rather just one of the possible semiotic masks a person may choose to wear. At the same time, the mask does not have to be reduced to a deceptive device only (nor to be meant merely as a material object), being in fact at the centre of a more complex axiology. The classic veridictory square articulating the opposition between Being and Seeming may provide a suitable model for the semiotic square of ‘visageness’, so that we would have: Face, Disguise (the place of the mask proper), Fake, Anonymity. Based on these theoretical premises, the paper finally addresses popular music and outlines a provisional map of the pragmatics of the mask (subtractive vs. additive, ritualistic vs. continuous, material vs. virtual, mask as face vs. face as mask), as a suggestion for further studies. (shrink)

The Thing about Thugs (2010) a novel by Tabish Khair set between London and the Indian region of Bihar, the end of 1830’s and contemporary age, reflects on the relationship regarding the transmission of knowledge and the construction of the colonial criminal. I investigate how Khair, in his neo-Victorian and postcolonial novel, recalls canonical works of Victorian Literature in which thugs, together with other spectral, haunting figures, enter British territory to tell a different version of the official stories, to change (...) the course of the events and uncover truths regarding things happened overseas, during British colonial adventures. Starting from Meadows Taylor’s Confessions of a Thug, to which the novel is strictly connected, it will be interesting to follow Khair’s itinerary across the different narratives of the Thug’s symbolic, political and social meanings in mid- and late Victorian times, from Dickens’s The Mystery of Edwin Drood to Wilkie Collins’s The Moonstone and Conan Doyle’s The Sign of Four and The Mystery of Cloomber. (shrink)

How does a picture teach a viewer to look at it, understand it, and make meaning?. “Cross-mediality and narrative textual form: A semiotic snalysis of the lexical and visual signs and codes of the picture bnook.” Semiotica, 118 : 1–70 and Peter Pericles Trifonas.. “Texts and images.” In International handbook of semiotics, Vols. 1&2, edited by Peter Pericles Trifonas. The Netherlands: Springer. Pp. 1139–1154.) The suggestion for a pictorial grammar has been derived from the fact that pictures have (...) no unique visual metalanguage and therefore require recourse to language as an instrument for pictorial analysis. The lexical-visual relationship in a text is more complex than is suggested in the question. Proponents for the semiotic autonomy of pictures have objected that the commentaries of crossmedial contexts have not asserted the semiotic priority of the lexical over the visual message. ‘Is an autonomous semiotics of visual perception possible, or does the semiotic analysis of pictorial text always require recourse to the model of language?’. (shrink)

Attention is being paid to the rise of post-Soviet nationalism, particularly giventhe conflict in Ukraine. To this end, the present paper examines Russian thought and itsrelationship to exceptionalism in the context of the post-Revolutionary diaspora. Examiningthe prevailing approach taken to freedom of thought, in light of Nikolai Berdyaev, Fr.Sergius Bulgakov and other thinkers, a trajectory can be identified that departs from theexceptionalist narrative. In the diaspora, this was accented by emergence in the contextof the ecumenical movement and the keenness (...) demonstrated by the emigres, which wasfitting to the East / West interaction of the movement. In an important sense, the notionof Sobornost emerged as a sign of the diaspora’s theological development – in light theevolution of the notion and its ecclesiological aspect, but also in the journal by the samename, which was published under the auspices of the Fellowship of St. Alban and St. Sergius.This altogether demonstrates a trajectory of thought that emerged in the diasporaintelligentsia, which stood in opposition to exceptionalism, messianic or nationalist sentiments,inasmuch as it was a inheritor of pre-Revolutionary Russian thought, is a contrastto the post-Soviet milieu. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

This paper reveals the importance of stories associated to specific objects. The study argues that storytelling can infuse life and meaning into insignificant things. From a semiotic point of view, material objects become signs linked to particular people, experiences, desires, values, thus creating strong emotional bonds with the landscapes part of human daily routines. Beyond fetishism or consumerism, these significant objects could serve the purpose of eco-critical awareness. Through the lenses of a micro-narrative by British novelist Tom McCarthy, (...) attached to the insignificant object of a “Mermaid figurine”, the paper explores the ecology of little things in order to draw attention to sustainability concerns. (shrink)

In The Name of the Rose, Umberto Eco essentially presents an educative vision of some basic semiotic principles that infuse the textual form of a popular fictional genre—the detective story. In effect, it characterizes the postmodernization of the traditional “whodunnit” moving the genre from the realm of “the real” or the plausible into the realm of “the metaphysical” or the unthinkable. The Name of the Rose is a practical application in semiotics. Or, how the aesthetics of textual production as generated (...) through the lexical signs and codes manifest the discursive text of a novel work. The semiotic twists and turns of the detective story facilitate this educational function and the purposeful transformation of the reader into an individual capable of appreciating and grasping the conflicting ideological viewpoints expressed through its dialogical structure. The detective genre enables the Umberto Eco to produce an educational narrative via the intricacies of plot in the detective story while teaching main aspects of semiotic theory. (shrink)

If the discourse of manners and customs aspires to a stable fixing of subjects and systems of differences, however, its project is not and never can be complete. This is true if only for the seemingly trivial reason that manners-and-customs descriptions seldom occur on their own as discrete texts. They usually appear embedded in or appended to a superordinate genre, whether a narrative, as in travel books and much ethnography, or an assemblage, as in anthologies and magazines.6 In the (...) case of travel writing, which is the main focus of this essay, manners-and-customs description is always in play with other sorts of representation that also bespeak difference and position subjects in their own ways. Sometimes these other positioning complement the ideological project of normalizing description, and sometime they do not.In what follows, I propose to examine this interplay of discourses in some nineteenth-century travel writing chiefly about Africa. While Barrow’s work is not prominent on anybody’s mental bookshelves these days, readers will recognize such names as David Livingstone, John Speke, James Grant, Richard Burton, Mungo Park, or Paul Du Chaillu. During the co-called opening up of central and southern Africa to European capitalism in the first half of the nineteenth century, such explorer-writers were the principal producers of Africa for European imaginations—producers, that is, of ideology in connection with the European expansionist project there. What I hope to underscore in these writings is not their tendency towards single, fixed subject positions or single, fixed systems of difference. Rather, I wish to emphasize the multiplicity of ways of codifying the Other, the variety of fixed positions and the variety of given sets of differences that they posit. European penetration and appropriation is semanticized in numerous ways that can be quite distinct, even mutually contradictory. In the course of examining discursive polyphony in these travel writings, I hope to stress the need to consider ideology not only in terms of reductive simplification but also in terms of the proliferation of meanings. 6. Ethnographies would seem to be a counterexample to this claim, but in fact one can fairly easily show that ethnographic writing is inextricably tied to personal narrative. Indeed this tie is a symptom of a serious contradiction between ethnographic methods and ethnographic discourse. See my “Fieldwork in Common Places,” in Writing Culture: The Poetics and Politics of Ethnography, ed. James Clifford and George Marcus . Mary Louise Pratt is an associate professor in the Department of Spanish and Portuguese and the Program in Comparative Literature at Stanford University. She is author of Toward a Speech-Act Theory of Literary Discourse and is a member of the editorial boards of Poetics, Signs Tabloid, and Cultural Anthropology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Care of the terminal patient:Are we on the same page?Lauren WancataIn surgical training a “service” or care team consists of sick patients admitted to the hospital and the medical team caring for the patient. Each service consists of an attending physician, a chief resident, a senior resident and junior residents structured as a hierarchy. The chief was gone for the week. As a senior trainee I would be the (...) acting chief—a role I had assumed many times before this month. To prepare for the week of his absence, I read through each patient’s chart, and the chief and I discussed each patient—diagnosis, procedures, and plans.One was a 41–year–old male with cancer—he was young, but a patient like him was not uncommon at my institution. He originally came in through the emergency department with abdominal pain and difficulty with urination. His admitting medical team started the work–up for his symptoms—blood tests, a CAT scan, and consults to other physician services with specialized knowledge. He eventually underwent endoscopy with biopsies of his stomach and placement of stents into his ureter and kidney for his urinary issues. With return of the biopsies, he had a diagnosis—cancer. He required additional procedures, including the placement of stents into his bile ducts, as they, like his ureter, had become affected by the cancer. The next step was staging the cancer to determine his treatment options. Our surgical service was consulted for a diagnostic laparoscopy with washing—we would take a look inside his abdomen with a camera and obtain a fluid sample to be sent to the pathologist for review, the standard of care for this type of cancer. When the camera was placed nodules were seen—a sample of the nodules and the fluid were sent to a pathologist and determined to be positive for cancer: metastatic disease, stage IV. A special feeding tube was placed into his small intestine to aid in nutritional support, as he had already lost a significant amount of weight, and improving his nutrition would be imperative for any further treatments. Following this operation, oversight of his day–to–day care was taken on by our surgical service, and he had been under our care for a period of time before I rotated onto the service for the month.What was the plan for his care in the hospital, and what was his–long–term plan? His cancer could not be surgically removed due to the extent of its spread within his body. He had recently undergone another CAT scan due to an elevation in his white blood cell count (this elevation was a sign of possible infection) and a thoracentesis, a procedure to remove some of the fluid that was collecting around his lungs. Nephrologists (kidney specialist) had been consulted due to his declining kidney function. Throughout the days, his tube feeds, his source of nutrition, would often be turned off due to bloating and feeling full.Each morning, I rounded with our team, and we would see how he was doing. We would discuss how his night went, and make a plan for the day. He was a man of few words, but his wife was always at his bedside, to support him, listen to updates and keep tract of his progress. She had worked at the hospital and had seen a wide range of patients. She would ask about his kidney function, his tube feeds, and his labs. But, she never asked about his prognosis. I would leave his room each day with the unnerving feeling that the patient, family members and care team were not on the same page. Yes, we all wanted him to get better and to leave the hospital. [End Page 28] But, was he really going to get better? What defined better? Did the patient and his family really know the extent of his disease and his prognosis?Towards the end of my week as chief, I started to ask if they had any other questions. It had been a few weeks since his operation. Was there anything that they wanted to discuss or ask me about? At the... (shrink)

An account of the transition from the Edenic to the state of nature discourse in the late sixteenth and early seventeenth centuries has yet to be written. The contention of this paper is that Hobbes's work is a useful place to begin an investigation of this process of change. Though not the initiator of this transformation, Hobbes must take much of the credit for the eventual eclipse of one discourse by the other. An exposition of the Edenic discourse, kept alive (...) in the theological tracts of English divines, sets the proper context for an appreciation of Hobbes's state-of-nature scheme. As is made evident in a number of his Latin publications, Hobbes came to realize that the viability of his own narrative of political creation required the subversion of traditional glosses on Genesis. By attending to two particular features of the Edenic discourse that Hobbes sought to negate -- the language Adam spoke and the knowledge he possessed and transmitted to his posterity -- important connections are made with Hobbes's general theory of signs and his absolutist theory of sovereignty. (shrink)