The Hebrew Bible mentions 12 precious stones arranged in four rows of three each on the high priest’s breastpiece in two lists (Ex 28:17–20 and 39:10–13). Nine of these precious stones reappear in the Tyrian king’s ‘covering’ in Ezekiel 28:13 in three groups of three. Although the two lists in Exodus are identical, the order in Ezekiel is slightly different. In Septuagint (LXX) Ezekiel there are 12 precious stones. However, the number and order in the LXX lists (LXX-Ex 28:17–20 and (...) 36:17–20; LXX-Ezk 28:13) are constant in all three cases. The same 12 stones as in the LXX appear, but with variation in order, in two accounts found in Josephus ( The Wars of the Jews Book 5, Chapter 5, Section 7; The Antiquities of the Jews Book 3, Chapter 7, Section 5). The list of precious stones in Revelation 21:19–20 that adorn the 12 foundations of the New Jerusalem is reminiscent of the breastpiece, but it shows four new names along with eight that are known from the LXX; it is not clear if it is a fresh translation from the Hebrew list. This article focuses on the relationships amongst these lists by examining the arrangement, translation and symbolism of these precious stones. Contribution: The precious stones in the high priest’s breastpiece (Exod 28:17–20, 39:10–13) were rendered differently and re-arranged by the Septuagint and other later versions for new contexts, audiences and theological purposes. Unknown stones were rendered with similar stones known to the translator or the incipient text terms were transliterated. (shrink)

The article explicates new conceptual approaches to the study of culture, language, semantic, and communicative processes, focusing on the importance of the role of the natural environment and various living systems in cultural semiosis. The author substantiates the relevance of the main biosemiotic approaches in the study of sign systems of culture and the problems of semiosis, and also determines their specificity, main problems and prospects for use. The author explicates the biological roots of sign formation and meaning, establishes the (...) main mechanisms for their formation, draws attention to similarities, rather than differences, in the manifestations of culture and the natural world, reveals the local contexts of the functioning of the process of semiosis, which are related to the interests of living organisms, their interactions with the environment. The article considers the possibility of using biosemiotics as an interdisciplinary basis that unites the natural and human sciences in the field of studying semiotic processes, identifies the main obstacles to the development of this direction. The perspective of the research proposed in the article allows us to talk about new prospects for the use of biosemiotic approaches in the study of culture and society, taking into account the influence of the natural environment and living systems on the process of sign formation. It also makes it possible to establish the integrative and explanatory functions of biosemiotic positions associated with the unification of the biological and sociocultural aspects of semiosis. The results of the study may be important for the development of modern cognitive sciences and non-classical epistemology, focused on the study of various forms of cognition, for the search for ecological methods and approaches to the study of sign systems of culture, for the creation of new hybrid methods and models for the study of semiotic systems, for the solution of a number of epistemological and metaphysical issues that require philosophical reflection. (shrink)

This article tests the hypothesis that all pandemics are inherently translational. We argue that translation and translation theory can be fruitfully used to understand and manage epidemics, as they help us explore concepts of infectivity and immunity in terms of cultural and biological resistance. After examining the linkage between translation and coronavirus disease from three different yet interlinked perspectives—cultural, medical, and biocultural—we make a case for a translational medical humanities framework for tackling the multifactorial crisis brought about by the SARS-CoV-2 (...) infection. This innovative entanglement of perspectives has the merit of carving out a new space for translation research at the intersection of the sciences and the humanities, providing sustainable ways to conceptualize the production of science at times of crisis, and challenging conventional views of translation as a primarily linguistic and cultural phenomenon that traditionally does not engage with science. (shrink)

This thesis is concerned with establishing a bridge between matters of aesthetics and epistemology, by investigating the mechanisms through which artworks allow agents to derive knowledge through the former’s manipulation. It is proposed that, in order to understand the epistemic potential of artworks, we need to approach them as diagrams, in the sense developed by Charles Peirce. The background upon which the arguments are developed are mainly those of American Pragmatism – with a special emphasis on primary literature from Charles (...) Sanders Peirce about semiotics and inquiry, and John Dewey about aesthetics. It is introduced that the manipulation upon artworks can be an example of an inquiry process, due to artworks’ diagrammatic symbol-type-token structure, which embody the logical relations of abduction, deduction and induction. Through Peirce’s definition of inquiry, and Dewey’s definition of an aesthetic experience, it is possible to defend that artworks deliberate create states of doubt and chance as to stimulate and guide inquiry as a way to achieve an aesthetic experience, corroborating to the claim that inquiry processes and aesthetic experience share the same ontological basis: it is in the nature of aesthetic experience to confront agents and contexts with state of chance and doubt, to be further guided through inference into a state of regularity and belief. In order to develop and test the argument, I present the development of Arthur Danto’s influential theory of aesthetics based on Andy Warhol’s Brillo Boxes, by focusing on a review of Danto’s main writings about it. The central point that Danto developed in this theory is that what gives something the status of an artwork are not the immediately perceivable sensorial features of an artifact, but something else. I claim it to be a “diagrammatic structure” that can be potentially manipulated through an inquiry process. I conclude by establishing a possible development of my argument in relation to modelling processes: as diagrams, artworks can be understood as models, opening room for the emergence of new hypothesis and conjectures about the relationship between aesthetics and epistemology. (shrink)