Contemporary philosophy is beginning to pay to problems of linguistic justice the attention that they deserve in today’s heavily interconnected world. However, contemporary philosophy, as a part of today’s world, has problems of linguistic justice of its own which deserve meta-philosophical attention. At least in the philosophical tradition that is mainstream in much of the world today, viz. analytic philosophy, methodological and sociological mechanisms make it the case that the voices of non-native-speaking philosophers are substantially less heard. In this essay, (...) I briefly outline the problems non-native speakers face in contemporary analytic philosophy. I then move on to analysing the possible causes of the current problems. Among these reasons, I argue, is the emphasis given to linguistic style and appearances as signs of clarity, precision and rigour in the treatment of philosophical problems. I argue that the current emphasis on linguistic style in analytic philosophy is not justifiable, in part because it deprives contemporary analytic philosophy of a wider variety of philosophical perspectives. I argue that an important remedy for the emphasis on linguistic appearances within philosophy is to foster greater linguistic diversity. I conclude by presenting and motivating a recent initiative that aims to achieve such a goal. (shrink)

ABSTRACT The purpose of this article is to delve deeper into issues of stylistics as addressed in the interpretation of Rabelais’ works, Gargantua and Pantagruel, from Spitzer’s perspective, while looking for related aspects from a Bakhtinian perspective. The principles on which the analysis is based are the concept of style and literature that crosses Spitzer and Bakhtin’s analyses, revealing contrasting aspects in the interpretation of this Rabelaisian work. RESUMO O objetivo deste artigo é aprofundar a questão da estilística (...) na perspectiva de Spitzer, procurando aspectos relacionados com a estilística de Bakhtin, em específico no tratamento dado por ambos à obra de Rabelais Gargântua e Pantagruel. O princípio que fundamenta as análises é a concepção de estilo e de literatura que perpassa as análises de Spitzer e Bakhtin, desvelando aspectos contrastantes na interpretação dessa obra rabelaisiana. (shrink)

Science communication in online media is a discursive domain where science-related content is often expressed through styles characteristic of popular journalism. This article aims to characterize some dominant stylistic patterns in magazine articles devoted to environmental issues by identifying the devices used to enhance newsworthiness, given the fact that for some readers environmental topics may no longer seem engaging. The analytic perspective is an adaptation of the newsworthiness framework that has been applied in news discourse studies. The material (...) is a sample of the 38 most-read environment-oriented articles in the online version of the international science magazine New Scientist collected between late 2013 and late 2014. The articles are analysed qualitatively to show the instantiations of such newsworthiness criteria as novelty and superlativeness, timeliness and impact, negativity and positivity as well as other strategies aimed at engaging the readers: rationalization and speculation, direct address and conversational style. The analysis reveals how, in this case study, science communication is turned into infotainment and considers the implications of this discursive shift for the public understanding of environmental science. (shrink)

ABSTRACTWhile the Apollonian and Dionysian in Nietzsche’s Birth of Tragedy are often understood as a rehashing of Schopenhauerian metaphysics, recent accounts have shown that his use of these concepts is at odds with such a metaphysics, interpreting them instead as myths. I follow this insight that Nietzsche is engaging in mythmaking in BT, but I argue that proponents of this view have missed an important dimension of that mythmaking: that Nietzsche presents multiple narratives of Apollo and Dionysus from different perspectives, (...) each of which offers different senses of tragic affirmation. This perspectival feature of BT sheds light on the more formal ‘perspectivism’ articulated in the Third Essay of On the Genealogy of Morals, as Nietzsche uses perspective in both cases to generate an epistemic alternative to the life-denying features of modern science. Thus, the metaphysical discussions of the early Nietzsche are inseparable from the development of a stylistic practice that constitutes a radical rejection of metaphysics for the later Nietzsche, and this style is part of a project of generating a more life-affirming approach to knowledge. (shrink)

Readers of literary narratives undergo an emotional experience by feeling varied emotions in various ways. While going through a narrative, we assume here, a fictive reader may be absorbed because they very often believe they develop a feel what is to be felt from a perspective presented and, similarly they understand what is to be understood in a given situation and character engaged in highly textually interwoven situation. Therefore, certain techniques and devices are employed by the authors of emotional (...) fiction to engage their readers emotionally and to create text- reader empathy. In this paper, an attempt has been made to discover the lexico-grammatical texturing of emotional fiction using the Corpus Stylistics Framework for identifying emotional intensity based on Systemic Functional Linguistics to unveil how this particular texturing causes emotional immersion. Through a lexico-grammatical analysis of the selected passages of ‘The Bride’, it is established that by using particular lexical choices and devices, the author engages the reader emotionally and therefore, enhances readers’ involvement in the text. Hence, it supports our claim that the lexicogrammar of the emotional passages is instrumentally di?erent for projecting emotionally engaged responses. (shrink)

The article devoted to the study of an artistic image of female saint from stylistic and linguocultural perspectives. The image is represented by the characters of Judith and Juliana in Anglo-Saxon literature. Stylistic peculiarities of the image are result of the fact that it emerges as a combination of heroic and religious genres. Thus, two genre pictures of the world account for characteristics of the image: on the one hand, it is described by epithets relating to the sphere (...) of divinity, on the other, by lexis relating to military heroism. As a result, Anglo-saxon female saint stands out among other female images by a considerable degree of activity, which is manifested at all levels of analysis. Female saints are connotated positively and described as ‘bright‘, ‘wise‘, and ‘brave‘. A category binding the image and a sphere of culture is a notion of value, which is reflected in a linguocultural concept. Study ofconceptual space of female saints contributes to reconstructing values and anti-values of the Anglo-Saxon period. An interaction of heroic and religious pictures of the world account for a specific character of an image of the saint in Old English literature, namely the co-existence of concepts typical of these conceptual outlooks. On the one hand, God-related concepts: God, love, glory, on the other, such heroic concepts as strength, bravery, dignity. Anti-values within the image are associated with the macroconcept ‘devil‘ and devil-related concepts like death and feud. (shrink)

With the rapid development of contemporary social economy and the relative stability of the political situation, art has also developed rapidly. But currently, there are many unique and innovative art works in society, and the style and theme of the works are increasingly deviating from people's lives. In response to this issue, this study attempts to analyze the reflective spirit and tragic consciousness in "Scar Art" works from a realistic perspective. The research adopted comparative and image analysis methods to (...) compare the stylistic differences between Chinese scar art and other schools of art, using representative painters' oil paintings as samples to analyze the inner diameter, techniques, emotions, and visual expression of their creations. The objective was to provide reflection and inspiration for the current Chinese art community through the analysis of the realism spirit contained in the "scar art" works that bring profound value to the Chinese art community. In response to the current problem of oil painting creation being detached from people's lives, this study analyzes the artistic characteristics of scar art works and the expectations of reflecting the characteristics of the times, providing inspiration for modern art creation. The study found out that realism spirit in "scar art" is based on the principle of objectively reflecting the current era and society, paying attention to the spirit of people's lives, which is also what the current development of art needs to consider. (shrink)

This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. The book offers a wide range of international perspectives from prominent musicologists, philosophers and composers.Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, (...) pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music. Part III offers creative perspectives, with new essays and interviews from important contemporary composers. A concluding essay by Alastair Williams provides a postlude to the book, while the whole collection is prefaced by an extended introductory chapter by Max Paddison which provides a context of ideas, and traces many of the issues discussed back to Adorno's seminal notion of une musique informelle. (shrink)

There exists a venerable tradition of interdisciplinary research into the origins and development of Paleolithic cave painting. In recent years this research has begun to be inflected by rapid advances in measurement techniques that are delivering chronological data with unprecedented accuracy. Patterns are emerging from the accumulating evidence whose precise interpretation demands corresponding advances in theory. It seems that cave painting went through several transitions, beginning with the creation of simple lines, dots and disks, followed by hand stencils, then by (...) outlined figures, and finally by naturalistic figures. So far the most systematic evidence comes from Europe, although there are also indications that this sequence could be a universal pattern. The shamanic hypothesis provides a useful theoretical starting point because of its emphasis on the role of performance and phenomenology in the creative process. However, it still tends to reduce this sequence to mere stylistic and thematic changes that were external products of an already fully formed modern mind. Here I show how key insights from semiotics and material engagement theory can advance this explanatory framework to the extent that we become able to postdict the major transitions in the chronology of Paleolithic cave painting. An intriguing implication is that this is at the same time a chronology of cognitive changes, namely from a performative-phenomenological to a reflective-representational mind. (shrink)

The paper explores the hypothesis that multinomials can act as authorship-based style distinguishing markers in legal communication. Specifically, the analysis focuses on identifying the quantitative distribution patterns of structural categories of multinomials as typical for two authorship categories and on their communicative function. The two authorship categories that are contrasted here are legal professionals/experts and lay people. The analysis is conducted in the corpus-based methodology with a custom-designed corpus of English, authentic texts found in the legal trade, in the domain (...) of company registration proceedings. The findings confirm that multinomials that are conventionally considered to be a feature of professional legal communication are also cognitively salient in lay communication. Further, the texts drafted by the two categories of authors are profiled by structurally distinct multinomials. Functionally, it has been demonstrated that the structurally distinct types of multinomials that are found quantitatively salient in the two authorship categories are used predominantly for specific stylistic and/or pragmatic functions. Stylistically, multinomials contribute to conventional and ritual patterns which are used to meet the formality standards that have evolved in specific legal professions where authority is of particular importance. Pragmatic factors which account for quantitative salience of specific, structurally profiled categories of multinomials involve mainly reduplication of multinomials that embody norm-related concepts, which is required on the ground of intertextuality and ensures the materialisation of legal effect. (shrink)

This essay examines Claudio Magris’s literary production from the point of view of European normative ethics by drawing on recently-proposed theories of negative empathy and the hybrid hero. A brief overview of Magris’s narratives and characters—from Illazioni su una sciabola (1985) (Inferences from a Sabre, 1991) to Croce del Sud) [Southern cross] (2020)—shows his peculiar interpretation of such theories and how he repurposes them for ethical goals. This is followed by a close reading of Un altro mare (1991) (A Different (...) Sea, 2017) which presents in detail the narrative and stylistic devices adopted by the author to establish an emotional connection with readers that can stimulate empathic identification together with critical thinking. Finally, the essay demonstrates the central role of Magris’s work in a European ethical framework with the support of empirical evidence in the study of reading experience, combined with theoretical claims of several modern philosophers and literary scholars, including, among others, Martha Nussbaum, Stefano Ercolino, Massimo Salgaro, and Benjamin van Tourhout. (shrink)

Name and Naming: Synchronic and Diachronic Perspectives aims to analyse names and the act of naming from an intercultural perspective, both synchronically and diachronically. The volume is divided into four main parts (Theory of Names, Anthroponomastics, Toponomastics, Names in Society), which are, in turn, organised into thematic chapters and subchapters. The book sets to offer a bird's-eye view of names and naming; this synthesis is made possible, on the one hand, by the blending of synchronic and diachronic viewpoints in (...) the investigation of language facts and, on the other, by the fruitful conjunction of modern and classic theories. The originality and the novelty of the subject lies in the multi-disciplinary approach, in which the field of onomastics merges with that of sociolinguistics, psycholinguistics, pragmatics, history, literature, stylistics, religion, etc. The thematic diversity also derives from the meeting, within the pages of this book, of specialists (35 linguists and literati) from 11 countries on three continents. (shrink)

There is a clear and controlling philosophical concern that governs Ralph Waldo Emerson’s essays: freedom from limitation and self-reliance from external authority. What makes it difficult to understand his essays, however, is his style, which is characterized by disconnection, paradox, and negation. These rhetorical techniques make the meaning of his writings elusive and slippery. Though many scholars have analyzed Emerson’s style, none have approached it through the writings of Laozi, an ancient Chinese philosopher. There are two reasons I compare Emerson (...) and Laozi. First, in spite of their differences, there are important parallel themes and stylistic innovations in their writings. Second, attentiveness to a key figure in the Eastern philosophical tradition can help to explain how Emerson’s thoughts disappoint Western readers, precisely because they employ techniques beyond the method of habitual intellect in the Western frame. This essay tries to approach several features in Emerson’s writing style from a Daoist perspective to show that both philosophers purposefully use linguistic strategies such as disconnection, paradox, and negation to provoke readers into participating in understanding truth, instead of telling them directly what truth is. (shrink)

This paper focuses on English yes-no interrogatives of the type Would you like/Do you want [NP]? and their elliptical variants You like/You want [NP]?, Like/Want [NP]? and [NP]?. The central question is what type of theoretical relationship can be assumed between the different forms. A theoretical discussion of different traditional approaches and their limitations is followed by the presentation of an explorative corpus search in the BNC, which can reveal interesting differences between the different stages of initial reduction, in particular (...) regarding the semantic class of the NP head nouns: While the possible lexemes found in the full forms and intermediate reductions seem only restricted by pragmatic constraints, the highly reduced [NP]? question displays only lexemes related to the semantic class of consumption goods. Construction Grammar (CxG) is suggested as a useful approach to explain the internal relationships between the different forms, especially because it offers the option of lexically open idiomatic structures, assumes a usage-based, hierarchical network with different degrees of independence between single constructions, and allows for an integration of pragmatic features into a grammatical model. (shrink)

Zimbabwean literature produced after the attainment of independence has been predominantly engrossed with thematisation of the postcolonial subaltern subjects’ existential conditions, enunciated together with gender politics, religion and socio-economic environment that frame politics of difference, and sites of suffering or resistance. These tropes remain absorbing and critical even in contemporary female-authored novels that also engage with a deeply fractured modern-day Zimbabwe. Tsitsi Dangarembga’s novel, This Mournable Body, offers important site to debate the enduring concerns of gender inequalities, politics, and religion. (...) A stylistic approach is adopted to identify the semiotic construction of the text and discuss the different styles that are deployed to foreground central tropes in the novel. The adoption of stylistics as an underlying conceptual model locates this current study in the interdisciplinary research which brings together gender, applied linguistics, poetics, politics, and religion, in order to provoke new ways of reading the dialogic and polyphonic elements of the text. The study contends that the politics of difference is an unsettling subject that profoundly impacts on gender relations and religio-political practices in a milieu where precarity is a major defining feature of the subaltern sections comprising women and the marginalised poor. Thus, the novel’s title figuratively foregrounds the (un)mournable bodies of the people, who are both dehumanised and heavily burdened by surviving at the margin.Contribution: Tsitsi Dangarembga’s novel, This Mournable Body demonstrates a deep concern with the plight of the subaltern people in a gendered society and how their conditions of the Othered bodies are further amplified by both religion and politics in present-day Zimbabwe. Thus the study contributes to the mounting discourses about politics of fragmentation and binary practices, and the ensuing agony suffered by the sidelined persons. The adopted stylistic reading of the focus novel underscores the interdisciplinary urgency to literary interpretative process. (shrink)

This article examines stylistic and linguistic aspects of photographic thinking in the novels of Fyodor Dostoevsky and Bruno Schulz. The analysis is framed by the insights of Western and Ukrainian theorists of the image. The development of photo technologies anticipates photographic thinking as an aesthetic phenomenon. Photographic thinking is embodied in the specific artistic and imaginative reflection of reality and the human world, embedded on the linguistic—syntactic—level of the artistic text. In Dostoyevsky’s tract, the text can be seen as (...) a photo album with consecutive snapshots, each frame containing a certain dominant. On the syntactic level, the phrases “suddenly” and “for a moment” introduce the photographic frame or a change of frame. The phrase “for a moment” grounds a new poetic technique, a way of capturing the psychological states of a character when the soul is revealed, that is, when he or she is reacting unconsciously. The capturing of life from the point of view of a camera distinguishes the surrealist fiction of Bruno Schulz. This photographic perspective is connected with a new conceptualization of temporality: the past and the present are on the same plane and neither is the time of representation, which means the subject of representation is always dead. The conception of time as ‘frozen’ in the moment is also part of Dostoevsky’s poetics. (shrink)

_Focused on existentialism, this issue explores current writers, thinkers, and texts affiliated with the movement_ In 1948, _Yale French Studies_ devoted its inaugural issue to existentialism. This anniversary issue responds seventy years later. In recent years, new critical and theoretical approaches have reconfigured existentialism and refreshed perspectives on the philosophical, literary, and stylistic movement. This special issue restores the writers, thinkers, and texts of the movement to their subversive strength. In so doing, it illustrates existentialism’s present relevance, revealing how (...) the concerns of the past urgently bristle into our own times. (shrink)

The purpose of this article is to show, by the example of Hugo Grotius's Annales et Historiae de rebus Belgicis (AH), that the nature and content of the concept of Tacitism (Tacitist, Tacitean) in the period around 1600 was markedly different from modern perceptions of the style and political purport of Tacitus's works. This gap between current and early-modern conceptions of Tacitus is important to bear in mind for intellectual historians dealing with early-modern intellectual currents such as Reason of State, (...) Neo-Stoicism, Tacitism, and others. This article first describes how the Tacitean style is characterised in literary criticism around 1600; then it explores the qualities of Hugo Grotius's imitation of Tacitus from the 17th-century perspective and from that of some main aspects of the present-day view of Tacitus. It concludes that Grotius's imitation shows Tacitus's style in a characteristically 17th-century mirror, in that it puts emphasis on Tacitean syntax, brevity and choice of words (the stylistic micro-level), as well as on political iudicium and Reason of State, but omits imitation of the narrative and structural qualities of Tacitus's composition, and their implications, which are central to modern interpretations. ☆ This article is part of the outcome of a research project on Grotius's Annales et Historiae conducted at the Radboud University Nijmegen in 2004–2008 with a VENI-grant from the Dutch research organisation NWO. I thank Corinna Vermeulen, Marc van der Poel, Hans Blom and HEI's anonymous referees for their comments on this piece. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Style: A Queer Cosmology by S. Taylor BlackJoe Edward HatfieldStyle: A Queer Cosmology. By Taylor Black. New York: New York University Press, 2023. 304 pp. Hardcover $99.00, paper $35.00. ISBN- 10: 147982500X.Style is a perennial concern within rhetorical studies. As one of Aristotle's five canons, style has inspired a great deal of rhetorical theory over the past two millennia and counting. Hence, it would be reasonable to presume (...) that there is not much, if anything, else original to contribute to the well-trodden domain of the stylistic. However, Taylor Black's Style: A Queer Cosmology challenges this assumption by offering a fresh take on its titular concept. The book's grounding in the interdisciplinary field of American Studies allows its author to speak to multiple audiences at once, including those invested in queer theory, race and ethnicity, popular culture, new materialism, and literary criticism. To this inventory, I would add anyone interested in the art of rhetoric, particularly those committed to incorporating new, diverse perspectives into the field's existing analytical tool chest. Tonally whimsical but nonetheless boldly argued, Style dramatically reframes a timeworn concept in the rhetorical lexicon that many of us have likely—and mistakenly—come to take for granted.Readers of this journal will be immediately seduced by Black's provocative rethinking of style as elemental. Here, the term "elemental" directs attention toward style as "the rudimentary source of difference that distinguishes one thing from another, something perhaps, more closely aligned with myth than fact: an immaterial force or energy, perhaps supernatural in essence, that imbues everything under the sun" (5). As Black infers throughout the book's introduction, style is the expression of difference available to all human and nonhuman beings. More than aesthetic ornamentation, or the mere ability to make oneself appear outwardly beautiful, style is a mysterious yet universal condition of possibility underlying the cultivation [End Page 226] of a personality. Style names the intertwined processes of self-fashioning and self-discovery that produce individuation as its outcome. And though everyone "has" a style, Black asserts, "not everyone is a stylist" (15). Black posits the figure of the stylist to denote a minoritarian subject who transmutes the experience of oppression into a purposeful performance of self. Upon realizing their exclusion from a majoritarian social order organized by deeply embedded attachments to a hierarchy of difference that discriminates on bases of race, gender, sexuality, class, and other intersecting codes of identification, stylists turn their failure to conform into an opportunity for opening possibilities for alternative futures.In other words, from the limitations that accompany experiences of structural oppression, style authorizes potential. Referencing Zora Neale Hurston's 1928 essay "How It Feels to Be Colored Me," Black suggests stylists tend to dwell in cosmology, a form of storytelling or narrative fabulation about the universe's origins and one's place in its ongoing unfolding. "Stylists," Black poetically avers, are "naturally drawn to understanding the universe better by virtue of developing a more and more acute consciousness of who and what they are and how they came to be" (20). Black highlights style's fundamental elementality as emerging from cosmic renderings of marginalized experience and the pursuit of a future otherwise. To further illustrate this elemental notion of the stylistic, Black assembles an eclectic corpus of texts by those he calls "subterranean American stylists" (5), namely Quentin Crisp, Bob Dylan, Toni Morrison, Flannery O'Connor, and Edgar Allan Poe, among others, whose lives and work he examines over seven chapters divided into three main parts. Each chapter supplies unique insights on the elementals of style, as well as its subject matter, thus allowing Black to support the thesis constructed in the introduction without ever seeming overly redundant.The first part of Style, "The Mystery of Personality: Queerness as Style," consists of a preface and two chapters oriented around the specific ways stylizations of queer selfhood may function as a survival strategy and, relatedly, a means for exploring elemental mysteries of personality and being. In the initial chapter, Black analyzes texts authored by openly gay memoirist and cultural commentor Quentin Crisp, who became famous for his humorous and often brash... (shrink)

The films of Sergei Parajanov remain some of the most stylistically unique in the history of the medium and easily place him within the pantheon of the world's great filmmakers. This article offers a new perspective on Parajanov's art through a detailed examination of the two works at the center of his oeuvre, The Colour of Pomegranates and The Legend of Suram Fortress. In addition to their undeniable aesthetic value, these films may be appreciated as meaningful discourse on our (...) conceptions of time, perception, and identity. Like Parajanov's other films, they dismantle the perceptual and narrative structure of classical cinema in order to stimulate awareness of an expressly raw layer of reality beneath what we customarily take to be static, indivisible essences or identities. With specific attention to the correlation of difference, repetition, and perception, this article also focuses on the effects this presentation of perpetual flux and variation has on consciousness and subje... (shrink)

Purpose. Objectives of the study are as follows: to remove the reduction of women to a metaphysical subject, to the "castrated Other" through the correlation of postmodern strategies and gender medicine; to institutionalize gender medicine as knowledge and practical activities that improve the quality and span of life of women based on the methodological application of deconstruction, complementarity, differance, "double writing", X-subject treatment and biomedical innovations; the perspective of gender medicine development is the implementation of the concept of "sovereign (...) writing" of postmodern in individual treatment of a person. Theoretical basis. Shock value of the title means farewell to metaphysics in the complex of its derived concepts. The author criticizes the abstract, reduced, marginalized, deviant subject of classical metaphysics and its continuation in psychoanalysis, explores the correlation of postmodern philosophy strategies and biomedical innovations. The allusion to the masterpiece of world cinematography Pasolini’s "Ciao maschio" corresponds to the rhizomatic stylistics of the postmodern. Originality. After feminist transgressions, gender constructivism postmodern philosophy demonstrates a new subject and a new methodology, which formed gender medicine. Differance, distinction, complementarity, X-subject of treatment, chiasmatic movement, "double writing", "sovereign writing" organically turned over and reconstructed modern medicine in gender, biochemical, and hormonal innovative variations. Conclusions. 1. Based on the philosophy and biomedical innovations, a new direction has grown – gender medicine, which has removed the reduction of women to a metaphysical subject, "castrated Other", which has improved the quality of women’s health and span of life. 2. Gender medicine in organic combination with the strategies of deconstruction, complementarity, differance, distinction as hormonal distinction, "double writing" as a "dual protocol" of treatment for the same diseases of men and women, the treatment of X-subject turned out to be "new wisdom", which improves the quality of health and span of life in everyday practice. 3. The prospect of the gender medicine’s development is in the implementation of the "sovereign writing" as an individual treatment of a specific person. (shrink)

Croatian literary culture of the 18th century is marked by stylistic pluralism, considering that its Enlightenment character and its didactic and utilitaristic dimensions are emphasized the most. Austrian catechism was the fundamental book of school religious education from 1777 until 1847 in the whole Habsburg Monarchy, and it played an important role in the upbringing of children, but also of the entire family and social community in the spirit of Josephine politics. This topic is viewed from the perspective (...) of Immanuel Kant who found it important to emphasise the dangers to which the fetishisation of ecclesiastical norms can lead to, i.e. to hinder the development of critical moments of liberty and upbringing. The absence of Enlightenment period in Croatian countries of the Habsburg Monarchy is complexly conditioned: from religious resistance and changes in a social and political sense to stagnancy and lack of education of a large part of the population, altogether favourable to the Croatian nobility and clergy. (shrink)

Bringing together scholars from a broad range of theoretical perspectives, The Language of Argumentation offers a unique overview of research at the crossroads of linguistics and theories of argumentation. In addition to theoretical and methodological reflections by leading scholars in their fields, the book contains studies of the relationship between language and argumentation from two different viewpoints. While some chapters take a specific argumentative move as their point of departure and investigate the ways in which it is linguistically manifested in (...) discourse, other chapters start off from a linguistic construction, trying to determine its argumentative function and rhetorical potential. The Language of Argumentation documents the currently prominent research on stylistic aspects of argumentation and illustrates how the study of argumentation benefits from insights from linguistic models, ranging from theoretical pragmatics, politeness theory and metaphor studies to models of discourse coherence and construction grammar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FÉLIX MaRTÍNEZ-?????? TOWARDS A FORMAL ONTOLOGY OF FICTIONAL WORLDS In this discussion ' I propose a few concepts for the description and classification of fictional "worlds." The variety of fictional systems of"reality" can be understood, I diink, as an aspect ofthe phenomenon of style in literary imagination.2 But styles of imagination or of vision, and die style of literary works, are more than simply kinds of fictional worlds. To (...) put in some perspective my attempt at classification of literary works according to their systems of reality, I will make first a few remarks on the notion of style. It is a well-known preliminary problem when speaking of style diat this word seems to have more than one meaning in ordinary usage. I think that some ofits current meanings are rich and important, and that literary knowledge would profit if we could reconstruct them in abstract and defined concepts, so that the notions involved were somewhat clarified. I doubt diat diis is possible with current conceptual tools. We can see what is meant, say, when we hear diat a certain person we know "has style"; and we certainly distinguish diis attribute from others such as elegance, good manners, character, taste, originality, mannerisms, or idiosyncracies. Thus, we occasionally perceive in personal behavior a phenomenon called style. A conceptual description or a satisfactory definition of such a given, however, seems very difficult. Speaking of matters of art and literature, "style" has been used, among other things, to designate both the conventional forms of traditional expression (as in "manuals of style") and the anomalous, convention-breaking forms of highly individuated creation (as in die classic conception of Vosslerian-Spitzerian Stylistics, or in Buffon's "Le style c'est l'homme même," as usually understood). Style, dien, as conformity and style as singularity and deviance; style as impersonal decorum and as presence of a unique personal essence in the work. This perplexing ambiguity may be reducible though. Whether conventional and common or personal and innovative, style appears to be a form that characterizes and holds together a creation or a phenomenal entity. Indeed, the fact that 182 Félix Martínez-Bonati183 singular innovations of style often become the common trait of a school or current and sometimes a part of general tradition seems to indicate that neither singularity nor general acceptance are the most basic elements of die notion of style. On first reflection, we may conceive of style as a formal principle that consistently determines the constitution of die pertinent objects. Nonetíieless, constitutive form is too weak a definition for style, since it would also apply to what is called "technique" and even to genre. We must look for a more specific determination. There is anodier ambiguity in everyday uses of die word "style" diat deserves attention. We speak often of "good style" and "bad style." But sometimes we speak as if no style is bad and the thing that matters is to have style at all and as much of it as possible. Thus, we condemn a work because of its having no style or only a weak one. This contradiction probably derives from the confusion of a particular normative, a general normative, and a merely descriptive notion of style. We should keep, if possible, to a merely descriptive notion. Still another uncertainty of usage, in literary matters, relates to the (not universally accepted) restriction of the notion of style to a linguistic one; style, in this restricted usage, is seen as primarily an attribute of diction. The most numerous of literary studies of die style of singular works have been, so far as I can see, descriptions of idiolects. In many cases, the linguistic peculiarity is taken as an index of the world-view or die style of imagination diat is supposed to have produced the work. Alternative to this approach, indeed complementary, is the study of literary style as an attribute of die fictional entities to which literary discourse refers. We find the latter kind of approach mostly in characterizations of genres or of periods ("the naturalist novel," "romance," "classicism," etc.). One may suppose that an exhaustive analysis of the idiolect of a work... (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional (...) definitions of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

Current inter-disciplinarity has rendered it feasible to utilize implements and methodologies to navigate around the communication of fashion at textual as well as material levels, reified by inter-semiotic and cultural translation. Fashion communication, from the perspective of post-translation studies, is a process of cultural translation with visual symbols as its text, visual rhetoric as its core meaning system, and visual stylists as its translator. This study takes one of the most formidable and awe-inspiring icons – the Chinese totem Loong (...) 龙 as the main research object, through the analysis of multifarious styles of visual text structures across the entire process of fashion communication, to deconstruct the semiotic transformation of Loong 龙 by means of visual rhetoric. In forging this rhetorical dynamic within the realm of visual art, the cultural translative procedure is orchestrated primarily through the registers of field, tenor, and mode. Furthermore, it is molded by the intricate interplay of transitivity, mood, and modality, culminating in this newly proposed concept – “cultural functionality” through the lens of systemic functional grammar. This study, by means of this rhetorical, semiotic approach, forays into the profundity of what is named as “Made in China” and showcases Chinese spirit in fashion communication. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Leonard Tan and Mengchen Lu, “‘I Wish to Be Wordless’: Philosophizing Through the Chinese Guqin.”Chiao-Wei Liu“I wish to be wordless” connects Chinese philosophical thinking to music education at large. Through discussions of values associated with the Chinese instrument guqin, Leonard Tan and Mengchen Lu exemplified “how music serves as ‘Truth tool’ in the Chinese philosophical tradition.” Specifically, the authors explored four ideas: “Search for Truth” (求真), “Search (...) for Harmony” (求和), “Search for Ethical Awakening” (求覺), and “Search for Sagehood” (求聖). These ideas embody insights from three major Chinese philosophical traditions: Confucianism, Daoism, and Buddhism. Time prevents me from exploring the complex issues related to the interpretation and translation of classical Chinese texts, but I will attempt to focus on some of the authors’ arguments and how they relate to the practice of music learning and teaching in the classroom.1Quoting Confucius in their article title, Tan and Lu called attention to the suspicion of language found in the conversation between Confucius and his disciple. Extending the argument, the authors referred to Daoist philosophers and argued that although language can transmit wisdom, words remain limited in their ability to capture “the grand unity of the whole” and thus can “detract us [End Page 199] away from Truth.” Tan and Lu suggested that music, unlike language, serves as a truth “tool” and allows one to arrive at the Dao (Truth). Truth is conceived as a way of understanding the world, “a universal order, a new world perspective....” I agree with the authors about the limitations of language in capturing the complexity of human experiences, yet I am perplexed at how Truth is interpreted throughout the article.For example, in their discussion of “Search for Truth,” Tan and Lu related the art of playing the guqin to the Buddhist notion of mingxin jianxing (明心見性), clearing the heart-mind, seeing the inner-self, and locating Truth within the guqin player. Truth here is framed as good moral qualities residing within one’s innermost self (xing 性). Based on Li Zhi’s argument, Tan and Lu stated that “since a guqin player is all about her heart-mind and one’s music is all about the musician, music is the heart-mind of the musician.” Assuming that the heart-mind of the guqin player and the music are one, Tan and Lu suggested that when music and the musician’s innermost self are in sync, the musician may be able to attain spiritual Enlightenment. The example of Chopin’s Nocturne Op. 9, no. 1 helps readers learn that Truth does not reside within the performer or the music, but is located in the space where the two are in sync: “An ‘authentic’ performance of Chopin is one that is not only ‘true’ to Chopin and the stylistic conventions of his times, but also ‘true’ to the performer’s innermost being.”While Tan and Lu’s argument places Truth in both music and the innermost self (xing) of the performers, herein lies an assumption that qualities aligned with the music are ethically good, whereas those that differ are not. The search for Truth is thus a task of refusing any potential influence by “unethical thoughts” in order to stay true to the music. Recognizing the existing norms guiding various music traditions, I wonder how ethical and unethical thoughts are understood in music classrooms. As a music teacher, if unethical thoughts are interpreted as materials and expressions that are different or irrelevant to the music work, how do music teachers make sense of students’ feelings—whether they are the longing for a sense of belonging in the school ensemble or the desire to excel in certain aspects of school life? Are these feelings or desires “unethical” because they are separate from the musical work? If all acts dedicated to the faithful representation of the music work are considered ethical, how about the different needs of different students?Furthermore, in describing “Search for Ethical Awakening,” Tan and Lu stated that music written for the guqin is often associated with moral stories. Learning about the stories associated with music would be mandatory for performers to be morally and spiritually attuned to the composer. While I agree with the authors... (shrink)

The paper discusses the role of tense and time from a cross-linguistic perspective by comparing English and Mandarin. Multiple translations of the same literary piece are used to test the correspondence between the tense, the perfective aspect and temporal adverbials. In English, tense marking is found to work with at least two language-specific stylistic means, clause interpolation and inversion, to create a mixed narrative viewpoint. In Mandarin, neither the perfective aspect nor temporal adverbials, i.e., constructions that invoke time, (...) are systematically used across the renditions, which shows the Mandarin system’s overall indifference to time in managing viewpoint in discourse. The Mandarin renditions, in addition to an overall indifference to time, feature consistent and frequent use of reduplication as the system’s distinctive viewpoint strategy. The paper concludes with a discussion of the cognitive consequence of a language using an obligatory marking system to piggyback the function of viewpointing narratives. (shrink)

The following article frames a particular case study: Jean-Luc Godard’s À bout de souffle (1960), referenced in the paper with its American title, Breathless. Foraging through the dense and sophisticated thicket of narrative, visual and textual features, the present study will attempt to untangle the overall intrinsic complexity of Godard’s film, as it exceeds simple commonalities between genre conventions or traditional stylistic approaches.The abrasive dialectical opposition that Breathless enacts against classical storytelling is indeed central to the specific cluster that (...) can be examined under the labels of “experimental cinema”, “auteur cinema”, “art cinema”, predicated on Godard’s abundant departures from cinematic (mainstream) norms.The methodology adopted in the article will encompass both a cultural studies approach and the visual strategies of textual analysis from the perspective of film studies. This will spur a close examination of Godard’s directorial style, paying attention to a rich plethora of technical devices inscribed within salient sequences and offset against the matrix of creative options presented by the French Nouvelle Vague. (shrink)

This study applies the concept of intersectionality to Black women's entrepreneurial activity. Specifically, the author addresses the ways in which race, gender, and class intersect to inform working-class Black women's decisions and experiences as hair salon owners. By placing Black women at the center of analysis, the author explores business ownership from the perspective of a group that has frequently been overlooked in sociology of entrepreneurship research. The findings indicate that race, gender, and class inequalities shape working-class Black women's (...) entrepreneurship in two areas: the process of becoming entrepreneurs and relationships with stylists. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising Mind' (...) these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

ABSTRACT This paper aims to analyze two different genres, an abecedarium and a limerick, which are common in Children’s Literature. The selected exemplars, The Gashlycrumb Tinies and A Limerick, were written by Edward Gorey. This analysis aims to identify stylistic, thematic, and rhetorical aspects in the exemplars, both in the written text and in the illustrations, through exploratory documental research and under the perspective of multimodality. As a result, traditional aspects of the genres are present in both the (...) texts, such as the rhetorical and structural organization; while the theme is distinct because it is more tragical. However, balance between form and content in the books distances the reader and relieves the tension regarding the theme. Finally, the illustrations tell a story even when isolated from the verbal text, but they are complementary when verbal and non-verbal texts are seen as unit. (shrink)

In Arthur Danto’s The Seat of the Soul: Three Chairs, the chair is a source of power and authority. This paper explores the aesthetic importance of chairs and their designers and determines why people from various cultures create different designs that all perform the same function: seating. Here, the chair is examined as an artwork and design phenomenon from historical, cultural, stylistic, and aesthetic perspectives. Data were gathered through a comprehensive literature review, reports, archival materials, and museum visits. Descriptive, (...) historical, and analytical methods were used to explore the religious, symbolic, spiritual, artistic, competitive, and academic legacies of the chair. Despite the similarity in function, the chair is more important than a sofa, bed, or bench. It displays one’s status, education, knowledge, and artistic taste. However, practicality, low-cost materials, and money have trumped aesthetics in recent years. The findings may help young chair designers highlight their competitiveness and inventiveness. (shrink)

By taking into account those operations of modernity initiated by Stendhal and Cézanne, Manet and Proust, which were continued by Merleau-Ponty and Lévi-Strauss, this paper considers Claude Imbert's writings from the perspective of the formative role that literature and painting had and still have in mapping a new rationality. The aim is to show how the philosopher reintegrates such priceless experiences, captured by peculiar literary forms, syntagms, and juxtaposition of genres or pictorial manners, into a conceptual and stylistic (...) invention affecting the very core of philosophical activity. (shrink)

This volume explores Nietzsche's decisive encounter with the ancient philosopher, Epicurus. The collected essays examine many previously unexplored and underappreciated convergences, and investigate how essential Epicurus was to Nietzsche's philosophical project through two interrelated overarching themes: nature and ethics. Uncovering the nature of Nietzsche's reception of, relation to, and movement beyond Epicurus, contributors provide insights into the relationship between suffering, health and philosophy in both thinkers; Nietzsche's stylistic analysis of Epicurus; the ethics of self-cultivation in Nietzsche's Epicureanism; practices of (...) eating and thinking in Nietzsche and Epicurus; the temporality of Epicurean pleasure; the practice of the gay science, and Epicureanism and politics. The essays also provide creative comparisons with the Stoics, Hobbes, Mill, Guyau, Buddhism, and more. Nietzsche and Epicurus offers original and illuminating perspectives on Nietzsche's relation to the Hellenistic thinker, in whom Nietzsche saw the embodiment of the practice of philosophy as an art of existing. (shrink)

Buffy the Vampire Slayer earned critical acclaim for its use of metaphor to explore the conflicts of growth, power, and transgression. Its groundbreaking stylistic and thematic devices, boldness and wit earned it an intensely devoted fan base—and as it approached its zenith, attention from media watchdog groups and the Federal Communications Commission. The grim and provocative evolution of the show over its final two seasons polarized its audience, while also breaking new ground for critical and philosophical analysis. The thirteen (...) essays in this collection, divided into the perspectives of feminist, cultural, auteur and fan studies, explore the popular series’ conclusion, providing a multifaceted examination of Buffy’s most controversial two seasons. Lynne Y. Edwards is associate professor of media and communication studies at Ursinus College. Elizabeth L. Rambo is associate professor of English at Campbell University. James B. South is associate professor of English at Campbell University. James B. South is associate professor and chair of the philosophy department at Marquette University. (shrink)

The current study aims to make an overall semiotic analysis of translation strategies used to reproduce the imagery and relevant cultural features in John Fowles’ “The Collector.” Regarding literary translation as a cross-cultural dialogue aimed to achieve both artistic and aesthetic effects contributes much to analyzing the semiotic features of the translated discourse and deciphering the relevant socio-cultural information decoded in the source language text. Therefore, it has been decided that translation is a communicative act that facilitates the transfer of (...) meaning in a cross-cultural perspective and focuses on reproducing the source language semiosphere. The semiotic approach is well-established in translation studies with the subtlety of methods and criteria. Therefore, it was considered that the analysis of lexico-semantic, grammatical and stylistic translation strategies would usefully supplement and extend the scope of literary text research. In the current study, comparing the source and target language texts has shown that the translator employs various translation transformations to transmit the author’s pragmatic intent and socially relevant information in the target language. (shrink)

L’adaptation d’une bande dessinée en un film redéfinit l’oeuvre initiale qui se métamorphose et se place en perspective pour parler à un spectateur et non plus à un lecteur. L’étude comparée d’une séquence de la bande dessinée Persepolis de Marjane Satrapi adaptée en 2007 au cinéma par son auteurlui-même et Vincent Paronnaud a pour objectif de montrer comment l’expérience technique et médiologique du film transforme la puissance créatrice de la bande dessinée. La bande dessinée comme le film sont de (...) véritables embrayeurs d’imaginaires, mais leur structure de communication convoque différemment le spectaculaire. En effet, la transformation à l’oeuvre sera exposée en montrant dans quelle mesure les deux médias interpellent une mise en sens des signes et de la langue, faisant émerger deux oeuvres caractérisées par deux stylistiques qui se mêlent et s’anaphorisent. La question de la sémiotisation élaborée dans l’opération technique et narrative du transfert d’un support à un autre reste au coeur de notre réflexion. Ainsi, cet article explore la traduction du travail graphique de la bande dessinée sur l’écran, sa mise en mouvement, la sonorisation des voix et la mise en bruitage du texte et autres procédés qui suggèrent une magie de la transformation.Adapting a comic strip to film redefines the initial work, which metamorphoses into a new perspective to reach spectators rather than readers. A comparative study of a sequence in Marjane Satrapi’s comic strip “Persepolis”, which was adapted to film in 2007 by the author herself and Vincent Paronnaud, aimed to show how the technical and mediological experience of filming transforms the creative power of the comic strip. Both comic strip and film are powerful triggers for the imagination, but their communication structure calls on the spectacular in different ways. The transformation of the work is exposed, showing how far the two media require us to make sense of signs and language to give shape to two works characterised by two different stylistic approaches that merge together in anaphoric interplay. The semiotisation that develops during the technical and narrative transfer from one medium to another is the crux of our study. We investigate how the graphics of the comic strip are translated onto a cinema screen, how they are given movement, how voices are given sound, how texts are reflected in sound effects, and other processes that all suggest the magic of metamorphosis. (shrink)

It Is My Pleasure To Introduce this discussion of Naoko Saito's American Philosophy in Translation. We have contributions from three experts in American philosophy, all of whom have been in conversation with the author for many years: Jim Garrison, Vincent Colapietro, and Steven Fesmire. Prior to their contributions, I would like to set the scene with some brief remarks to introduce the book and to explain something of its background.Over the past two decades, I have worked closely with Saito on (...) a number of projects, and I have been familiar with her ideas for this book since its inception. In some respects, the book is the product of studies in American philosophy that go back to her time as an undergraduate in Tokyo in the 1980s, ideas that were advanced considerably when she did an MA at Harvard, taking classes with Stanley Cavell and Hilary Putnam, and subsequently when she completed her PhD at Teachers College, with René Arcilla as her advisor and Cavell as a member of her committee. It was against this background that, in 2006, Saito published her first singly authored book, The Gleam of Light: Moral Perfectionism and Education in Dewey and Emerson. As that title indicates, she was already exploring the relation between Dewey and pragmatism, on the one hand, and American transcendentalism, on the other. Her sense back then of some separation between these traditions of thought, and of the nature of the tensions between them, has been refined and, for the most part, strengthened in the years since that earlier publication. No doubt she has been influenced in this by Cavell, who, in one essay, for example, asks: “What's the use of calling Emerson a pragmatist?” In any case, her account of this relationship is extended and altered significantly in American Philosophy in Translation.Through the course of her research, Saito has been conscious of the fact that she is studying American philosophy from a distance—a distance that is geographical, cultural, and linguistic—and she retains a thoughtful humility in relation to this. But she also sees here a possible opening to the perception and release of untapped aspects of these traditions of thought, in ways that might fertilize and extend the ground in which the inheritance of American philosophy has flourished. This is very much the line that she pursues in this book. In the light of this, and as the book's title indicates, there is a particular focus on language and translation. It is important that the latter term is understood not merely as an attractive metaphor for change and transformation: crucial to her developing argument is the experience of translating between languages and the reality of the experience in the lives of so many today, within the academy and without. In the course of this experience, one is sometimes confronted, quite self-consciously, with a word or phrase that resists translation. But sometimes—more often in the life of the accomplished or habituated speaker of the foreign language in question—the experience persists as an undercurrent, subtly opening a world that is other in some respects from the one that comes to light in the mother tongue.By contrast, to the many (especially Anglophone) monolingually minded, the need for translation can appear as an unwanted barrier, something of a nuisance, a problem to be solved. This is by no means a response confined, however, to the uneducated (or the Anglophone or the monolingual). There is also a sophisticated variant of this narrowness of outlook where faith is placed in an artificial or technical language with the power, the fantasy runs, to overcome the vagaries of natural language. Hilary Putnam recalls how Rudolf Carnap, whose stature as a thinker and as a human being he does not doubt, felt strongly that “for all x, planned x is better than unplanned x” and was drawn to the idea of a common world language: Thus the idea of a socialist world in which everyone spoke Esperanto (except scientists, who, for their technical work, would employ notations from symbolic logic) was one which would have delighted him. And I recently had a conversation with a student who remarked quite casually that it would not be a bad idea if there were only one language and one literature: “We would get used to it, and it might help to prevent war.” (Putnam 185)Putnam does not deign to respond to the latter assertion. What is foregrounded in his discussion is that monolingualism is likely to hide the plurality of goods that is realized in different cultures. The importance of that plurality is surely something that the luminaries of American philosophy bring to light. Indeed, Putnam's key point of reference in making these remarks is William James.The undercurrent of translation in the experience of the more accomplished speaker of a foreign language can act then as a sensitization to cultural difference, to different possibilities of thought and being. But in fact, this shifting of thought can apply within any language itself, not just inter- but intra-lingually, opening an insight that is close to the heart of American philosophy. If one can hear the cry of the rooster, then one may be wakened also by Thoreau's turn of expression in the idea of the “father tongue”: through a maturing experience of the language we are brought up with, we come to “a reserved and select expression, too significant to be heard by the ear, which we must be born again in order to speak” (Thoreau 69). This renewed investment in language, this continual return to our words, is what opens them to new thought and gives them interest. It is first an inheritance from the culture we are brought up in, but it dies in our speech and thinking if we do not turn it to something new. To build, we must begin by borrowing an axe, but we can return it sharper than when we borrowed it.If translation is operative in our language as a whole, as Saito's argument shows, this points to the many little rebirths within ourselves and in our interactions with one another. In fact, the point becomes political in that democracy depends upon this renewal of our words. This renewal resists not only the allure of ideology but also the now familiar etiolated rhetoric of “political realism.” Moreover, it points beyond the reliance, within the politics of recognition, on the defining of groups and categories toward a politics of acknowledgment.In this vein, Saito's outsider perspective is in tune with what Richard Bernstein has called the “global resurgence of American pragmatism.” The borderline or outsider perspective can have a powerful effect on thought, in relation to which Saito invites the reader to recall that America's past was itself an outsider-past: it was outside Europe, a relation with which it was bound to struggle, but it was also ready, as Emerson and Thoreau demonstrate, to draw from greater cultural distances, where it found congenial aspects in East Asian thought.Saito stresses the anti-foundationalist character of American philosophy as of critical importance for both philosophy and politics, and again her discussion of language is crucial to this. Dewey's emphasis on communication, with his relatively flat style of prose, is contrasted with the stylistic experiment and invention that she finds in Emerson, Thoreau, and Cavell. She sees the style of these writers, in some contrast to that of Dewey, as having a salutary, destabilizing effect. She wants to destabilize Dewey. It is entirely consonant with her position, furthermore, that she raises doubts about the bland acceptance of a politics of inclusion. Not only can this become a surreptitious form of discipline and control: it can engender the conformism that Emerson worked so hard to prevent.The book finishes on a more aesthetic note, taking up lines of thought in Dewey's aesthetics but turning this toward the more extravagant elision, in Thoreau, of the functional and the beautiful. The thematization of the aesthetic in this way is, she tries to show, crucial to our (political) world. (shrink)

In terms of classical tafsir literature, it is possible that the speeches made to a person or group in the Qurʾān carry messages for other individuals or groups. According to some approaches that emerged in the modern period, when the speech was made and to whom it was directed not only determine the meaning, but also limits it. This dilemma has to be based on the theoretical dimension. The most obvious example of the transition of the speech from direct counterpart (...) to the other is the transition of the speeches made to the unbelievers to the believers. Therefore, in this study, the possibility of the transcendence of the speech in the Qurʾān will be handled in the context of the messages for believers in the speeches directed to the unbelievers. One aspect of the issue of the transcendence of the speech in the Qurʾān can be explained by the style that the Qurʾān follows. However, the subject should also be based on linguistic aspects. As a matter of fact, the expansion of the speech can sometimes be related to the meanings of words and sometimes with the possibilities and literary aspects of language, and sometimes with an analytical effort. In this study, the related examples will be analyzed and it will be revealed that the transition between the speeches in the Qurʾān is possible in terms of the style of the Qurʾān. In the study, the methodological findings related to the linguistic aspects of the issue will also be studied.Summary: The discourse that the Qurʾān is an address by God makes different associations in terms of classical literature and some modern methods of understanding. In the works of classical method and rhetoric, a theoretical framework is drawn around the nature, arbitrariness, conditions and types of the book. In this context, the varieties, indications and scopes of the addresses in the Qurʾān are discussed. While it is emphasized that the Qurʾān is an address in modernist contextualist approaches, it is stated that understanding the address requires having contextual information, therefore reading the address as a book evaporates meaning. Because, according to these approaches, the meaning is sought in the text with the transformation of address to book (verbal culture to written culture), thus the Qurʾān is converted from a literal meaning into a system. Knowing what the Qurʾān tells and why it tells that, depends on the comprehension of all the contextual elements of the Qurʾān, which was sent as an address. In fact, knowledge of when, where and when the Qurʾān was sent about what events and to whom it is addressed, is the data that is primarily considered in the comprehension of the verses, as emphasized by the classical interpretation literature. However, the perception of the classical interpretation evaluates these data in different categories in terms of the integrity of religion, judgment and experience. For example, the narrations on the reason of sending and the Makki-Madani information are only examples of the meanings of the verses. They sometimes serve as elements that contribute to the comprehension of the verses, while sometimes with the help of other chapters they can narrow the meanings of the verses. The realist-methodological basis of the method science provides the emergence of this holistic-categorical perspective.It is difficult to justify the claim that there is an absolute relationship between the address and the addressee in terms of the classical literature. In the classical literature, the expressions, which come in the form of an address and have a mandatory relationship with addressees, are dealt with the concept of direct address. Direct addresses are binding for the first addressees. Because when an address is mentioned, it is mandatory to have an addressee. It can be assumed that this discourse has the same position with the context theories considering its premises. However, it is not possible to compare these theories with each other in terms of the scope of the address. Classical theories of reasoning consider that direct addresses cover indirect addressees by methods, such as shar’i (legal) necessity or analogy (qiyas), while contextualists and historians can convert the text beyond the virtual level by identifying what a command means within the context of the address-addressee relationship. When the Qurʾān is completely considered as an address, or when direct addresses are taken into consideration, it is very difficult for the modern period's comprehension methods that the verses, which mention or address the disbelievers-polytheists, can also address Muslims. In fact, the dialectic of the address-addressee requires this. Moreover, the addressees (polytheists-Muslims) who are spoken within the context of the verses have two different beliefs that cannot be dealt with at the same time and mentioned in the same verse. Therefore, it is not possible to direct the messages given to the polytheists to the believers and to attribute the qualities in these verses to Muslims.However, the classical literature did not even consider as a problem to address Muslims with the verses that directly addressing unbelievers-polytheists. It is because both linguistics and facts requires this. The method practitioners and interpreters discussed this issue in a very wide range. They examined the transitivity of the book between parties, such as people of the book-Muslims, Muslims-unbelievers, Prophet-ummah. In the context of the interpretation literature and the perception of modern-day interpretation, the possibility of the transitivity of the book can be clarified in the context of the inclusiveness of a verse that speaks of polytheists-disbelievers to include Muslims, or the conversion of an address to polytheists-unbelievers to Muslims. Classical literature explains this point sometimes with the literal indication (circularization) and the circumstance of literary use of language (rhetoric) and sometimes with the possibility of the address (stylistic features).In verses and hadiths, belief bases categorical classes, such as believers, unbelievers, polytheists, hypocrites, people of the book are mentioned, as well as descriptions of the characteristic-practical dimensions of these classes. In this context, commands sometimes refer to the practices that need to be performed in order to be a believer, sometimes works that must not be performed by the believer, and sometimes matters that might put the believer's faith-practice integrity at risk when it is done. In the Qurʾān, in some of the addresses to the believers, it is apparent that they are prohibited from being like unbelievers or having unbeliever-like qualities. Moreover, sometimes negative results that may arise for Muslims when they act like unbelievers are cited in the verses. Sometimes at the end of the verses that address and mention Muslims, information is included on situations involving unbelievers and the torment they will encounter. In addition, in cases where adjectives belonging to opposing belief profiles are mentioned, the address to non-Muslims expresses warning, evaluation, gratitude and perseverance in faith for Muslims, while the address to Muslims contains elements of incentive and opportunity for non-Muslim groups. It is possible to justify this matter with the style of the Qurʾān. However, it can be said that the transitivity of the address in the Qurʾān takes place in two theoretical aspects. The first of these is related to linguistic-rhetoric premises and it is used in antithesis, allusion, metaphor etc. The second one is the similitude-comparison. Here, the comparison is a phenomenon that occurs in the mind without the need for propositions. Because when the mind hears these statements, it can instantly reach a stronger meaning than the literal wording. In this study, it is discussed whether it is possible to transition from direct addresses to indirect addressees, with reference to the problems of the modern period. In this context, the study primarily focuses on the fact that the Qurʾān sometimes transmits its messages and teachings to addressees through opposing belief systems. Thus, the manner adopted by the Qurʾān while directing certain commands and negations, not directly but through the opposing side, has been presented. In this study, the possibility of the verses that only mentions polytheists-unbelievers to also addressing Muslims was analyzed and these verses were compared with addresses to Muslims on the same matters. In the last part of the study, a theoretical framework was drawn on the subject and the method of interdisciplinary transitivity was determined. (shrink)

In the article, the phenomenon of deviation, which is one of the important subjects of stylistics and rhetoric is discussed. The deviation is divided into three categories in terms of phonetic, word and grammar. The study was limited to morphological deviation defined as a transition from form to another. The morphological deviations and their relation with meaning reveal the importance of changes in word level. The linguistic and contextual elements are considered as two complementary parties in contextual linguistics. From phonetic (...) level to text consitency many linguistic elements play an important role in expression. Apart from the linguistic phenomenons that affect the meaning, non-linguistic elements should also be considered. In the research also word selection, meaning transfer and context are indicated. The deviation has expanded the use of Arabic words as well as the rich word derivation potential. In terms of Qur'ānic verses, it is an important criterion relationship of the word formula in the meaning for the Arabic language. The subtleties of this language phenomenon which is detected in Qur'ānic verses and fascinates the reader are explained by examples. Summary: Semantics, that is one of the most important areas of linguistics, initially focused on identifying the meanings of words; however, today it goes beyond that and tries to clarify the other elements of the language field. Linguists emphasize that the main goal of language studies is theme and the efforts made in this context are aimed at capturing the meaning. Metaphor and the ways of other extension of meaning should be considered in this context. As Ibn Jinnī (d. 392/1002) stated, language is generally composed of metaphor. This situation points to the necessity of examining the language with a wider perspective than the formal understanding in the field of linguistics research.In the writings of linguists such as Sībawayhi (d.180/796), Ibn Jinnī and al-Suyūṭī (d. 911/1505) and the works that focus on the superiority of wording of Qur'ān, it is seen that there is no distinction between the structure and function of language. Each sentence style is shaped for a purpose. What directs them to such a method is the thinking of first person, interlocutor and context together. It is possible to find this understanding in linguistic and religious sources such as qirā’āt, rhetoric and exegesis. Today, this relationship between grammar and meaning is one of the basic subjects of linguistics.Besides the grammatical structure, word selection is also significant. It is easy to determine a sentence with a grammatical error. While the use of a word is correct in a sentence, it may not be appropriate elsewhere. The degree of accuracy of the sentence is affected by the word selection, which is also a matter of grammatical tasks. This is the expression of the meaning in the appropriate language structure. Depending on the context of the statement, the appropriate word and phrase style should be chosen. The word choice has a great influence on the superiority of the style of the Qur'ān. When the Qur'ānicverses are examined, it is seen how well the chosen words are used.One of the main factors determining the accuracy of the word is context. The same word can be assumed to be true or false due to the context. In addition to linguistic elements, non-linguistic factors such as psychological status, socio-cultural factors and educational background are a measure of value in language.The factor that determines the function of word is the position of word in the phrase. Missing sentence structures gain new meanings as a result of a number of transformations. In Arabic sentence structures it is possible to see how the language structures affect the meaning. The expression tools should be enriched through sorting, increasing, decreasing and changing which are the factors contributing to the understanding of the superficial and deep structure of the language. In this context, the flexibility in the grammatical rules and the issue of deviation, which provides richness to phrases, are important in terms of revealing the place and value of meaning in the language.The deviation phenomenon is called as language deviation in Turkish sources. Due to a semantic and communicative concern deviation is a new way of expressing by leaving the built-in style in the language in order to strengthen the language, draw attention to the text, give a holistic effect, remove the word out of the ordinary and make the indicators more effective in terms of sound and meaning. The deviation is an important part of the stylistics, which goes beyond the path expressions and increases effect of the word. The development of the stylistics, which was accepted as an extension of the rhetoric in the modern period, raised interest rates for deviation. The deviation is divided into three categories in terms of voice, word and grammar.Morphological deviation, which is defined as the transition from one mold to another, is a phenomenon that gives the power of persuasion, influence and subtlety to the word that is appears in the mold and context of phrase. The context is the most important determinant of the deviationthrough which the literary meanings are gained that is the aim of the rhetoric. The effect of morphological deviationon meaning changes is an important subject of language researches. From this point the meanings which were added to the Qur'ānicwords by morphological deviationwas analyzed in detail in this article. Besides this, numerous verses have been handled with the idea that such a method will contribute to understanding of the subtlety meanings of the verses and transferring of their meanings to non-Arabic languages in the best way.Linguists have pointed to the meaning differences between Arabic patterns by taking into consideration the meaning potential of word molds. The language researches, which reveal the role of the word molds in determining the meanings, reflect that there are no two patterns of which meanings are exactly overlapping in Arabic language that is the views of the linguists. It is seen that the patterns such as active and passive participle, resembling participle, hyperbolic participle and gerund are used interchangeably because of their meaning relationship between each other. Similar uses of the verb should be added to this since time change in verbs is one of the linguistic phenomena in which deviationhas occurred. Types of deviationare the significant stylistic features of theQur'ānand have effects on meaning and expression. The fact that the Qur'ānpossesses an unusual style, but such a quality prevents its addressing from becoming ordinary. It is important to determine these kinds of uses, which are called as morphological deviation, to grasp the meaning of the word. When the language structures related to deviationare examined, it is understood that there is a deeply relationship between deviationand meaning. It is important to solve deviationthat enriches the meaning in the word, as well as other linguistic structures to comprehend the gnomic structure of the style of the Qur'ān. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The Mizrahi Democratic (...) Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

The Sciences of the Qurʾān contain information about the process of Qurʾān and its structural characteristics, language and stylistic features, as well as statistical data on the content of the Qurʾān. This information, which contributes significantly to the understanding of the Qurʾān, is generally classified within the relevant narratives and the classifications are sometimes associated with verses. In this context, the way in which the Sciences of the Qurʾān explain the verses, which do not act solely on methodical premises, (...) differs from the Qurʾānic exegesis books. In the Sciences of the Qurʾān, the subject of revelation forms are classified within the frame of the narrations, and the 51st verse of the Sūrat al-Shūrā is frequently referred to. In other words, the related classifications are matched with the 51st verse of the Sūrat al-Shūrā. In the exegesis, this verse is handled more comprehensively considering its context and the literal possibilities. There are two remarkable comments about this verse in terms of its reflection in the revelation classifications. However, on the contrary, it is possible to encounter examples where the verse is subject to specific discussions. One of them belongs to Jār Allāh al-Zamakhsharī (d.538/1144) and the other to Nāṣir al-Dīn al-Bayḍāwī (d. 685/1286). When the exegesis of al-Zamakhsharī and al-Bayḍāwī are examined, it is seen that this verse is the subject of ru’yat Allah (seeing Allah) discussion between Muʿtazila and Ahl al-Sunnah and the classifications are made in this context. However, it is interesting to note that the classification of al-Zamakhsharī is more suitable for the perspective of the Sciences of the Qurʾān. In this study, the codes of the determinations made by al-Zamakhsharī and al-Bayḍāwī related to the 51st verse of Sūrat al-Shūrā was read on the commentaries. While al-Zamakhsharī explains this verse as a proof for the argument that God cannot be seen, al-Bayḍāwī develops an example of reactionary interpretation upon Zamakhsharī’s view. The Sciences of the Qurʾān (as a discipline), which opens a separate title to the ways of revelation, uses this verse as a template and takes it away from the discussion. In the study, the subjective dimensions of the discussion and classifications made in the context of this verse were evaluated. As a result, it is concluded that a classification similar to classification of al-Zamakhsharī has been made in the literature of the Sciences of the Qurʾān as it provides more comprehensive framework. Summary: During the period of revelation of the Holy Qurʾān not only the sunnah and actions of the Prophet which explained the Holy Qurʾān, but also various sources of information based on language and consultation, were used in order to understand the Holy Qurʾān. The first people introduced to the revelation used their own language/oratory skills, which were natural them, to understand the Qurʾān and were also able to observe the events and problems that brought about the revelation of the verses. These elements, used by those first people for understanding the Qurʾān, were readily available in their society. Therefore, understanding of the Qurʾān while the Prophet was still alive did not require a codification of those resources or treatment of the matter on a theoretical level. Subsequent generations mostly compensated the lack of those advantages by the use of the Sciences of the Qurʾān books penned individually after 2nd Century (A.H.), and those written systematically under the collective name "the Sciences of the Qurʾān" starting from the 6th century (A.H.). These works covered many subjects such as the beginning of the revelation, the accentuation of the Qurʾān, the physical development process of the Qurʾānic text, information based on observation as well as the tone and content of the Qurʾān and provided information details for Qurʾānic interpretations. Over time, this information was classified in the Sciences of the Qurʾān literature, organized under various relevant titles and enhanced with examples, numerical and qualitative information. One of the main topics of the Sciences of the Qurʾān is the subject of “revelation and its forms”. In the literature of the Sciences of the Qurʾān, the classifications made under this topic are generally associated with the verse 51 of Sūrat al-Shūrā. In this verse, the forms of communication between Allah (Jalla Jalaluhu) and the servant/prophet are categorized. The context of the verse 51 of the Sūrat al-Shūrā in the tafsīr literature is different from the context in the Sciences of the Qurʾān literature. As a matter of fact, while this verse is examined in detail with respect to the context, concept analysis, and the possibilities of i‘rāb (classical Arabic grammar), it is merely referred to in the Sciences of the Qurʾān. This is due to the fact that the determinations and classifications made in the Sciences of the Qurʾān are shaped mostly in the light of the historical context and narrations of the subject.It is also possible to encounter examples of tafsīr where the 51st verse is made the topic of detailed discussions. There are two remarkable comments about this verse in terms of its reflection in the revelation classifications. One of them belongs to Jār Allāh al-Zamakhsharī (d.538/1144) and the other belongs to Nāṣir al-Dīn al-Bayḍāwī (d. 685/1286). The tafsīr s of al-Zamakhsharī and al-Bayḍāwī make it clear that this verse is the subject of ru’yat Allah discussion between the Muʿtazila and Ahl al-Sunnah and the classifications are made accordingly. The fact that i‘rāb examinations of the two authors are similar and both took into account other linguistic possibilities despite their preferences, which also prove that the points of conflict are not literal. Al-Zamakhsharī thinks that this verse determines the way Allah speaks not only with his prophets but also with all people. According to al-Zamakhsharī, the 51st verse refers to the three forms of communication that takes place between God and any of His servants. Allah communicates with His servants; a) through inspiration, inspiration to heart or through dreams, b) by making His words heard through certain channels, c) by sending one of his angels as a messenger. In the verse, the first is expressed as revelation, the second is to speak behind a veil, and the third is to send a messenger. According to al-Zamakhsharī, Allah's inspiration to the mother of Moses, the dream that He showed to Abraham regarding the sacrificing of his son and inspiration of Psalms to David, all relate to the revelation concept mentioned in the first option. Al-Zamakhsharī believes that revelation from behind a veil is an adage. This adage can be compared to a king speaking with one of those at his service behind a veil/curtain, where the person hears the voice of the king but cannot see him. Allah only spoke to Moses and angels in that manner, and sent angels to speak to His other servants/prophets.As a response to al-Zamakhsharī, al-Bayḍāwī interpreted the verse concisely explaining the 'revelation' (وحيا) as a secret word that is quickly understood. Because, in terms of its nature, revelation is not a word made up of sound waves that come one after another to make words. In the verse, this word refers both to the Night Journey (Mi‘rāj) and the talk mentioned in the hadiths regarding the ru’yat Allah, and Allah speaking to Moses without Moses seeing Allah. However, in the verse min verâi ḥicâb/attributed to the word 'revelation 'من وراء حجاب makes it clear that the expression refers to a form of speech in which Allah is heard but not seen. Therefore, the word 'revelation' refers to a mutual talk and according to al-Bayḍāwī, this is proof that ru’yat Allah is possible. The fact that the classifications made in the Sciences of the Qurʾān literature agrees with the classification of al-Zamakhsharī, not al-Bayḍāwī. This result is closely related to the structural features of the Sciences of the Qurʾān in which authors strive to make general explanations that are beyond sectarian preferences and views. Understanding the verse as a conversation between Allah and man, and not between Allah and His prophet, provides a more comprehensive classification in terms of the use of revelations (not only the use of the word revelation) in the Qurʾān. Thus, the address that was made to Abraham in his dream, the revelation of to Moses' mother, and inspiration to our holy Prophet and other people can be interpreted according to this verse. In addition, the ru’yat Allah debate was excluded from the subject in the classifications made in the Sciences of the Qurʾān and implication of the verse was limited to the talks made in a worldly manner. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PHILOSOPHY AND STYLE: WITTGENSTEIN AND RUSSELL by John Hughes Was there ever a great philosopher who was not also a distinctive stylist, whose modes of elucidation or comprehension were not inseparable from wholly individual ways of writing? If it is true that this is a fact often noted by commentators or philosophers, it is also true that its implications are somewhat neglected. A study of a philosopher 's characteristic (...) uses of language can suggest a great deal about the relationships between thought and personality—between what is said or written, and how or why. The aim of what follows is briefly to compare Wittgenstein and Russell in these terms, to suggest something of how a study of this kind can deepen our understanding of the personal sources and contexts of philosophy. Russell's daughter Katherine once wrote of her father that although he was "a passionate believer in liberty and equality" he was, in practice, incapable of "fraternity," an aristocrat "who had been taught to think himselfsuperior."1 Such paradoxes and blind spots are, ofcourse, often noted in men of vision and principle, and it would be invidious to lay too uncharitable an emphasis on these words. However, the comment does indicate a track of vision fundamentally characteristic of Russell. In intellectual terms he was capable of imposing upon phenomena of the most diverse kinds a synoptic perspective of supreme sweep and rigor which, nevertheless, coexists with all sorts of necessary simplifi332 John Hughes333 cation, even evasiveness. As an aspect ofthis his prose can come to seem both satisfied in its own superior lucidity, and tendentious. An obvious, if perhaps slighdy unfair, example of the personal aspect of this is a passage from the beginning of the Autobiography: "Three passions, simple but overwhelmingly strong, have governed my life: the longing for love, the search for knowledge, and unbearable pity for the suffering of mankind. These passions, like great winds, have blown me hither and thither... over a deep ocean of anguish, reaching to the very verge of despair...."2 The self-esteem which sustains and is sustained by this prose lacks relation to words, reader, and world. The vocabulary, sentiments, and syntax of this sentence assume an impossible grandeur which merely encloses Russell within his own expansive sense of his destiny. The comparisons here are worth pursuing. Russell depends on a congenial sense of an historic philosophical mission, and is adept at conveying his sense of this to the reader. However, he remains unreflective about the implications or nature of the process, and this may excite orirritate us depending on how we react to thewriter's assumption of our acquiescence in his own estimation of himself. The later Wittgenstein, in contrast, is far more suspicious of the way philosophy can be compromised by self-satisfaction: "A beautiful garment that is transformed (coagulates, as it were) into worms and serpents if its wearer looks smugly at himself in the mirror...."3 As has been implied, for Wittgenstein philosophy, in one aspect, was an attempt to authenticate self-presentation, as it was also an attempt to evade "the edifice of... pride."4 The unremitting grappling with words reveals the man to the reader, while the exacting inner focus and process ofthe philosophy exclude any composed consciousness of self. What of Russell's writing on other topics? Here is an example picked more or less at random from On Education: But that is not the real issue; the real issue is: should we, in education, aim at filling the mind with knowledge which has direct practical utility, or should we try to give our pupils mental possessions which are good on their own account? It is useful to know that there are twelve inches in a foot, and three feet in a yard, but this knowledge has no intrinsic value; to those who live where the metric system is in use it is utterly worthless. To appreciate Hamlet, on the other hand, will not be much use in practical life, except in those rare cases where a man is called upon to kill his uncle; but it gives a man a mental possession which he would be soriy to be without, and makes... (shrink)

Alongside his work as a practising architect, Sigurd Frosterus (1876–1956) was one of Finland’s leading architectural critics during the first decades of the 20th century. In his early life, Frosterus was a strict rationalist who wanted to develop architecture towards scientific ideals instead of historical, archaeological, or mythological approaches. According to him, an architect had to analyse his tasks of construction in order to be able to logically justify his solutions, and he must take advantage of the possibilities of the (...) latest technology. The particular challenge of his time was reinforced concrete. Frosterus considered that the buildings of a modern metropolis should be constructivist in expressing their purpose and technology honestly. The impulses of two famous European architects – Otto Wagner and Henry van de Velde – had a life-long influence on his work. Urban architecture with long street perspectives and houses with austere façades and unified eaves lines was the stylistic ideal that he shared with the Austrian architect Wagner. An open and enlightened urban experience was Frosterus’s future vision, not National Romantic capriciousness or intimacy drawing from the Middle Ages. According to Frosterus, the Belgian van de Velde was the master interior architect of the epoch, the interior of the Nietzsche Archives in Weimar being an excellent example of his work. However, already in the 1910s Frosterus’s rationalism developed towards a broader understanding of the functions of the façades of business edifices. In his brilliant analyses of the business palaces by the Finnish architects Armas Lindgren and Lars Sonck, he considered the symbolic and artistic values of the façades to be even more important than technological honesty. Moreover, references to the history of architecture had a crucial role in the 1920s and 1930s when he wrote about his main work– the Stockmann department store in the centre of Helsinki.  . (shrink)

Narrative as it is used by historians is not merely an incidental, stylistic feature of the historian's craft, but essential to historical explanation. Narrative presupposes a world of things that endure through change. Stories fill in the gaps in our experience and thus make continuity visible. Ideally, narrative stands proxy for experience, though this ideal can never be attained. No criterion can be formulated that will signify when a story is complete enough. The changing perspective of the historian (...) and the infinite detail with which he has to deal makes his task a continuous one. Yet the historian cannot be radically subjective because his story is always limited by the chronology of his events and the accuracy of his details. The rationale of narrative enables the historian to repudiate the covering-law model of historical explanation. (shrink)

Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...) it deserves.1 Yet no sooner is the possibility for such a study recognized than the problems it entails become apparent. Without the focus of common subjects, where does one begin? The dangers of impressionistic comparisons of study are readily apparent in the tendency of Geistesgeschichte studies to transfer stylistic terms from one art form to another, creating such bizarre transpositions as "the visible chamber music of the bent furniture" or the "Titian style of the madrigal" in Spengler's Decline of the West or Wylie Sypher's suggestion that a Shakespearean play is like a Renaissance painting because it makes use of "perspective" to create a real and believable world.2 And indeed it would be misleading to look for particular stylistic similarities between Delacroix and Baudelaire. Delacroix's dissolution of solid color masses into separate strokes of different colors, for example, would appear to be closer to Rimbaud's disjointed language than to Baudelaire's carefully interwoven sentences. Only by viewing the two art forms as interconnected systems can we determine their relationship. If the new affiliation of poetry and painting in the Romantic period derives from the expression of imaginative unity, a critical approach to their relationship must be attuned to different ways of expressing unity. The theoretical framework that accounts most completely for the kind of relationship existing between Delacroix and Baudelaire is provided by the structuralists, although, as we shall see, even this approach has limitations. · 1. There are several studies of Baudelaire's aesthetics and criticism, such as André Ferran's L'Esthétique de Baudelaire , Margaret Gilman's Baudelaire the Critic , and Jean Prévost's Baudelaire: essai sur l'inspiration et la création poétiques , which contain sections on the influence of Delacroix but do not extend their analysis into Baudelaire's poetry as a whole. More specific works, such as Lucie Horner's Baudelaire critique de Delacroix , provides a detailed study of their relationship based on their correspondence and references to one another, but no analysis of the relationship between their two art forms. Some studies of Baudelaire's poetry, such as Lloyd James Austin's L'Univers poétique de Baudelaire: symbolisme et symbolique and Martin Turnell's Baudelaire: A Study of His Poetry , point out aspects of Baudelaire's poems that appear relevant to the relationship with Delacroix, but they do not make these connections themselves. Most commentary on the relationship of Delacroix to Baudelaire's poetry is limited to those few poems that Baudelaire wrote on Delacroix's paintings.· 2. Wellek and Warren quote the comments on Spengler in Theory of Literature, p. 131. Sypher's comments are in Four Ages of Renaissance Style: Transformations in Art and Literature 1400-1700 , pp. 79-80. Elizabeth Abel is an assistant professor of English at the University of Chicago. A coeditor of Critical Inquiry, she is currently writing a book on literary and psychoanalytic representation of female identity. (shrink)

The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of (...) the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work. (shrink)

Over the last few decades, the notion of improvisation has enriched and dynamized research on traditional philosophies of music, theatre, dance, poetry, and even visual art. This Handbook offers readers an authoritative collection of accessible articles on the philosophy of improvisation, synthesizing and explaining various subjects and issues from the growing wave of journal articles and monographs in the field. Its 48 chapters, written specifically for this volume by an international team of scholars, are accessible for students and researchers alike. (...) The volume is organized into four main sections: I. Art and Improvisation: Theoretical Perspectives II. Art and Improvisation: Aesthetic, Ethical, and Political Perspectives III. Improvisation in Musical Practices IV. Improvisation in the Visual, Narrative, Dramatic, and Interactive Arts Key Features: Treats improvisation not only as a stylistic feature, but also as an aesthetic property of artworks and performances as well as a core element of artistic creativity. Spells out multiple aspects of the concept of improvisation, emphasizing its relevance in understanding the nature of art. Covers improvisation in a wide spectrum of artistic domains, including unexpected ones such as literature, visual arts, games, and cooking. Addresses key questions, like: - How can improvisation be defined and what is its role in different art forms? - Can improvisation be perceived as such, and how can it be aesthetically evaluated? - What is the relationship between improvisation and notions such as action, composition, expressivity, and authenticity? - What is the ethical and political significance of improvisation? (shrink)