L'objectif est ici de déterminer la mesure dans laquelle nous serions aujourd'hui sortis des catégories conceptuelles sur lesquelles la pensée politique moderne s'est construite.

Interpreting Figurative Meaning critically evaluates the recent empirical work from psycholinguistics and neuroscience examining the successes and difficulties associated with interpreting figurative language. There is now a huge, often contradictory literature on how people understand figures of speech. Gibbs and Colston argue that there may not be a single theory or model that adequately explains both the processes and products of figurative meaning experience. Experimental research may ultimately be unable to simply adjudicate between current models in psychology, linguistics and philosophy (...) of how figurative meaning is interpreted. Alternatively, the authors advance a broad theoretical framework, motivated by ideas from 'dynamical systems theory', that describes the multiple, interacting influences which shape people's experiences of figurative meaning in discourse. This book details past research and theory, offers a critical assessment of this work and sets the stage for a new vision of figurative experience in human life. (shrink)

Introduction: the figure of this world -- 1. The question of political ontology -- 2. The poetic experience of the world -- 3. The myth of the earth -- 4. The unbearable -- 5. The creature before the law -- 6. The animal for which animality is an issue -- 7. Understanding the happy -- 8. The picture and its captives -- 9. The passing of the figure of this world.

Macpherson (Nous 40(1):82–117, 2006) argues that the square/regular diamond figure threatens representationalism, construed as the theory which holds that the phenomenal character is explained by the nonconceptual content of experience. Her argument is the claim that representationalism is committed to the thesis that differences in the experience of ambiguous figures, the gestalt switch, should be explained by differences in the NCC of perception of these figures. However, with respect to the square/regular diamond and some other ambiguous figure representationalism fails to (...) offer a unified account of how representational content makes them ambiguous. In this paper, I aim, first, to offer a representationalist account of ambiguous figures and, second, to examine and rebut Macpherson’s arguments. My main point is that in each ambiguous figure Macpherson discusses there are differences in representational content that can explain differences in phenomenal character or content. The representational differences are due to the ways the Cartesian frame of reference in which perceptual content is always cast cuts the figure, underlying different properties of the figure with respect to the axes of the Cartesian frame of reference. (shrink)

Provides an overview and examples of what impossible figures are, and explains their interest to many different disciplines including philosophy, psychology, art and mathematics.

Albert Einstein’s bold assertion of the form invariance of the equation of a spherical light wave with respect to inertial frames of reference became, in the space of 6 years, the preferred foundation of his theory of relativity. Early on, however, Einstein’s universal light-sphere invariance was challenged on epistemological grounds by Henri Poincaré, who promoted an alternative demonstration of the foundations of relativity theory based on the notion of a light ellipsoid. A third figure of light, Hermann Minkowski’s lightcone also (...) provided a new means of envisioning the foundations of relativity. Drawing in part on archival sources, this paper shows how an informal, international group of physicists, mathematicians, and engineers, including Einstein, Paul Langevin, Poincaré, Hermann Minkowski, Ebenezer Cunningham, Harry Bateman, Otto Berg, Max Planck, Max von Laue, A. A. Robb, and Ludwig Silberstein, employed figures of light during the formative years of relativity theory in their discovery of the salient features of the relativistic worldview. (shrink)

In this updated edition of his brief, engaging book, Robert J. Fogelin examines figures of speech that concern meaning-irony, hyperbole, understatement, similes, metaphors, and others-to show how they work and to explain their attraction.

Representationalism is the position that the phenomenal character of an experience is either identical with, or supervenes on, the content of that experience. Many representationalists hold that the relevant content of experience is nonconceptual. I propose a counterexample to this form of representationalism that arises from the phenomenon of Gestalt switching, which occurs when viewing ambiguous figures. First, I argue that one does not need to appeal to the conceptual content of experience or to judgements to account for Gestalt switching. (...) I then argue that experiences of certain ambiguous figures are problematic because they have different phenomenal characters but that no difference in the nonconceptual content of these experiences can be identified. I consider three solutions to this problem that have been proposed by both philosophers and psychologists and conclude that none can account for all the ambiguous figures that pose the problem. I conclude that the onus is on representationalists to specify the relevant difference in content or to abandon their position. (shrink)

Albert Einstein's bold assertion of the form-invariance of the equation of a spherical light wave with respect to inertial frames of reference became, in the space of six years, the preferred foundation of his theory of relativity. Early on, however, Einstein's universal light-sphere invariance was challenged on epistemological grounds by Henri Poincaré, who promoted an alternative demonstration of the foundations of relativity theory based on the notion of a light-ellipsoid. Drawing in part on archival sources, this paper shows how an (...) informal, international group of physicists, mathematicians, and engineers, including Einstein, Paul Langevin, Poincaré, Hermann Minkowski, Ebenezer Cunningham, Harry Bateman, Otto Berg, Max Planck, Max Laue, A. A. Robb, and Ludwig Silberstein, employed figures of light during the formative years of relativity theory in their discovery of the salient features of the relativistic worldview. (shrink)

Broaching an understanding of nature in Platonic thought, John Sallis goes beyond modern conceptions and provides a strategy to have recourse to the profound sense of nature operative in ancient Greek philosophy. In a rigorous and textually based account, Sallis traces the complex development of the Greek concept of nature. Beginning with the mythical vision embodied in the figure of the goddess Artemis, he reanimates the sense of nature that informs the fragmentary discourses of Anaximenes, Heraclitus, Parmenides, and Empedocles and (...) shows how Plato takes up pre-Socratic conceptions critically while also being transformed. Through Sallis’s close reading of the Theaetetus and the Phaedo, he recovers the profound and comprehensive concept of nature in Plato’s thought. (shrink)

I argue that figurative speech, and irony in particular, presents a deep challenge to the orthodox view about sentence content. The standard view is that sentence contents are, at their core, propositional contents: truth-conditional contents. Moreover, the only component of a sentence’s content that embeds in compound sentences, like belief reports or conditionals, is the propositional content. I argue that a careful analysis of irony shows this view cannot be maintained. Irony is a purely pragmatic form of content that embeds (...) in compound sentences. The standard view cannot account for this fact. I sketch out a speech-act theoretic framework that can. But in accepting this alternative framework we are giving up on the whole idea of an autonomous semantics. (shrink)

Lyotard’s earliest major work, available in English for the first time. Jean-François Lyotard is recognized as one of the most significant French philosophers of the twentieth century. Although nearly all of his major writing has been translated into English, one important work has until now been unavailable. Discourse, Figure is Lyotard’s thesis. Provoked in part by Lacan’s influential seminars in Paris, Discourse, Figure distinguishes between the meaningfulness of linguistic signs and the meaningfulness of plastic arts such as painting and sculpture. (...) Lyotard argues that because rational thought is discursive and works of art are inherently opaque signs, certain aspects of artistic meaning such as symbols and the pictorial richness of painting will always be beyond reason’s grasp. A wide-ranging and highly unusual work, Discourse, Figure proceeds from an attentive consideration of the phenomenology of experience to an ambitious meditation on the psychoanalytic account of the subject of experience, structured by the confrontation between phenomenology and psychoanalysis as contending frames within which to think the materialism of consciousness. In addition to prefiguring many of Lyotard’s later concerns, Discourse, Figure captures Lyotard’s passionate engagement with topics beyond phenomenology and psychoanalysis to structuralism, semiotics, poetry, art, and the philosophy of language. (shrink)

This article seeks to illuminate the figure of the child in democratic politics by arguing that children play a constitutive role as temporary outsiders who present both renewal and risk to the demos. Using Hannah Arendt’s concept of natality, we begin with an ontological account of children as new individuals that are central to renewing democratic freedom and plurality. In the second section, we explore how children can be conceived in terms of political risk by focussing on Arendt’s debate with (...) Ralph Ellison concerning the desegregation of American schools in the 1960s. Their arguments about whether children should appear in politics underscores the constitutive role that child–adult relationships play in debates about the normative fabric of democratic society. Finally, we use the radical democratic theory of Chantal Mouffe to argue that children can be characterised as an excluded group of potential adversaries that appear in political contests over claims to represent the demos. From this perspective, the article reveals that children are central figures in democratic politics because they are constituents of an unknown future polity. (shrink)

Theodor Adorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno's insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume's somewhat colloquial tone. This (...) colloquialism, in dialogue with Adorno's unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno's method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today's interdisciplinary studies. (shrink)

Figurativity has attracted scholars' attention for thousands of years and yet there are still open questions concerning its nature. Figurativity and Human Ecology endorses a view of figurativity as ubiquitous in human reasoning and language, and as a key example of how a human organism and its perceived or imagined environment co-function as a system. The volume sees figurativity not only as embedded in an environment but also as a way of acting within that environment. It places figurativity within an (...) ecological context, and approaches it as a phenomenon which cuts across bodily, psychological, linguistic, social, cultural and natural environments. Figurativity and Human Ecology will appeal to those interested in the analysis of the all-encompassing creativity of the human mind and in the methodological difficulties associated with the study of cognition. (shrink)

Figures of Thought looks at how mathematical works can be read as texts and examines their textual strategies. David Reed offers the first sustained and critical attempt to find a consistent argument or narrative thread in mathematical texts. Reed selects mathematicians from a range of historical periods and compares their approaches to organizing and arguing texts, using an extended commentary on Euclid's Elements as a central structuring framework. He develops fascinating interpretations of mathematicians' work throughout history, from Descartes to Hilbert, (...) Kronecker, Dedekind, Weil and Grothendieck. Reed traces the implications of this approach to the understanding of the history and development of mathematics. (shrink)

It’s natural for hyperbole to mix with metaphor and irony, and other figures of speech. How do they mix together and what kind of compound, if any, arises out of the mixing? In tackling this question, I shall argue that thinking of hyperbolic figures along the lines familiar from ironic metaphor compounds is a temptation we should resist. Looking in particular at hyperbolic metaphor and hyperbolic irony, I argue, they don’t yield a new encompassing compound figure with one figure building (...) on another. Instead, what we have is one dominant figure colored with hyperbolic tinges. So what does hyperbole bring to the mixing pot? I suggest we should think of hyperbole in hyperbolic figures as being an interpretive effect, modulating the working of the partner figure and thus rendering more emphatic. (shrink)

We think and speak in figures. This is key to our creativity. We re-imagine one thing as another, pretend ourself to be another, do one thing in order to achieve another, or say one thing to mean another. This comes easily because of our abilities both to work out meaning in context and re-purpose words. Figures of speech are tools for this re-purposing. Whether we use metaphor, simile, irony, hyperbole, and litotes individually, or as compound figures, the uses are all (...) rooted in literal meanings. These uses invite us to explore the context to find new meanings, new purposes, beyond the literal. -/- This special issue of Philosophical Studies brings together eight papers on various aspects and applications of figurative speech including: David Hills, Mitch Green, Liz Camp, Ofra Magidor, Larry Horn, Ken Walton, Stephen Barker, and Mihaela Popa-Wyatt. (shrink)

Representationalists hold that the phenomenal character of a perceptual experience is identical with, or supervenes on, an aspect of its representational content. As such, representationalism could be disproved by a counter-example consisting of two experiences that have the same representational content but differ in phenomenal character. In this paper, I discuss two recently proposed counter-examples to representationalism that involve ambiguous or reversible figures. I pursue two goals. My first, and most important, goal is to show that the representationalist can offer (...) plausible responses to both counter-examples. My second goal is to show the implications of these responses for the nature of the spatial representational contents of perceptual experiences. (shrink)

Using Figurative Language presents results from a multidisciplinary decades-long study of figurative language that addresses the question, 'Why don't people just say what they mean?' This research empirically investigates goals speakers or writers have when speaking figuratively, and concomitantly, meaning effects wrought by figurative language usage. These 'pragmatic effects' arise from many kinds of figurative language including metaphors, verbal irony, idioms, proverbs and others. Reviewed studies explore mechanisms - linguistic, psychological, social and others - underlying pragmatic effects, some traced to (...) basic processes embedded in human sensory, perceptual, embodied, cognitive, social and schematic functioning. The book should interest readers, researchers and scholars in fields beyond psychology, linguistics and philosophy that share interests in figurative language - including language studies, communication, literary criticism, neuroscience, semiotics, rhetoric and anthropology. (shrink)

This book offers a much-needed new political theory of an old phenomenon. The last decade alone has marked the highest number of migrations in recorded history. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of changes—from global tourism to undocumented labor—have led to the fact that to some extent, we are all becoming migrants. The migrant has become the political figure of our time. Rather than viewing migration as the exception to (...) the rule of political fixity and citizenship, Thomas Nail reinterprets the history of political power from the perspective of the movement that defines the migrant in the first place. Applying his "kinopolitics" to several major historical conditions and figures of migration, he provides fresh tools for the analysis of contemporary migration. (shrink)

Introduction -- Roots, rootlessness, and fin de siècle France -- Stranger and self: Sartre's Jew -- Anti-Semite and Jew -- Dialectical history, unhappy consciousness, and the Messiah -- The ethics of uprootedness: Emmanuel Levinas's postwar project -- Literary unrest: Maurice Blanchot's rewriting of Levinas --"The Last of the Jews": Jacques Derrida and the case of the figure -- The cut -- The exemplar -- Conclusion.

Ce qui a fait naitre l'emerveillement des premiers penseurs grecs, c'est qu'il y a quelque chose plutot que rien, et c'est la ce qui a donne le coup d'envoi a cette pensee de l'etre qui s'est developpee de Parmenide a Aristote et qui constitue le fondement de la philosophie occidentale. On trouve cependant, deja dans la pensee grecque, une denegation de la possibilite d'un discours sur l'etre, d'abord chez Gorgias, contemporain de Socrate, puis chez le fondateur de l'ecole sceptique, Pyrrhon. (...) Et a l'epoque meme ou Parmenide ecrivait son poeme, une pensee de la vacuite et du neant commencait a se developper en Orient dans le cadre du bouddhisme, laquelle met profondement en question la notion meme d'ontologie. Or c'est precisement cette pensee du rien qui resurgit en Occident a la fin de l'age classique, avec ce premier philosophe veritablement moderne qu'est Kant, dans son Essai sur les grandeurs negatives et cette Table du Rien qui, dans La Critique de la raison pure, clot l'Analytique transcendantale. Et c'est le concept de negativite qui va former chez Hegel la matrice meme de la pensee dialectique, alors que celui du neant constituera le coeur de la critique du nihilisme qu'entreprendra Nietzsche, avant de redevenir, avec le Heidegger de Qu'est-ce que la metaphysique?, avec le Sartre de L'Etre et le neant, et avec le dernier Merleau-Ponty, auteur de ce livre inacheve qu'est Le Visible et l'Invisible, un theme fondamental de la pensee de l'apparaitre.Une telle pensee du neant et de la negation traversant la frontiere qui separe l'Orient de l'Occident, il s'agira donc, en prenant comme reference majeure la pensee heideggerienne, d'en interroger les diverses figures, d'abord chez Gorgias et Pyrrhon, puis chez Nagarjuna, le plus grand penseur du bouddhisme indien (ii-iiie siecle) et chez Nishida (1870-1945), representant fameux de l'ecole de Kyoto et du bouddhisme zen, avant d'en venir a l'idealisme allemand avec Kant et Hegel, a la question du nihilisme europeen avec Schopenhauer, Nietzsche et Heidegger, puis a la phenomenologie avec Husserl, Sartre, Merleau-Ponty et Maldiney. (shrink)

This book offers a much-needed new political theory of an old phenomenon. The last decade alone has marked the highest number of migrations in recorded history. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of changes—from global tourism to undocumented labor—have led to the fact that to some extent, we are all becoming migrants. The migrant has become the political figure of our time. Rather than viewing migration as the exception to (...) the rule of political fixity and citizenship, Thomas Nail reinterprets the history of political power from the perspective of the movement that defines the migrant in the first place. Applying his "kinopolitics" to several major historical conditions (territorial, political, juridical, and economic) and figures of migration (the nomad, the barbarian, the vagabond, and the proletariat), he provides fresh tools for the analysis of contemporary migration. (shrink)

In this posthumous collection of writings, Cornelius Castoriadis (1922-1997) pursues his incisive analysis of modern society, the philosophical basis of our ability to change it, and the points of intersection between his many approaches to this theme. His main philosophical postulate, that the human subject and society are not predetermined, asserts the primacy of creation and the possibility of creative, autonomous activity in every domain. This argument is combined with penetrating political and social criticism, opening numerous avenues of critical thought (...) and action. The book’s wide-ranging topics include the core worldview of ancient Athens, where the idea of self-creation and self-limitation made democracy possible; the wealth of poetic resources; a deconstruction of the so-called rationality of capitalism and of the current conception of democracy, along with a discussion of what a radical, revolutionary project means today; the role of what he calls the radical imagination in the creation of both societal institutions and history; the roots of hate; a psychoanalytic view of human development torn between heteronomy and autonomy; the role of education in forming autonomous individuals; and notions of chaos, space, and number. (shrink)

Compound figures are a rich, and under-explored area for tackling fundamental issues in philosophy of language. This paper explores new ideas about how to explain some features of such figures. We start with an observation from Stern that in ironic-metaphor, metaphor is logically prior to irony in the structure of what is communicated. Call this thesis Logical-MPT. We argue that a speech-act-based explanation of Logical-MPT is to be preferred to a content-based explanation. To create this explanation we draw on Barker’s (...) expressivist speech-act theory, in which speech-acts build on other speech-acts to achieve the desired communicative effects. In particular, we show how Barker’s general ideas explain metaphor as an assertive-act, and irony as a ridiculing-act. We use Barker’s notion of proto-illocutionary-acts to show how metaphorical-acts and ironic-acts can build one on the other. Finally, we show that while an ironic-act can build on a metaphorical-act, a metaphorical-act cannot build on an ironic-act. This restriction on how they can be composed establishes Logical-MPT via a different route. (shrink)

Discourse, Figure signifies an event. I mean this in a variety of ways. There has been a recent event: the publication of an English translation of Jean-François Lyotard’s first major book. Its translation is an event forty years delayed and signifies the closing of a major gap in the translation of Lyotard’s work. Of course, both “signify” and “event” are important words for Lyotard. Discourse, Figure’s goal is to “signify the other of signification” (2011, 13, emphasis his). The question of (...) the representability of events that concerns Lyotard throughout his career originates in Discourse, Figure. I use these two words to guide my review. First I outline the events of the book: its context and its argument. .. (shrink)

Wittgenstein’s ‘ethnological approach’ to the philosophy of mathematics, in particular his discussion of calculation as an experiment and the limits of empiricism in mathematics, is presented against three interrelated backdrops: (1) James’ critique of Spencer’s evolutionary empiricism, specifically regarding necessary truths; (2) the Cambridge Anthropological Expedition to Torres Straits, led by Haddon and Rivers, whose Reports implicitly confuted Spencer; and (3) the subsequent work of Malinowski, especially his supplement to Ogden and Richards’ The Meaning of Meaning, a book sent to (...) Wittgenstein upon its publication in 1923. String figures as mathematics is a main illustrative example. (shrink)

Rarely has the history or philosophy of mathematics been written about by mathematicians, and the analysis of mathematical texts themselves has been an area almost entirely unexplored. _Figures of Thought_ looks at ways in which mathematical works can be read as texts, examines their textual strategies and demonstrates that such readings provide a rich source of philosophical issues regarding mathematics: issues which traditional approaches to the history and philosophy of mathematics have neglected. David Reed, a professional mathematician himself, offers the (...) first sustained and critical attempt to find a consistent argument or narrative thread in mathematical texts. In doing so he develops new and fascinating interpretations of mathematicians' work throughout history, from an in-depth analysis of Euclid's Elements, to the mathematics of Descartes and right up to the work of contemporary mathematicians such as Grothendeick. He also traces the implications of this approach to the understanding of the history and development of mathematics. (shrink)

This paper is a systematic investigation of motion expressions in programmatic music description. To address issues with defining the Source MOTION and the Target MUSIC, we utilize Gestalt models (Figure-Ground and Source-Path-Goal) while also critically examining the ontological complexity of the Target MUSIC. We also investigate music motion descriptions considering the role of the describer’s perspective and communicative goals. As previous research has demonstrated, an attentional Goal-bias is common in physical motion description, yet this has been found also to lessen (...) due to audience accommodation effects. We investigate whether this also occurs in music description. Using cognitive linguistic frameworks, we conducted an analysis of 21 English speakers’ written descriptions of dynamic orchestral excerpts. All participants gave a description of one excerpt reporting their own personal experiences and the other excerpt reporting the events of the excerpt for a fictional future participant. We find that addressee accommodation shapes the choice of the ontological types of Figures used from being more subjective and creative in describing music for oneself versus being more objective in describing music for others. However, our investigation does not find sufficient evidence for a Goal-bias in music like there is in physical motion event descriptions. (shrink)

Ambiguous figures pose a problem for representationalists, particularly for representationalists who believe that the content of perceptual experience is non-conceptual (MacPherson in Nous 40(1):82–117, 2006). This is because, in viewing ambiguous figures, subjects have perceptual experiences that differ in phenomenal properties without differing in non-conceptual content. In this paper, I argue that ambiguous figures pose no problem for non-conceptual representationalists. I argue that aspect shifts do not presuppose or require the possession of sophisticated conceptual resources and that, although viewing ambiguous (...) figures often causes a change in phenomenal properties, this change is accompanied by a change in non-conceptual content. I illustrate the case by considering specific examples. (shrink)

Gerhard Richter's groundbreaking study argues that the concept of "afterness" is a key figure in the thought and aesthetics of modernity. It pursues questions such as: What does it mean for something to "follow" something else? Does that which follows mark a clear break with what came before it, or does it in fact tacitly perpetuate its predecessor as a consequence of its inevitable indebtedness to the terms and conditions of that from which it claims to have departed? Indeed, is (...) not the very act of breaking with, and then following upon, a way of retroactively constructing and fortifying that from which the break that set the movement of following into motion had occurred? The book explores the concept and movement of afterness as a privileged yet uncanny category through close readings of writers such as Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It shows how the vexed concepts of afterness, following, and coming after shed new light on a constellation of modern preoccupations, including personal and cultural memory, translation, photography, hope, and the historical and conceptual specificity of what has been termed "after Auschwitz." The study's various analyses—across a heterogeneous collection of modern writers and thinkers, diverse historical moments of articulation, and a range of media—conspire to illuminate Lyotard's apodictic statement that "after philosophy comes philosophy. But it has been altered by the 'after.'" As Richter's intricate study demonstrates, much hinges on our interpretation of the "after." After all, our most fundamental assumptions concerning modern aesthetic representation, conceptual discourse, community, subjectivity, and politics are at stake. (shrink)

In this short paper, we discuss a dialectic methodology surrounding the interpretation of knowledge transfer, and the conditional elements which can be seen to support the concept of a unity of knowledge. We discuss a differing standpoint to knowledge and knowledge value, based on the knowledge transfer practitioner’s perspective, but still in a business context. We ask why, if knowledge is vital for business success and competitive advantage, the transfer of knowledge is rarely a simple unproblematic event. Further, that the (...) creation of knowledge before transfer is recognised as a significant factor in determining a starting point for analogous scrutiny, and often under a premise of doxastic attitude. This discussion therefore aims to synthesise current literature and research into an elemental epistemic principal of FIGURATION DYNAMICS, and in doing so, may help focus congruent knowledge transfer theories. (shrink)

In this updated edition of his brief, engaging book, Robert J. Fogelin examines figures of speech that concern meaning--irony, hyperbole, understatement, similes, metaphors, and others--to show how they work and to explain their attraction. Building on the ideas of Grice and Tversky, Fogelin contends that figurative language derives its power from its insistence that the reader participate in the text, looking beyond the literal meaning of the figurative language to the meanings that are implied. With examples ranging from Shakespeare, John (...) Donne, and Jane Austen to e.e. cummings, Bessie Smith, and Monty Python, Fogelin demonstrates that the intellectual and aesthetic force of figurative language is derived from the opportunity it provides for unlimited elaboration. Fogelin presents a modern restatement of the view, first put forward by Aristotle, that metaphors are to be treated as elliptical similes. He then offers a detailed defense of this "comparativist" view of metaphors in response to criticisms that have been brought against it by a series of eminent philosophers. This new edition is updated to reflect more recent work on the topic and will interest philosophers, linguists, and literary theorists. (shrink)

Figure-Ground Duality in Humour: A Multi-Modal Perspective Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; indeed, the (...) vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication—whether words, gestures or pictorial elements—with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal. (shrink)

Le corps éprouve-t-il ce que l’esprit seul exprime? On fera plutôt l’hypothèse qu’en Montaigne nos affects font figure de sémantique, le senti étant la traduction signifiante du sentir et, de là, le fil d’Ariane de nos évaluations et de nos connaissances. Alors nos représentations ne traduiraient pas les mouvements du corps dans des idées de l’esprit, elles constitueraient l’élaboration immédiatement signifiante de notre expérience du monde, aussi incertaine soit-elle, les sens étant les opérateurs d’une mutation instantanée des affects en conceptions (...) plus ou moins complexes. Mais le corps lui-même? Il est vie, au cœur de « la vie », entre savoir et sagesse, entre souffrance et volupté. (shrink)

L'étranger divin qu'incarne Dionysos, l'étranger à soi que devient Rousseau dans le regard des autres, l'étranger barbare que décrit Lucien de Samosate, l'étranger du dehors qui n'habite pas la maison commune, l'étranger mis à distance par la constitution des morales, l'étranger en exil que célèbre l'Islam... Qu'ont-ils donc en commun? Et comment se distinguent-ils? L'objet de ce travail à plusieurs voix n'est pas de construire une théorie. L'exercice consiste au contraire à multiplier les approches, à laisser jouer librement, de la (...) Grèce antique aux Temps modernes en passant par le monde musulman, une diversité de figures et de notions, pour mettre à l'épreuve leur impact sur l'idée même d'altérité. (shrink)

Rarely has the history or philosophy of mathematics been written about by mathematicians, and the analysis of mathematical texts themselves has been an area almost entirely unexplored. _Figures of Thought_ looks at ways in which mathematical works can be read as texts, examines their textual strategies and demonstrates that such readings provide a rich source of philosophical issues regarding mathematics: issues which traditional approaches to the history and philosophy of mathematics have neglected. David Reed, a professional mathematician himself, offers the (...) first sustained and critical attempt to find a consistent argument or narrative thread in mathematical texts. In doing so he develops new and fascinating interpretations of mathematicians' work throughout history, from an in-depth analysis of Euclid's Elements, to the mathematics of Descartes and right up to the work of contemporary mathematicians such as Grothendeick. He also traces the implications of this approach to the understanding of the history and development of mathematics. (shrink)