Metaphors are common in legal discourse because they reify abstract legal concepts. The game metaphor, sometimes used to characterise legal trials, tends to be associated with legal professionals’ work in court. This metaphor portrays a legal trial as a competitive, hostile and masculine process that excludes victims from participating in the trial. In this article, I analyse interviews with victims of rape who have had their case prosecuted in the courts in Norway. The victims use the (...) class='Hi'>game metaphor to characterise both the trial and their participation in it. I investigate how the game metaphor adds meaning to rape victims’ understanding and experience of a legal trial and creates room for agency in relation to the prosecution of their rape case. (shrink)

In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory to film, television, and video games in order to analyze the (...) embodied aesthetics and meanings of those moving images. (shrink)

Sport and game metaphors are ubiquitous in the culture and language of business. As evocative linguistic devices, such metaphors are morally neutral; however, if they are indicative of a deep structure of understanding that filters experience, then they have the potential to be ethically problematic. This article argues that there exists a danger for those who forget or confuse metaphor with definition: the metaphoric fallacy. Accordingly, business is like a game, but it is not the equivalent of (...) a game. If business is equated to a game, then the potentially negative implications for ethical content and the application of ethical theories are numerous. This article suggests a fresh approach to issues of contemporary business ethics discourse, by attending to the business-as-game metaphor. (shrink)

Metaphors of medicine are common, such as war, which is evident in much of our language about health‐care where patients and healthcare professionals fight disease, or the game, which is one way to frame the nurse–doctor professional relationship. This study analyses six pilot episodes of American (Grey's Anatomy, Hawthorne, Mercy, Nurse Jackie) and Australian (All Saints, RAN) medical television programmes premiering between 1998 and 2009 to assess one way that our contemporary culture understands and constructs professional relationships between nurses (...) and doctors. Analysis shows that these popular television programmes frequently depict conflict, with games, civil war and mutiny between nurses and doctors over patient safety rather than professionals working collaboratively in teams to deliver health‐care. Although the benefit of this televised conflict is the implication that nurses are knowledgeable, skilled professionals, the negative connotations include a dysfunctional and dangerous healthcare system, and also ongoing power struggles. Given that popular culture can sometimes influence the public's understanding of real‐life nursing practice, it is important to explore what these metaphors of conflict are communicating about the nurse–doctor relationship. (shrink)

In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in many (...) Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works). These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something) as (something)": typically, to hear a musical passage as an introduction or as a conclusion (...) or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical) these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong), in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life. (shrink)

In the philosophy of technology after the empirical turn, little attention has been paid to language and its relation to technology. In this programmatic and explorative paper, it is proposed to use the later Wittgenstein, not only to pay more attention to language use in philosophy of technology, but also to rethink technology itself—at least technology in its aspect of tool, technology-in-use. This is done by outlining a working account of Wittgenstein’s view of language and by then applying that account (...) to technology—turning around Wittgenstein’s metaphor of the toolbox. Using Wittgenstein’s concepts of language games and form of life and coining the term ‘technology games’, the paper proposes and argues for a use-oriented, holistic, transcendental, social, and historical approach to technology which is empirically but also normatively sensitive, and which takes into account implicit knowledge and know-how. It gives examples of interaction with social robots to support the relevance of this project for understanding and evaluating today’s technologies, makes comparisons with authors in philosophy of technology such as Winner and Ihde, and sketches the contours of a phenomenology and hermeneutics of technology use that may help us to understand but also to gain a more critical relation to specific uses of concrete technologies in everyday contexts. Ultimately, given the holism argued for, it also promises a more critical relation to the games and forms of life technologies are embedded in—to the ways we do things. (shrink)

Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...) and chess and baseball, however, are the ways in which the make-believe they involve differs from other varieties. (shrink)

‘Game’ means ‘play within the construction of rules’. The sub-category ‘sport’ considers play as competition where the rules are known to the audience, under the following divide: fundamental constructive rules about the game's structure and less important or flexible rules facilitating and monitoring play. These provide athletes and audience with stable knowledge. The excitement of play comes from the vagaries of the actual engagement of the rules in the action of play. The social order can use this as (...) a metaphor of its ideal of civil law in relation to the citizen. (shrink)

The aim of this paper is to show that the meaning and significance of legal evidence is being constituted throughout the course of a singular instance of legal proceedings. This is to be achieved by describing what legal agents _do_ while appealing to different propositions of fact and inferring from them throughout the course of legal proceedings. The authors claim that the process of applying the law is ultimately rooted in the inferential discursive practices of exchanging reasons on the part (...) of the participants of legal proceedings. Therefore, they set forth a model of legal proceedings that consists of an interplay between three types of reasons, which are exchanged by the participants of legal proceedings: i.e. legal reasons, epistemic reasons and stake reasons. To illustrate this interplay, the authors deploy a metaphor of law as a game, and provide a description of legal proceedings as a particular instance of playing a game of law. The conclusion is that the legal concept of evidence is (at least in part) constituted by the role that evidence plays in affecting which reasons for action the participants to legal proceedings choose to act on. The other final assumption of this paper is metatheoretical: authors want to show that when analyzing what legal evidence is, one should begin from the perspective of a singular instance of legal proceedings, rather than from the perspective of law in general. (shrink)

Imaginative and creative capacities seem to be at the heart of both games of make-believe and figurative uses of language. But how exactly might cases of metaphor or idiom involve make-believe? In this paper, I argue against the pretense-based accounts of Walton (1990, 1993), Hills (1997), and Egan (this journal, 2008) that pretense plays no role in the interpretation of metaphor or idiom; instead, more general capacities for manipulating concepts (which are also called on within the use of (...) pretense) do the real explanatory work. This result has consequences for both our understanding of metaphor and idiom as well as for the use of figurative language by fictionalists in ontology. (shrink)

Drawing from contemporary social science studies on the shifting regime of research governance, this paper extends the literature by utilizing a metaphoric image—research is a game—observed in a field engagement with 82 American, British, and Danish crop and plant scientists. It theorizes respondents’ thinking and practices by placing the rules of the research game in dynamic and interactive tension between the scientific, social, and political-economic contingencies that generate opportunities or setbacks. Scientists who play the game exploit opportunities (...) and surmount setbacks by adopting strategies and reinventing tactics in order to maximize their winnings and to minimize their losses. Winners become superstars who decree what is open, closed, or doable science for the majority of the scientific community. (shrink)

Solomon’s article and Binmore’s response exemplify a standard exchange between the game theorist and those critical of applying game theory to ethics. The critic of game theory lists a number of problems with game theory and the game theorist responds by arguing that the critic’s objections are based on a misrepresentation of the theory. Binmore claims that the game theorist is in the position of the innocent man who, when asked why he beats his (...) wife, must explain that he doesn’t beat his wife at all (Binmore, 2). However, even if we agree that the denial is true, we might still like to know why, if you are not beating your wife, do others consistently accuse you of doing so? Or, to get away from this rather sexist metaphor, why are critics of game theory like Solomon (according to game theorists) consistently getting game theory wrong?While, as I argue in the first section, critics of game theory such as Solomon may misrepresent game theory, this misrepresentation is not entirely their own fault. The way in which game theory is traditionally presented is misleading. For example, students are usually first introduced to game theory through the prisoner’s dilemma. It is compelling drama, but lousy PR for the use of ethics in game theory. (You want to know what to do? Let’s see how two thieves reason.) However, while Binmore is right to argue that game theory neither assumes nor entails the theory of human nature that Solomon finds objectionable, Solomon is also right to argue that game theory is promulgated and applied with what appear to be a robust set of assumptions about human motivation. I argue in the second section, however, that in fact neither these applications of game theory, nor game theory itself, is committed to a particular theory of human motivation. Thus, while game theory is not able to provide a complete ethical theory (assuming that a theory of human motivation is essential to such a theory), it is not contrary to ethics. In the final section I note that Aristotle, rather than being the alternative to using game theory in business ethics, as Solomon suggests, actually points the way to an ethical theory that can combine a discussion of both game theory and “those nagging and controversial questions about what it is that people do and ought to care about” (Solomon, 7). (shrink)

A cross-linguistic/cultural study of verbal metaphor compares responses to terrorism in the UK (N = 96) and to urban violence in Brazil (N = 11). Focus groups discussed how violence changes perceptions of risk, decisions of daily life, and attitudes to others. Metaphor vehicles were identified in transcribed data, then grouped together semantically; 15 vehicle groupings were used with similar frequencies, 16 groupings more in UK data, 14 more in Brazil data. Systematic and framing metaphors were found inside (...) vehicle groupings. A small set of frequent verbal metaphors work as predicted by conceptual metaphor theory. Other verbal metaphor vehicles work much more specifically, as posited by discourse dynamics theory, metaphorizing contextually distinct aspects of living with violence. Major differences were found in responses to violence: UK participants demonstrate feelings of powerlessness and lack of agency through metaphor vehicles relating to Games of Chance, the Concealed nature of terrorist activity, and Body Postures negatively evaluating response from the authorities; Brazilian participants use metaphor vehicles of Violence to emphasize how the threat of urban violence itself becomes a powerful social force that constrains daily activities. (shrink)

The metaphor of the labyrinth in the second half of the XX century becomes an iconic model of the postmodern world order. In musical culture, the phenomenon of the labyrinth has acquired the meaning of a symbol of intertextuality, a game with cultural codes and musical heritage of the past, multivariance, variability, uncertainty. The ballet "Labyrinths" by Alfred Schnittke is an example of the embodiment of the labyrinth paradigm and is the object of research. The subject of the (...) study is the peculiarity of the implementation of the idea of the labyrinth at the compositional and dramatic level of the ballet cycle. In the light of the author's individual interpretation, the labyrinth model takes the form of a "macrolabirint" and a "microlabiint", where the macrostructure is the construction of the whole, and the microstructure is the last, fifth part. The novelty of the research lies in the consideration of the compositional and dramatic features of the ballet "Labyrinths" in the context of the metaphor of the labyrinth. The concept of the "macrolabyrint" contributed to the relief display of the principles of symmetry and centralization inherent in the labyrinth of the classical Cretan type. Symmetry in the ballet cycle found expression in the structure of the extreme parts, in their author's division into sections, the presence of a reprise in Maestoso and Meno mosso, a single tonal organization interspersed with modal episodes, the assertion of the third c–e in the intonation system of the parts. Centralization of the Cretan labyrinth was reflected in the endowment of the fourth part with the properties of the culmination point, characterized by an increase in sonorous qualities, an abundance of cluster verticals, and heterogeneous stratified tissue. The concept of "microlabirint" contributed to the depiction of the multivariance of the maze-confusion in the fifth part of the ballet. The nonlinear movement of the characters along the branched labyrinth model was carried out by the interaction of contrasting sections correlated with deviation into various emotional states. The conducted research allowed us to conclude about a new interpretation of the labyrinth paradigm in ballet in the light of Schnittke's individual author's handwriting. (shrink)

Rakić has serious misgivings about Wiseman's inability to frame ethical issues in the context of transcending existing realities with the aim of achieving what we believe is morally right. This inability to think beyond the present is misguided in ethics. He also criticizes Wiseman for making the unimaginative and unsubstantiated assumption that moral bioenhancement technologies have reached their zenith already. Rakić argues that MBE will become more effective in the time to come, that it ought to be optional for every (...) free individual, and that it should be directed at enhancing our motivation to act in line with how we believe we ought to act. He concedes however that the enhancement of our motivation to act morally can only be effective in a limited number of morally unambiguous cases. In response, Wiseman argues that Rakić's reflections epitomize a way of articulating MBE that is unhelpful, misguidedly optimistic, and missing the most important things needing discussion. Such reflections are based on inappropriate metaphors, a too future-oriented view detached from basic realities, and a false sense of what is possible on the global level should MBE be applied. Such ways of thinking about MBE are misguided from the outset, and indicative of the enthusiasm for a discourse in need of realignment. This should take the form of a more modest, synergistic outlook acutely aware of the inexorable limitations imposed on MBE by the internal complexity of moral goods, human agents, and the contexts in which moral action occurs. (shrink)

Various philosophers have used the image of a game as a metaphor to better interpret and deal with the world. In The Game of Philosophy, William C. Soderberg introduces the reader to the search for fairness in this game; a search that has been one of the main goals of moral and political philosophy. Soderberg examines the debate over the definition of a "fair social game" from various traditions and perspectives such as European, Anglo-American, African-American, (...) multi-cultural, and feminist. The debate between liberals and communitarians is a central theme of the moral and political philosophy section, and Soderberg explores the roots of this debate in the sections on metaphysics, epistemology, and philosophy of religion. In metaphysics and philosophy of religion, Soderberg presents both practical and speculative approaches; and he traces the emergence of anti-foundationalism in various epistemological traditions. A marvelous foundation text, this book will be of great value to beginning philosophers. (shrink)

While we often see games as less serious or at least less transcendental than religion there is reason to believe that games can evoke similarly meaningful narratives that allow us to learn a great deal about ourselves and our world. And games do so often using the same symbolic and metaphorical mechanisms that generate meaning in religious experience. In this paper, I explore some of the ways in which game myths—the myths created from and through games—generate meaning in our (...) lives. People experience myths in games very similarly to how they might in religion. I first explain what myth means in contemporary literature and then show how the very make up of games opens them to a mythical reality. I highlight two ways in particular. I will argue that the inefficiencies within games promote a deep engagement with the world, and this gratuitous nature provides a system for creating myths and actualizing mythical potential. (shrink)

The paper discusses professional communication among philosophers. The author argues that starting from the second half of the twentieth century atomization of philosophical languages has begun. Philosophers are argued to have been creating their own speech on the basis of subjective associations, exclusively personal vision, not directly related to existing intellectual tradition; they would use their own terms and concepts without proper definitions or clarification. The author addresses the major ideological changes in the intellectual and cultural life of the twentieth (...) century (the secularization and the rejection of metaphysical issues) as the core reasons for the radical «change» and the individualization of the philosophical language.Metaphorization by subjective associations; camouflaging of mystical-religious terms for the secular term; the desire to speak, avoiding the subject-object distinction and metaphysical references; essayistic style of writing are claimed to be the most characteristic properties of what is dubbed as «the philosophical language game of the second half of the twentieth century». The reality produced is fruitful for various hermeneutic interpretations, but at the same time the ideas that philosophers attempt to convey to their colleagues become very hard to grasp. (shrink)

The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally ‘‘games are made’’) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel (...) back in time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential ‘‘limit situations.’’ This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—‘‘anthrobotic’’—environments. (shrink)

The concept of “grammatical sense” could explain semantic complexity without positing a “sense” on the illocutionary level of “communicating something.” In order to assess the aptness of the concept of “grammatical sense” for resolving Dummett's problem, the author offers a rudimentary sketch of a solution based on Wittgenstein's very simple language games. This sketch shows what a systematic treatment of the meaning side of a language would look like once one recognizes the facts of projection and gives up the requirement (...) that forms for forming complexes must always have just one meaning and always lead the hearer to correctly grasp the “thought” expressed by the speaker. The author addresses the question of whether the recognition of projection (syntactic metaphor) and of the other frequent cases of “positive misuse” in natural languages means that our understanding of the meaning side of language is overwhelmingly unsystematic. (shrink)

There is the tension between, on the one hand, Wittgenstein’s not giving theoretical weight to metaphor, and on the other, his exuberant use of it. On a more fundamental level, there is a straightforward contradiction between Wittgenstein’s claim of the primordial literalness of everyday language, and his stress on the multiplicity and flexibility of language-games. Wittgenstein’s problem was that he did not succeed in making his ideas on metaphor, and indeed his ideas on metaphor and images, converge (...) with the main drift of TS 227 (the so-called ‘Part I’ of the so-called ‘Philosophical Investigations’). It was this divergence, I believe, that prevented him from rounding out his later philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IS THERE A LANGUAGE-GAME THAT EVEN THE DECONSTRUCTIONIST CAN PLAY? by Steven Fuller After reading A. J. Cascardi's fascinating "Skepticism and Deconstruction," I am led to ask the question that "entitles" this response.1 The answer I want to give is "yes," but Cascardi has made the task more difficult than I would have liked. In brief, he has dissociated deconstruction from all philosophical pursuits, including skepticism, which it (...) superficially resembles. I shall proceed, first, by reasserting deconstruction 's skeptical credentials and, then, by showing how these credentials enable the deconstructionist to play an interesting language-game. I Cascardi's thesis is most vividly stated in the following passage: But the deconstructionist, wrongly thought of as a skeptic, has no idea of what an epistemology counter to his uncertainties and indeterminacies would look like. This is because he is out to question the very axis ofwhich skepticism and epistemology are the opposite poles. Because his questioning shows up as a denial of the principle of non-contradiction, one is likely to think that deconstruction is a form of irrationalism. (p. 7) For all its forcefulness, this statement suggests that Cascardi may have fallen prey to a Cartesian ruse involving the meaning of "skepticism." A coherent history of skepticism can be told that extends from Sextus Empiricus's Outlines ofPyrrhonism (c. 200 AD) to Pierre Bayle's Historical and Critical Dictionary (c. 1700) without ever mentioning Descartes. The theme 104 Steven fuller105 of this history would be that no claims to knowledge are certifiable. In a more modern vein, we would say that no proposition has a determinate truth-value. The skeptics in our history would be presented as moral philosophers instructing their readers on how to live in a world in which they can never tell the true from the false — a world in which doubt is the natural attitude. The paraphrase is crucial because virtually all philosophers — most notably Husserl — have regarded doubt as unnatural, a psychic tension that must somehow be resolved. And just as hunger motivates the drive for food, it has usually been assumed that doubt motivates the drive for method. Whereas food sustains the physical needs of the sentient being as it reduces hunger, so too method sustains the cognitive needs of the rational being as it reduces doubt. Our skeptics have perennially noted that to think of all knowledge claims as certifiably true or false would be to think that nature answers us directly upon being addressed. In less metaphorical terms, we would be speaking a language whose predicates pick out natural kinds. The "dogmatists," as Sextus and Bayle liked to call their opponents (we would now call them "foundationalists"), could then easily conceive of how nature appears to us as nature's response to our utterances. To drive home the dogmatists' intentionalist stance toward nature, instead of "how nature appears to us," we might say "how nature represents itselfto us." In the case of truths, nature represents itself transparently, while in the case of falsehoods, representation has gone awry: either we misspoke or nature deceived us. To put the blame on ourselves is to call for a revision in method; to put the blame on nature is to suspect that an evil designer, a Cartesian demon, is behind the faulty appearances. The point, of course, is that one needs to be a dogmatist in order to have Descartes's more demonic thoughts. The classical skeptic, who held the language-world link to be purely conventional, used the uncertifiability of knowledge claims as an argument for denying any design whatsoever to nature — either for good or for ill. Descartes muddled things, however, when he interpreted the skeptical stance as claiming that all knowledge claims may turn out to be false. From the First Meditation, it is never made clear why we should worry about the Cartesian demon (and hence send him into cognitive exile as quickly as possible). Presumably, the concern arises from the possibility of discovering that the appearances are indeed illusory — that is, certifiablyfalse. This concern becomes a full-fledged anxiety once the doubter realizes that he ultimately has no control over how his doubt is resolved. In other words... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:No Fun and Games Until Someone Loses an Eye: Transgression and Masculinity in Bataille and FoucaultJudith Surkis (bio)In August 1963 Critique published an “Hommage à Georges Bataille,” a special issue commemorating the death of its founder. How did the volume’s contributors go about the seemingly tricky business of pledging fealty to the philosopher of sovereignty? How did they profess loyalty to, in effect recognize, the sovereign subject known to (...) insistently refuse masterful identity?Apparently undisturbed by this difficulty, the articles written by Bataille’s acquaintances—Alfred Metraux, Michel Leiris, Raymond Queneau, André Masson, and Jean Piel amongst them—establish an explicitly fraternal relation to their contemporary. Piel begins his homage with an account of their initial encounter chez Queneau in 1927, noting his “impression of extraordinary fraternity, an impression which, through our last meeting days before his death, never diminished” [721]. Intermingling intellectual and personal history, these occasional pieces remember Bataille in a variety of contexts: the awakening of his interest in ethnology and work on Documents in the 1920s, his early “confrontations” with Hegel and work on Critique sociale and Contre-attaque in the 1930s, his sensitivity to events and developments in post-World-War-II Europe. While significantly diverse in focus, these articles manifest a similar approach, at once biographical and autobiographical, detailing the unfolding of shared intellectual amitié in favorite cafés, apartments, and studios. Bataille emerges here as a historical subject whose interests and investments, while multiple and, to use Leiris’s metonym, even “impossible,” are repeatedly linked to a variety of intellectual and political milieux.Michel Foucault’s “Preface to Transgression” assumes a more reverential tone than the pieces written by members of Bataille’s own generation. While framed as an explicit “homage” in its recognition of a certain debt to Bataille, Foucault’s essay also plays upon the contradiction of pledging loyalty to a “sovereign” who repeatedly renounces his own claim to mastery. Bataille’s death becomes an occasion on which to herald the “breakdown” and “shattering” of the masterful philosophical subject conventionally assumed to be in control of the “natural” language of dialectics [42–43]. For Foucault, a new possibility for philosophy is seen to arise in “the non-dialectical language of the limit which arises only in transgressing the one who speaks” [44], a transgression repeatedly performed, according to Foucault, in Bataille’s own writing and metaphorically enacted in and by his death. Bataille had, after all, proclaimed in the conclusion to Erotism: “To give transgression to philosophy as a foundation (it is the approach of my thought)...” Bataille’s theory of transgression aims to evoke a “world of play” in which “philosophy disintegrates” [275]. Yet, if the disintegration of philosophy in and through transgression is already Bataille’s “project,” we might inquire into why Foucault frames his article as a preface. [End Page 18]In introducing this presumably already achieved transgression, the “Preface” affects a curious, alternating temporality, a certain confusion of anteriority and posteriority. 1 At once following and preceding Bataille, Foucault remains out of sync and hence unable to coincide with Bataille in the shared amitié inscribed by the author’s contemporaries; it would appear that this generational gap introduces a certain shift in the recollection of Bataille’s legacy. Following in his footsteps, Foucault appropriates one of Bataille’s own disorienting gestures—the tactical use of prefaces, itself mentioned in the “Preface” [43]—in order to dislodge Bataille from his anterior position; instead, Bataille comes to epitomize the transgression predicted by Foucault’s “philosophical” preface. Bataille’s (and, by implication, Foucault’s own) “location” becomes confused and obscured; as I hope to show, Foucault is invested in achieving this state of indeterminacy for both himself and Bataille.To honor Bataille in death assumes a double significance for Foucault: it represents a “transgression of the philosopher’s being” which “has sent us to the pure transgression of his texts” [40] and simultaneously allows Foucault to sacralize Bataille. “Pure transgression” becomes liberated from the historically located being of the philosopher. And further, since the language of transgression is linked by Foucault to the “death of God,” Bataille becomes, in a sense, “deified” in the announcement and celebration of... (shrink)

Metaphors, allegories and other kinds of indirect speech-acts and catachretical phrases are usually considered to be the very opposite of scientific theories. An alternative can be identified in the constructivists’ approach, dealing with catachretical expressions as a starting point for the explication of scientific language games. The aim of this paper is to demonstrate such an alternative point of view, dealing with metaphorical applications of the term information within biological narratives.

The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally “games are made”) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel (...) back in time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential “limit situations.” This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—“anthrobotic”—environments. (shrink)

The debate between metaphor theorists and conceptual historians has been intensifying in recent years. This article takes this debate beyond the bias toward Blumenberg's metaphorology, and starts from the interaction view of metaphor as formulated by Max Black. The article opens with a theoretical framework that reformulates Black's notions of metaphorical resonance and emphasis. It adapts them to the requirements of Conceptual History, and adds a third, historical criterion for metaphoricity. It then applies these suggestions to the history (...) of the metaphor play/game/Spiel/jeu within twentieth-century political thought. Here, the focus lies on the role this metaphor plays in the conceptual relations between the ideas of political order, conflict, and immanence. (shrink)

We humans are remarkably interested in and skilled at games of make believe, games whose rules make what we are called on to imagine depend on what’s actually perceivably true about things and people that have what it takes to assume various fictional roles and that thereby function in the games as props. For the most part we play these games on an improvised pickup basis, working out the rules we play by in the very act of playing by them. (...) Part of what makes this coordinative feat possible are signals to the effect that as the speaker sees things, the rules and available props are such that this or that role is assumed by this or that prop, or props of this or that kind. Metaphors are make believe signals put to ambitious prop-characterizing use outside the game they serve to initiate, sustain, or otherwise regulate. Metaphoric competence is one manifestation of make believe competence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eve W. Stoddard REASON ON TRIAL: LEGAL METAPHORS IN THE CRITIQUE OF PURE REASON 6 6 r I 1WO things fill the mind with ever new and increasing admi_I_ ration and awe, the oftener and more steadily we reflect on them: the starry heavens above me and the moral law within me." ' These are perhaps Kant's most well-known and oft-repeated words. They reflect not only the profound feeling (...) that underlies his technical and abstruse treatises, but also his characteristic preoccupation with law. The "starry heavens" are a synecdoche both for the wonder of nature as we perceive it in all its multiplicity, and for the marvel of science's ability to reduce, order, and subdue that infinite multiplicity into a few elegant laws. These two types of law, natural and moral, define the focus of Kant's critical philosophy, and metaphors drawn from jurisprudence pervade all three critiques. In the context of controversial statements on the role of metaphor in philosophical texts by Jacques Derrida, Paul Ricoeur, and Richard Rorty, I will analyze the legal metaphors in the prefaces and Transcendental Deductions of the Critique ofPure Reason. My goal in engaging Kant's texts in this controversy over metaphor is twofold: on the one hand to assess experimentally the value of these positions on metaphor in the history of philosophy, and, on the other hand, to examine the relations between critical conceptualization and insurgent metaphoricity in Kant's carefully elaborated and systematized text. In a textwhose key words are "universal and necessary for all possible experience," contingentand ambiguous metaphors might be expected to cause problematic unravelings. Richard Rorty has argued recently that "the history ofscience, culture and politics" should be viewed "as a history of metaphor rather than of discovery." 2 He compares the creations of new vocabularies to the 245 246Philosophy and Literature invention of "new tools" ("CL," p. 5), alluding to "Nietzsche's definition of truth as a mobile army of metaphors" (p. 6). From Plato's figures of the world as cave and the mind as charioteer with unruly horses, we shift to Locke's view of mind as tahda rasa and Descartes's description of the world as a machine. Rorty's paradigm of cultural history as a history of metaphor enters into an earlier, unresolved debate between Jacques Derrida and Paul Ricoeur over the relationship between metaphor and philosophical discourse. Like Derrida, Rorty follows Nietzsche's claims about metaphor in the history of philosophy, a view Ricoeur wants to disprove so that he can recover the privileged univocity of speculative discourse. However Rorty has nothing in common with die complexity and "invaginated" ambiguities, the dazzling multivocity of Derrida's writing on the economics of metaphor. Although Rorty appears at first to agree with Derrida that there is no truth or reality apart from the linguistic tropes which dominate different epochs and cultures, he retains a metaphysical distinction between literal reference and figurative play. Rorty adopts Donald Davidson's theory that metaphors do not have "meaning" precisely because diey have no place in the language game into which they are inserted. They produce an effect, but it is not meaning: "One can only savour it or spit it out"; it is not a " 'truth-value candidate' " ("CL," p. 6). However, through repeated use, the metaphor will find a role in the language game; dying as a metaphor, it will live as a literal statement. Therefore Rorty agrees with Ricoeur that a moribund metaphor is no longer a metaphor, but a literally functioning segment of discourse. Thus despite his initial move toward a Derridean, or atleast Nietzschean, position, Rorty ultimately takes a stand consonant with Ricoeur's desire to rescue speculative discourse from the unruliness of metaphor. Considering Rorty's celebration of Freud in an article on "The Contingency of Selfhood," 3 his failure to consider the role of unconscious associations and overdetermination in the writing and reading of texts is surprising. Dead or alive, a metaphor brings with it a host ofpersonal and public, conscious and unconscious, new and traditional associations that become juxtaposed against a similar number of associations connected with the signifying chain into which the metaphor has been inserted. In... (shrink)

Johnson and Hudecki argue that Bernard Suits fails to refute Wittgenstein’s ‘family resemblance’ view of games because Suits’s account of how games begin, how they are played, and the ends they involve, fails to match basic facts of player experience. In reply, the current paper describes three keys to interpreting The Grasshopper: (1) distinguishing the four perspectives from which Suits describes games, (2) recognizing Suits' dispositional view of rule following, and (3) understanding the geometrical metaphor Suits uses to describe (...) rules. In light of these, this paper argues that Johnson and Hudecki’s critiques are either mistaken or are actually affirmations of Suits' position. (shrink)

This paper is a cognitive semantic analysis of a CCTV educational commercial, which is one of a series designed and produced in preparation for, and in celebration of, the Beijing 2008 Olympic Games. Called the “Beijing Opera Episode”, this TV commercial converges on the theme: “To mount the stage of the world, and to put on a show of China”. That is, China sees her hosting of the 2008 Olympics by Beijing as a great opportunity for her to step onto (...) the international stage to perform a show of China. This theme, which alludes to China's globalization and retention of cultural identity, is conceptualized and expressed in terms of a central metaphor of theatrical performance: hosting the beijing olympics is performing beijing opera on an international stage. This study first analyzes in detail how this central metaphor is manifested multimodally through visual and aural as well as verbal discourse, thus examining it as a multimodal metaphor. The study then applies a decompositional approach, based on the distinction between primary and complex metaphors, to analyzing the central metaphor as a metaphorical compound with its internal structures and components, which is nevertheless built on a more general cognitive foundation. The study also offers a linguistic perspective on a cultural model underlying the central metaphor, which is arguably a Chinese cultural model for understanding various aspects and events of life in general. At the core of this cultural model is the widespread life is a stage metaphor, which however has a specific manifestation within the Chinese cultural context. (shrink)

Vietnam’s forests are at risk - carbon offset schemes could be the best chance of saving them, say Dr. Quan-Hoang Vuong and Minh-Hoang Nguyen. The value of forests is deeply ingrained in Vietnamese culture. Rừng vàng, biển bạc” [“forests of gold and seas of silver”] is both a metaphor for Vietnam, and a description of its natural wealth. The phrase is everywhere, from political speeches to daily conversation, as is Nhất phá sơn lâm, nhì đâm hà bá [“the worst (...) crime is to destroy the mountains and forests, the second worst is to kill the river”]. Deforestation is a Vietnamese taboo. (shrink)

"The art object has its own immanent validity," says Hester. By this rather obscure phrase he seeks to dramatize his claim that, modern linguistics and logical positivism notwithstanding, "the poet... succeeds in making the relation between his physical language and its meaning nonconventional." Ostensibly, Hester's book is a discussion and refutation of the claim that meaning is a matter of conventional usage. Poetic metaphor, unlike the literal or technical language he claims Wittgenstein is thinking of, is a "fusion of (...) sense, sensa, and imagery," with sense equivalent to literal meaning through conventional use, sensa equivalent to sound and its onomatopoetic similitudes, and imagery being the "associations" that the writer or reader experiences during the metaphorical "experience-act." Hester holds that poetic metaphors, and their "cousins," scientific models, are "image laden, ambiguous, implicatively full..." but that, unlike the free association inkblots used by the psychologist, they clearly delineate the realm of relevant, meaningful image-association. He believes that Wittgenstein would have accepted metaphor as one of his "language games," but still insists that this language game is useful for communicating meanings, despite the fact that one cannot ostensively identify the conventions of usage for the bounded associations. The book is thus a veritable Pandora's Box of classic problems in the philosophies of mind, language, and aesthetics, and in fact it is the overambitiousness of the work which causes it again and again to leave important problems unresolved.—E. H. W. (shrink)

• In this paper we combine motion captured data with linguistic notions in a game-like intelligent tutoring system, in order to help elementary school students to better differentiate literal from metaphorical uses of motion verbs, based on embodied information. In addition to the thematic goal, we intend to improve young students’ attention and spatiotemporal memory, by presenting sensorimotor data experimentally collected from thirty two participants in our motion capturing labs. Furthermore, we examine the accomplishment of game’s goals and (...) compare them to curriculum’s approach. Sixty nine elementary school students were randomly divided in two experimental groups (game and traditional) and one control group, which did not undergo any intervention. All groups were tested in pre and posttests. Even though the diagnostic pretests present a uniform picture, two way analysis of variance suggests that the experimental groups showed progress in posttests and, more specifically, game group remarkably progressed in the verbs/actions presented during the intervention. Furthermore, in the game condition the participants needed gradually shorter period of time to identify the avatar’s actions. This finding was considered as a first indication of attentional and spatiotemporal memory’s improvement, while the game’s assistance features cultivated students’ metacognitive perception. (shrink)

Despite a prevalence of articles exploring links between sport and art in the 1970s and 1980s, philosophers in the new millennium pay relatively little explicit attention to issues related to aesthetics generally. After providing a synopsis of earlier debates over the questions ‘is sport art?’ and ‘are aesthetics implicit to sport?’, a pragmatically informed conception of aesthetic experience will be developed. Aesthetic experience, it will be argued, vitally informs sport ethics, game logic, and participant meaning. Finally, I will argue (...) that embodying pragmatic conceptions of art as its ideal metaphor re-opens space to best realize the deep potential of sport as a meaningful human practice. (shrink)

The backward induction controversy in game theory flared up and then practically ended within a decade – the 1990s. The protagonists, however, did not converge on an agreement about the source of the controversy. Why was this the case, if opposing sides had access to the same modelling techniques and empirical facts? In this paper I offer an explanation for this controversy and its unsettled end. The answer is not to be found in the modelling claims made by the (...) opposing protagonists, but in the tacit metaphors they operate under. Aristotle defined metaphor as giving a 'thing a name that belongs to something else' (Poetica, 1457b). The meaning of metaphors has not changed much since then – in contrast to models which are comparatively new, and still not well-understood, scientific tools. The controversy of backward induction in game theory provides a test bed for the explanatory power of metaphors. This paper frames the controversy in terms of metaphor choice to provide a common framework for the protagonists. This results in the identification of three different domains – mathematical logic, game theory and the world – each connected to the other via different metaphors. The controversy around backward induction is placed in, and tentatively explained by, this framework. (shrink)

The article considers the possibility of using digital scientific art as a tool for philosophical and aesthetic cognition. On the example of games of cellular automata and from the point of view of the paradigm of synergetics, a large-scale analogy of the dynamics of multi-element distributed systems of various natures is revealed. The question is raised about the nature of beauty, which is interpreted as a fundamental cosmic phenomenon. The concept of protoconstruct is viewed as a mental object, the properties (...) of which are transferred to the objects and phenomena under study. As an example of digital protoconstructs, the article discusses the so-called cellular symmetroids. Cellular symmetroids can be considered from the point of view of scientific art as art objects. At the same time, they represent a deep ontological metaphor. A unique property of cellular symmetroids is spontaneous destruction and transition to quasi-chaotic dynamics. This feature can be linked to the idea of historical time, which is very unusual for mathematical objects. Mathematical structures that arise as a result of calculations according to this model are completely unique and inimitable, like the internal states of the soul or psyche of a thinking subject. At the same time, they are to the same extent determined by the previous state. Integrity, internal unity are inherent not only in symmetric structures but also in the chaos that is born after them, which, in contrast to stereotypical statistical intuitive ideas, is deterministic. However, such an abstract digital art, based on the unconventional mathematics of dynamic chaos, is an accurate ontological metaphor, a visualization of the eidos of the beauty in their relationship with the cosmic logos and the nature of the original creative chaos. (shrink)

This paper explores the idea that wellbeing and healthy development should be the central goal of school music programs. After establishing a framework of student wellbeing, the metaphor of rites of passage experiences is employed—through Joseph Campbell's hero's journey and Jane McGonigal's analysis of the benefits of online gaming—as one way to think about high school music programs as potential sites for contributing to optimal adolescent wellbeing. Writing at the nexus of practice and theory the authors analyze two rites (...) of passage examples from their high school music classrooms. Musicking experiences that offer students openings for embarking upon rites of passage hold potential for addressing students' needs for autonomy, relatedness, and competence—needs Richard Ryan and Edward Deci document as predictive of psychological wellbeing in all cultures and that Dissanayake argues are evolved psychobiological needs. (shrink)

In the history of genetics, the information-theoretical description of the gene, beginning in the early 1960s, had a significant effect on the concept of the gene. Information is a highly complex metaphor which is applicable in view of the description of substances, processes, and spatio-temporal organisation. Thus, information can be understood as a functional particle of many different language games (some of them belonging to subdisciplines of genetics, as the biochemical language game, some of them belonging to linguistics (...) and informatics). It is this wide covering of different language games that justifies the common description of genes x, y, z as containing information for the phenotypic traits X, Y, Z (or the genome as storage for the information of a whole organism). However, if information is taken as the explanans and phenotypic traits or organisms as the explananda, then a description of the explanandum is of prior importance before the explanans can be characterised. This way of thinking could be useful for future discussions on the strikingly dominant information -metaphor, and the different gene concepts as well. The article illustrates this in two steps. First, a condensed overview on the history of genetics is given, which can be divided into three parts: (1) genetics without genes, (2) genetics with genes, but without information, (3) genetics with genes and information. It is assumed that this provides not only some historical knowledge about the origin of genetics and the introduction of technical terms, but offers at least preliminary insight into the methodological structure of genetic descriptions. In a second step, we redraw Spemann’s disturbation experiments to discuss our thesis that genetic information is not a natural entity, but part of a causality-language game which is secondarily added to the descriptions of interventionalistic practices, viz. experimental approaches. (shrink)

Through a phenomenological study of horse-human relations, this article explores the ways in which, as embodied beings, we live relationally, rather than as separate human identities. Conceptually this challenges oppositional logic and humanist assumptions, but where poststructuralist treatments of these issues tend to remain abstract, this article is concerned with an embodied demonstration of the ways in which we experience a relational or in-between logic in our everyday lives.

We argue that pedagogic authority relies on love, which is misunderstood if seen as a matter of actions and subjects. Love is based not on finite subjects and objects existing in Euclidean space and linear time, but, rather, on the non-finite ontology, space and time of relations. Loving authority is a matter of calling and vocation, arising from the spontaneous and simultaneous call-and-response of a lively relation. We make this argument through a reading of Buber’s I–You relation and Murdoch’ s (...) account of the responsiveness of ascetic discipline. In presenting this analysis, we draw upon a case study from a research project on Australian teachers and students. (shrink)

Prior research suggests brokers do not always act in the best interests of clients, although morally obligated to do so. We empirically investigated this issue focusing on trades executed at best execution price, before and after the introduction of electronic limit-order trading, on the London Stock Exchange. As a result of limit-order trading, the proportion of trades executed at the best execution price for the customer significantly increased. We attribute this to a sustained increase in the liquidity of stocks as (...) a result of limit-order trading, regardless of market capitalisation. We discuss the ethical implications of our findings and conclude that market structures that enhance market competitiveness may help reconcile broker and client interests. (shrink)