Music may have a strong influence on literature. Many novels have reflected this by thematizing music in many different ways. However, this engagement can also adopt the form of an imitation or a formal presence that does not actually require the text to say anything about music. This paper aims to explore some aspects of musical imitation in literature that have not been analyzed in depth. Departing from the approach developed by Werner Wolf, I propose a distinction between imitating and (...) imitated elements that applies to any case of study. Furthermore, at the core of this article, I advocate for a fourth dimension that the imitation of music in literature may have and that should be added to word music, formal and structural analogies, and imaginary content analogies. I call this fourth category “graphic analogies.” It implies an imitation whose imitating element is the graphic, written aspect of the linguistic signifier. Finally, this leads to the idea that, in the case of the imitation of music in literature, there is not a necessary correlation between imitating and imitated elements. (shrink)

This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and (...) the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water, the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love. (shrink)

Since Peirce defined the first operators for three-valued logic, it is usually assumed that he rejected the principle of bivalence. However, I argue that, because bivalence is a principle, the strategy used by Peirce to defend logical principles can be used to defend bivalence. Construing logic as the study of substitutions of equivalent representations, Peirce showed that some patterns of substitution get realized in the very act of questioning them. While I recognize that we can devise non-classical notations, I argue (...) that, when we make claims about those notations, we inevitably get saddled with bivalent commitments. I present several simple inferences to show this. The argument that results from those examples is ‘pragmatic’, because the inevitability of the principle is revealed in use (not mention); and it is ‘semiotic’, because this revelation happens in the use of signs. (shrink)