Purpose: This paper aims to mediate Josef Mitterer's non-dualistic philosophy with the claim that speaking is a process of embodied experience. Approach: Key assumptions of enactive cognitive science, such as the crossmodal integration of speech and gesture and the perceptual grounding of linguistic concepts are illustrated through selected performance pieces of multimedia artist Laurie Anderson. Findings: The analysis of Anderson's artistic work questions a number of dualisms that guide truth-oriented models of language. Her performance pieces demonstrate that language is both (...) sensually enacted and conceptually reflected through the integration of iconic signing (e.g. sound play, dance) with symbolic communication. Moreover, Anderson's artistic practice demonstrates that media such as voice, gesture and recording technologies realize different forms of embodied language. Benefits: Media aesthetics in the vein of embodied cognition can overcome a number of the dualisms that inform analytical philosophy of language, linguistics, and communication studies, such as perceptual/conceptual meaning, iconicity/symbolicity, emotion/cognition, body/technology and voice/script. (shrink)

Taking as its starting point Carr's view that historical narrative reflects the preoccupations of the time in which it is written and Foucault's concept of consensual historical discourse as the outcome of a social struggle in which the victor suppresses or at least diminishes contrary versions of historical events in favour of their own, this paper traces and discusses the historical narrative of British nursing in the Crimean war and, in particular, three competing narratives that have arisen in the latter (...) half of the 20th century and the first decade of the 21st. These are the established narrative surrounding Florence Nightingale, the new narrative surrounding Mary Seacole and an Irish narrative surrounding the role of the Sisters of Mercy. It is argued that the increased vehemence of the debate surrounding these narratives is representative of the changes that have taken place in British society. However, we also argue that the Irish narrative and its critique are reflective of deep‐rooted Anglo‐Protestant attitudes articulated by Nightingale and uncritically accepted by subsequent historians even in modern British historiography. (shrink)

Smysl zhizni -- Statʹi raznykh let : Staryĭ i novyĭ nat︠s︡ionalʹnyĭ messianizm. Umozrenie v kraskakh. Dva mira v drevnerusskoĭ ikonopisi. "Inoe t︠s︡arstvo" i ego iskateli v russkoĭ narodnoĭ skazke.

Yoga has come to be an icon of Indian culture and civilization, and it is widely regarded as being timeless and unchanging. Based on extensive ethnographic research and an analysis of both ancient and modern texts, Yoga in Modern India challenges this popular view by examining the history of yoga, focusing on its emergence in modern India and its dramatically changing form and significance in the twentieth century. Joseph Alter argues that yoga's transformation into a popular activity idolized for (...) its health value is based on modern ideas about science and medicine. Alter centers his analysis on an interpretation of the seminal work of Swami Kuvalayananda, one of the chief architects of the Yoga Renaissance in the early twentieth century. From this point of orientation he explores current interpretations of yoga and considers how practitioners of yogic medicine and fitness combine the ideas of biology, physiology, and anatomy with those of metaphysics, transcendence, and magical power. The first serious ethnographic history of modern yoga in India, this fluently written book is must reading not only for students and scholars but also practitioners who seek a deeper understanding of how yoga developed over time into the exceedingly popular phenomenon it is today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iconicity, Romance and History in the Crónica SarracinaMarina S. Brownlee (bio)Though seemingly alien discourses, romance and historiography are perennially linked. Far from offering an atemporal imaginary universe that bears no resemblance to historical specificity, romance is constructed as a response to it. Rather than simply projecting for the reader the naïve appeal of a prelapsarian escapism from the harsh realities of history, romance involves a continuous and sophisticated reinvention (...) of itself as a response to an ever-changing historico-political configuration. It is, in fact, a reciprocal relationship. We frequently see history appropriating romance paradigms explicitly, as, for example, when Bernal Díaz chooses to present Spain’s New World conquest and colonization as a continuation of the exploits of Amadís [see Gilman].Whatever form it takes, romance is committed to the celebration of a coherent system of socio-political values. This extra-textual frame of reference can take a variety of forms—from political propaganda that offers a self-aggrandizing depiction of the nobility or patron for whom the text is produced, to escapist fantasy—futuristic or archaizing. It is nostalgia for the lost world of chivalric romance which Cervantes embodies in the figure of Don Quijote, a foolish old man driven mad by his obsession with this perennial literary form. Cervantes is rightly credited with a brilliant and programmatic use of romance constructs to communicate the ongoing historical crisis of the Spanish empire. A byproduct of this romance scrutiny of history was his invention of the modern novel.Testimony to the long-standing interaction between romance and history in Spain, as elsewhere in Europe, is evident in the fact that its first romances were based on history, the so-called “romances of antiquity.” In those texts historical figures and events are evoked for the purpose of legitimating the present, vernacular poets as they celebrate the empowering myths projected by their society, as well as their own literary endeavors by invoking venerable Latin models. The well known translatio studii et imperii topos offers such allegory of empire.At the same time, the confrontation of romance and historical representation can also have a destabilizing effect, and this is programmatically explored in Pedro del Corral’s Crónica sarracina (c. 1430). His text ponders the possibilities of romance and historiography in an obsessive manner and he accomplishes his task by examining representation of the most iconic figures associated with the fall of Spain in 711, namely, La Cava and her father, Count Julián, King Rodrigo, and Pelayo, the messianic hope of the Reconquest effort which would last nearly 800 years.Of related and perhaps even broader importance, Corral’s text merits careful reading because its exploration of iconicity related to Spain’s fall offers meditations on the workings of ideology, which inevitably proposes “imaginary or formal solutions to unresolvable contradictions” [Jameson 79]. Ideology—its unmasking—is intriguingly posited by Corral in powerful ways.If we turn to Corral’s text, we find a work offering an extraordinary consideration of history and romance—their profound interaction—whose full title reads, La crónica [End Page 119] del rey don Rodrigo con la destrucción de España (The Chronicle of King Rodrigo with the Destruction of Spain). My interest in the Crónica here is primarily to consider the mechanisms by which it gestures boldly toward what Žižek has described as the project of the postmodern critique of ideology—though it is clearly a recurring cultural constant—namely to “designate the elements which point towards the system’s antagonistic character, and thus ‘estrange’ us to the self-evidence of its established identity” [Žižek 7]. A reading of the Crónica provides an extended paradigm of such estrangement.Iberia is the area of the Mediterranean which underwent the most protracted encounter between Christianity and Islam, and the events of the Moorish invasion of 711 constitute Spain’s unique foundational subject-matter—on a par with the Troy legend and with King Arthur [see Deyermond 355]. Like them, the retelling of 711 is all about forging mythic connections in order to legitimize empire in a temporally remote time-frame. What interests me in this essay is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2005 Meeting of the Society for Buddhist-Christian StudiesFrances S. Adeney, SecretaryThe annual meeting of the Society for Buddhist-Christian Studies was held in Philadelphia on November 18, 2005. The theme of the program was visual and aural expressions in Christianity and Buddhism and their relationship to religious practice.The focus of the first session was visual images of sacred art. Victoria Scarlett presented the paper "The Iconography of Compassion: Visualizing (...) Guanyin and the Virgin Mary." She noted that meditation exercises that explore visual imagery can mediate the experience of the holy in both Buddhism and Christianity. By comparing and contrasting the images of Guanyin and the Virgin Mary through both commentary and slides, she pointed toward the qualities of compassion, healing, empathy, generosity, and selfless love presented in both Buddhism and Christianity. Scarlett stressed the role of visualization in generating compassion and taking responsibility for cultivating and living the devotional life. Engaging the religious imagination in those visual ways, she said, can help us generate compassion in our world today.Alice Keefe presented the second paper, "The Visual Dimension of Religion in Comparative Perspective." She challenged the assumption that visual experience is a derived or secondary aspect of religious life. As Tibetan Buddhism clearly shows, through its depiction of Buddhas, lamas, bodisattvas, and deities, the divine is form as well as formless. In Christian Orthodox traditions, the icon is viewed as material and glory, the transcendent visible to the human eye. Visual images in both Buddhist and Christian traditions indicate the possibility of transformation as one imagines one's own body as a body of light.Keefe challenged us to bring the centrality of the visual in Buddhism and some portions of Christianity into our academic discussion. Western thinkers present the body in opposition to the spiritual, sometimes understanding images as idolatrous. We assume that the generative locus of meaning is in the subjective consciousness and seek out ideas, ignoring the body. However, communicating an idea is not the [End Page 181] object of visual attention to an icon—rather, it involves the constitution of a self in relation to others. Through practices that activate the visual dimension of religions, we come to know ourselves as part of a pantheon of beings.Rita Gross responded to both papers, focusing on the biases of Western religion in the study of Buddhism. The prohibition of idolatry in Western religion has been identified with the sense of sight, rather than hearing or the use of words. Furthermore, idolatry is always a category defined by outsiders, Gross asserted. People who use the sense of sight to reach beyond themselves to the sacred know what they are doing. The papers and visual images presented gave the attendees insight into how that might happen in Buddhism and Christianity.Michael Monhart and Jisho Shizuka opened the second session with their presentation of "Chanting as Practice: Japanese Shingon Buddhist Sutra Chant." After a brief history of the Shingon sect, the presenters focused on a central aspect of Shingon chanting practice: a realization of one's inherent Buddha-nature in this life. Through activating the mysteries of the ritual activities of the body, voice, and mind, chanting develops the specific connection between Buddha-nature and human nature. An explanation of the chanting itself—its modes, patterns, and energies—led to the conclusion that sound and word become reality through their use by the practitioner of ritual, a conclusion that was demonstrated by the chanting of three sutras.Bill McJohn and Joseph Anderson next presented their work, "The Aural Dimension of Religion: Chanting Psalms in Gregorian Chant." McJohn focused on the history of chanting the Psalter, beginning in the monasteries of the fourth century. Singing the Psalms was motivated by a desire to pray constantly, and as the monastic communities developed, a practice of working through the 150 psalms developed. A shorter version, which eventually became the rosary, also developed. Anderson noted that the recitation of the Psalms is the analog to Buddhist chanting of the sutras. One is actually speaking as the Christ in recitation of the Psalms. Both also find a balance between time and timelessness as they are re-created in different ways... (shrink)

Perverse Desire and the Ambiguous Icon analyzes the limits of the applicability of psychoanalytic theory to aesthetic discourse, and in doing so expands the range of non-normative paradigms of spectatorial identification and sexual identity. These considerations are based on the epistemological premises that the ideal seldom coincides with the empirical, and that identification is always partial, fragmented, heterogeneous, mixed, such that total identification would be tantamount to delirium. The imagination is but the ephemera of partial objects torn from culture (...) and history, the transgression by fragmentation of a contemporary cosmos all too unified and all too controlled to admit the most singular, and idiosyncratic, phantasms of our desires. Thus we must posit an aesthetics where theory and interpretation are juxtaposed to, or traced above, the effects of the passions, where a muscular contraction or spasm is worth as much as a concept. It is here, at the fragile limit between iconophilia and iconoclasm, that the ironies and exigencies of poetic justice reside. (shrink)

This note is concerned with Ned Block's claim that cognition differs from perception in being paradigmatically conceptual, propositional, and non-iconic. As against Block, it maintains that large stretches of cognition constitutively involve, or depend on, iconic representations.

This commentary supports MacNeilage's dismissal of an evolutionary development from sign language to spoken language but presents evidence of a feature in sign language (echo phonology) that links iconic signs to abstract vocal syllables. These data provide an insight into possible mechanism by which iconic manual gestures accompanied by vocalisation could have provided a route for the evolution of spoken language with its characteristically arbitrary form–meaning relationship.

Although there is no more iconic, stalwart, and eloquent defender of liberty and representative democracy than J.S. Mill, he sometimes endorses non-democratic forms of governance. This article explains the reasons behind this seeming aberration and shows that Mill actually has complex and nuanced views of the transition from non-democratic to democratic government, including the comprehensive and parallel material, cultural, institutional, and character reforms that must occur, and the mechanism by which they will be enacted. Namely, an enlightened despot must cultivate (...) democratic virtues such as obedience, industriousness, spirit of nationality, and resistance to tyranny in the population and simultaneously prepare the way for his own demise and secure his own legitimacy by transitioning to the rule of law. This challenges recent scholarship that paints Mill’s non-democratic views as crudely and uncritically imperialist, because it fails to recognize and engage seriously with his sophisticated (if ultimately problematic) theory of individual and institutional development under enlightened colonialism. (shrink)

Alexander von Humboldt’s depictions of mountain vegetation are among the most iconic nineteenth century illustrations in the biological sciences. Here we analyse the contemporary context and empirical data for all these depictions, namely the _Tableau physique des Andes_ (1803, 1807), the _Geographiae plantarum lineamenta_ (1815), the _Tableau physique des Îles Canaries_ (1817), and the _Esquisse de la Géographie des plantes dans les Andes de Quito_ (1824/1825). We show that the Tableau physique des Andes does not reflect Humboldt and Bonpland’s field (...) data and presents a flawed depiction of plant occurrences and vertical succession of vegetation belts, arising from Humboldt’s misreading of La Condamine’s description (1751). Humboldt's 1815 depiction, by contrast, shows a distribution of high-vegetation belts that is consistent with La Condamine’s description, while the 1824 depiction drops innovations made in 1815 and returns to simply showing numerous species’ names, thus not applying Humboldt’s own earlier zonation framework. Our analysis of contemporary reactions to Humboldt’s TPA includes Francis Hall’s posthumously published 1834 illustration of Andean plant zonation near Quito and Humboldt’s reaction to Hall’s critique. Throughout his work on plant geography, Humboldt disregarded some of his own observations, or confused them. At stake was his reputation as an innovator in the field of plant geography and a discoverer of the sequence of high-elevation vegetation belts on the world’s mountains. (shrink)

This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South (...) Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies. (shrink)

This study attempts to show that brain research brings to light religious meanings. There is a physical basis of religion in that the way the brain has evolved makes possible the religious meanings of human experience. The brain grows out of and reflects the universe. The brain is an icon of God. In the analysis of the brain's various parts and functions the relational dimensions of reality are uncovered in their physical basis. This points to ultimate reality as social (...) and to a social God. As such, the structures of reality, experienced through the brain, reflect the reality of God. (shrink)

In my paper I present David Hume's philosophy from the perspective of Charles Sanders Peirce's theory of signs. I argue that by interpreting impressions and ideas as iconic signs it is possible to avoid many inconsistencies in Hume's philosophy. Apart from that it makes possible to avoid Hume's scepticism about the existence of the external world by introducing Peirce's concept of the dynamic and immediate object. What is more, the generative structure of signs helps us to deal with the "gmissing (...) shade of blue" problem. (shrink)

I argue for three claims. (1) The phenomenology of visual experience is exhausted by awareness of appearance properties (i.e., certain constantly changing characteristics of external objects that are relational and viewpoint‐dependent). (2) Cognition differs from perception in that it has a purely discursive or linguistic dimension, whereas perception is pervasively analog and iconic; but this does not determine a border between the two domains, for cognition also has a massive iconic dimension. And (3) certain raging debates in teleosemantics can be (...) resolved by acknowledging that perceptual representations in more primitive organisms tend to have dual contents (e.g., both small, moving black object, and food). (shrink)

This chapter contains sections titled: What's in Santa's Mind? How We Know Anything We Know Santa as a Moral Exemplar Santa the Moral Accountant Santa as Moral Authority Example of Santa in Action: A Christmas Story Santa as Karma Embodied Conclusion.

We examine Paul Halmos’ comments on category theory, Dedekind cuts, devil worship, logic, and Robinson’s infinitesimals. Halmos’ scepticism about category theory derives from his philosophical position of naive set-theoretic realism. In the words of an MAA biography, Halmos thought that mathematics is “certainty” and “architecture” yet 20th century logic teaches us is that mathematics is full of uncertainty or more precisely incompleteness. If the term architecture meant to imply that mathematics is one great solid castle, then modern logic tends to (...) teach us the opposite lesson, namely that the castle is floating in midair. Halmos’ realism tends to color his judgment of purely scientific aspects of logic and the way it is practiced and applied. He often expressed distaste for nonstandard models, and made a sustained effort to eliminate first-order logic, the logicians’ concept of interpretation, and the syntactic vs semantic distinction. He felt that these were vague, and sought to replace them all by his polyadic algebra. Halmos claimed that Robinson’s framework is “unnecessary” but Henson and Keisler argue that Robinson’s framework allows one to dig deeper into set-theoretic resources than is common in Archimedean mathematics. This can potentially prove theorems not accessible by standard methods, undermining Halmos’ criticisms. (shrink)

ArgumentThe paper is an exploration of the interactions between Einstein and Oppenheimer. It highlights the sharp differences in Einstein's and Oppenheimer's approach to physics, in their presentation of self as iconic figures, and in their relation to the communities they considered themselves part of. To understand their differing approaches to physics it briefly reviews the kinds of unifications that took place in physics during the first two-thirds of the twentieth century and points to the 1961 MIT centennial celebration to demonstrate (...) the potency of Einstein's vision that there might be a fundamental theory from which all known theories could be derived. It also briefly reviews various aspects of the development of theoretical physics and of general relativity in the first two-thirds of the twentieth century, to better understand the context of the sharp, negative remarks that Oppenheimer made about Einstein and about his theory of general relativity in 1965 on the occasion of the tenth anniversary of Einstein's death. To answer the question: “Why the antagonism on Oppenheimer's part?” it looks at Oppenheimer's and Einstein's relation to their Jewish roots, their stance regarding nationalism, and their philosophical commitments. (shrink)

In the early 20th century, after hundreds of years of gradual decline, the California condor emerged as an object of intensive scientific study, an important conservation target, and a cultural icon of the American wilderness preservation movement. Early condor researchers generally believed that the species' survival depended upon the preservation of its wilderness habitat. However, beginning in the 1970s, a new generation of scientists argued that no amount of wilderness could prevent the condor's decline and that only intensive scientific (...) management - including captive breeding - could save the species from certain extinction. A bitter and highly politicized battle soon developed over how to best preserve the condor. For 5 years the condor was extinct in the wild; however, by the time that officials released the first captive-bred birds the condor recovery program had garnered widespread public support, even among its former critics. Today, condor advocates from the scientific and activist communities work together to manage the species and protect its habitat. The condor's story illustrates some of the tensions, problems, and successes that have accompanied the rise of conservation biology as a scientific field and environmental movement in the United States. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Christian PhilosopherKerry S. WaltersThe Christian Philosopher, by Cotton Mather; edited by Winton U. Solberg; cxlii & 488 pp. Urbana: University of Illinois Press, 1994, $49.95.Poor Cotton Mather! For well over two centuries now he has been a popular icon of unctuous self-righteousness, superstitious fanaticism, and dogmatic intolerance. Nor has endorsement of this stereotype been confined to casual laypersons who know of Mather only from lurid accounts (...) of Salem witch-hunting. Scholars who ought to know better often buy into it. Perry Miller, the doyen of early American studies, consistently wrote of Mather in a particularly unsympathetic manner. More odious, as Professor Solberg reminds us (p. xciii), was the treatment by historians at a Florida planetarium who in 1982 put together a short film on early European and American doomsday predictors which included segments on Mather the astronomer. When these segments appeared, a projector was programmed to flash the words “Feel Free to Boo and Hiss” on the planetarium’s dome—an invitation which audiences, presumably, gleefully accepted.Mather deserves better than this, and Winton Solberg’s critical edition of The Christian Philosopher goes a long way towards rehabilitating the Puritan divine. Along with recent studies such as Kenneth Murdock’s edition of Mather’s Magnalia Christi Americana (1977) and Kenneth Silverman’s masterful The Life and Times of Cotton Mather (1984), Solberg’s study painstakingly presents us with a detailed account of a man who undoubtedly was one of the most important literary figures in early America.Mather published The Christian Philosopher in 1721, seven years before his [End Page 167] death and eight years after being named to the Royal Society of London. The book was both the culmination of a lifetime of learning as well as a calculated effort on Mather’s part to show that his election to the prestigious Royal Society was deserved. The book is the first attempt by an American-born author to take a comprehensive look at the “new learning” associated with that period known since as the Enlightenment. Mather was an omnivorous reader and an equally thorough observer of natural phenomena, and he welcomed the scientific interpretations of reality offered by such savants as Isaac Newton, Robert Boyle, and John Ray. In the mind of Mather, such explanations posed no challenge to the Christian worldview. On the contrary, he concluded, they supported it by providing clear and indisputable evidence of design in nature. The Christian Philosopher (or, in more contemporary jargon, The Christian Scientist) is Mather’s attempt to defend this thesis. It is an exhaustive (and sometimes exhausting!) compendium of data gleaned from the natural realm which, in Mather’s judgment, irrefutably points to the existence of a grand Designer. Although Mather explicitly claimed that his primary goal in writing the book was to demonstrate that atheism is contrary to reason, he also penned one of the New World’s first systematic Enlightenment documents.One of the difficulties in reading The Christian Philosopher traditionally has been the sheer breadth of learning that went into its composition. Mather cites over four hundred books, includes hundreds of allusions to classical and scriptural sources, and so inundates the reader with evidence in support of his fundamental design argument that it is quite easy to lose one’s way. Professor Solberg has considerably lightened these burdens with his critical edition. He prefaces Mather’s text with a masterful 115-page introduction which places the work in its historical context as well as analyzes its methodology and arguments. Moreover, his edition includes 170 pages of endnotes, biographical notes, biblical references and a recapitulation of Mather’s own sources. Finally, Solberg supplies almost each page of Mather’s text with footnotes that identify literary or scriptural allusions and translate Mather’s liberal use of Greek and Latin quotations.Solberg’s edition of The Christian Philosopher will prove, I’m confident, to be the definitive text. It is an invaluable reference tool for the specialist, but it can also serve as a friendly and intriguing introduction for the layperson. Convinced Puritan-bashers who read this study may still regard Mather’s worldview with distaste, but I suspect that Solberg’s sensitive... (shrink)

Peirce’s category of Firstness is first and fundamental. Without Firstness, we can say, nothing can (later) be – no time, no space, no things, no processes, no growth, no regularities, and no thoughts – hence, nothing of which we can ever conceive. However, despite the fundamentality of Peirce’s category of Firstness, we still do not believe that it has received the attention that it rightly deserves; not by Peirce himself, nor by his commentators. In the following we will, therefore, look (...) at the category of Firstness and try to give a modest glimpse of its fundamentality in relation to four other of Peirce’s central concepts: namely, evolution, consciousness, icon, and, finally, abduction. (shrink)

This book celebrates the work of Patricia Werhane, an iconic figure in business ethics. This festschrift is a collection of articles that build on Werhane’s contributions to business ethics in such areas as Employee Rights, the Legacy of Adam Smith, Moral Imagination, Women in Business, the development of the field of business ethics, and her contributions to such fields as Health Care, Education, Teaching, and Philosophy. All papers are new contributions to the management literature written by well-known business ethicists, such (...) as Norman Bowie, Richard De George, Ronald Duska, Edwin Hartman, Michael Hoffman, Mollie Painter-Morland, Mark Schwartz, Andrew Wicks, and others. The volume is comprised of articles that reflect on Werhane’s work as well as build on it as a way to advance further research. At the end of the festschrift, Pat Werhane provides responses to each chapter. The first chapter of the book also includes the overview of Patricia Werhane’s work and her academic career. The book is written to appeal to management scholars and graduate students interested in the areas of Business Ethics, Modern Capitalism, and Human Rights. Patricia Werhane is one of the most distinguished figures in the field of business ethics. She was a founder of the field, she is one of its leading scholars, and she has had a profound impact on the world of business practice. Among her many accomplishments, Pat is known for her original work on moral imagination, she is an acclaimed authority on employee rights in the workplace, and she is one of the leading scholars on Adam Smith. Having been active in Academia for over 50 years, Werhane is a prolific author of over a hundred articles and book chapters, and the author or editor of twenty-seven books, including Adam Smith and his Legacy for Modern Capitalism, Moral Imagination and Management Decision-Making, and co-authored books Organization Ethics in Health Care, Alleviating Poverty Through Profitable Partnerships, Obstacles to Ethical Decision-Making, Corporate Responsibility: The American Experience, and Research Approaches to Business Ethics and Corporate Responsibility. (shrink)

The article stresses that Georgy P. Fedotov's systematic reference to the Bible enabled him in his historical monographs to reconstruct the spiritual reality of past eras and symbolically perceive the present. Fedotov intended to know The Gospel in History, Russian religiosity, exploring it on the material of hagiographies of saints, spiritual poems, folk faith, apocrypha, and prologues. Fedotov considered the history of Russian culture in terms of a "living chain," an integral phenomenon existing due to the Holy Scriptures and Holy (...) Tradition. However, "The sacred tradition of the Church is included in the general stream of historical tradition, all complex, always muddy, human weaving truth and falsehood." Fedotov raised the question of the relationship between scientific criticism and biblical exegetics: how can we reconcile exegetics of sacred texts, which assume that the Bible is an inspired book, and historical criticism, which by its very nature cannot share such a position, being aimed at comprehending objective historical reality? He solved it convincingly practically through hermeneutic religious analysis of hagiographic monuments and spiritual verses. In his Spiritual Poems Fedotov explores folklore material compared to biblical texts, hagiographies, and apocrypha, to comprehend the peculiarity of religious "Weltanschauung" and popular orthodoxy. In spiritual verses, there was a transformation of biblical images under the influence of folk faith with pagan features. In folklore texts, Fedotov reveals how Christ, from savior and redeemer, turns into a king and dreadful judge. The image of the Mother of God merges in the popular consciousness with the image of the mother earth, suffering from people. Eschatological prophecies are based on impressions from icons, frescoes, and lubok pictures. Fedotov's historical monographs illuminate various aspects of Russian religious consciousness regarding Holy Scripture, considering dogmatic biblical exegetics and historical criticism. All the mentioned facts allow us to assert that Fedotov was the leading secular biblical scholar of the Russian diaspora. (shrink)

When one tries to determine what the iconic dimension of thought consists in for Peirce and what its range is, one might have the impression that his remarks on this matter are inconsistent. For instance, on the one hand he writes the following: Remember it is by icons only that we really reason, and abstract statements are valueless in reasoning except so far as they aid us to construct diagrams. The sectaries of the opinion I am combating seem, on the (...) contrary, to suppose that reasoning is performed with abstract "judgments," and that an icon is of use only as enabling me to frame abstract statements as premisses. In an apparently similar fashion, Peirce argues that the predicate of a... (shrink)

A case study of multimodal systems and a new interpretation of Charles S. Peirce's theory of reasoning and signs based on an analysis of his system of ...

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked the (...) act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself. (shrink)

Sounds play crucial roles in a poem’s meaning (re)construction. Grasping the content of a literary work such as poetry often requires a profound interpretation of the underlying linguistic cum phonetic codes of its discourse. Extant studies on Nigerian children’s poetry have paid little attention to this aspect of meaning conception, thereby concentrating mainly on the surface lexical constructs. Hence, this study aims to examine imagic iconicity in children’s poems in order to demonstrate how a poem’s thematic realization is inferred through (...) the interpretation of the phonic and acoustic nature of the sounds employed. The study involves five poems: three from Ossie Enekwe’s Gentle Birds Come to me and two from Ikeogu Oke’s Song of Success and Other Poems for Children. The analysis is anchored to insights from Charles Sanders Peirce’s concept of the iconic sign, and exploits the action of acoustic and phonetic articulation of sounds to determine their functions and effects in the poems. The study reveals how specialized lexemic choices and onomatopoeia (kinaesthemes, phonaestheme or sound symbolism) in children’s poems make each poem functional and purposeful. Thus, children’s poetry contains language structures and configurations that transmit sense and embody what the poem is asserting in a way that interestingly engages the reader. (shrink)

The key focus of this essay is the experience of encountering divine wonder in things. The examination of the divine encounter is staged against the phenomenological backdrop. Specifically, the concept of the divine wonder is taken in its original, Husserlian, definition as Verwunderung and is traced via Levinas and his concept of face (le visage) to the early 20th century Russian philosopher, Pavel Florensky (1882–1943), whose 1922 essay “Iconostasis” approaches divine representation (лuк) in icon painting explicitly and consistently as (...) a phenomenon of wonder. More broadly, by connecting Florensky and his work to the phenomenological project at large, this essay aspires to show that the early 20th century Russian contributions to phenomenological thought go beyond adaptations and simulations of the traditional phenomenological prolegomena toward highly original philosophical encounters. (shrink)

This paper systematically outlines Wittgenstein's ab-notation. The purpose of this notation is to provide a proof procedure in which ordinary logical formulas are converted into ideal symbols that identify the logical properties of the initial formulas. The general ideas underlying this procedure are in opposition to a traditional conception of axiomatic proof and are related to Peirce's iconic logic. Based on Wittgenstein's scanty remarks concerning his ab-notation, which almost all apply to propositional logic, this paper explains how to extend his (...) method to a subset of first-order formulas, namely, formulas that do not contain dyadic sentential connectives within the scope of any quantifier. (shrink)

The key focus of this essay is the experience of encountering divine wonder in things. The examination of the divine encounter is staged against the phenomenological backdrop. Specifically, the concept of the divine wonder is taken in its original, Husserlian, definition as Verwunderung and is traced via Levinas and his concept of face to the early 20th century Russian philosopher, Pavel Florensky, whose 1922 essay “Iconostasis” approaches divine representation in icon painting explicitly and consistently as a phenomenon of wonder. (...) More broadly, by connecting Florensky and his work to the phenomenological project at large, this essay aspires to show that the early 20th century Russian contributions to phenomenological thought go beyond adaptations and simulations of the traditional phenomenological prolegomena toward highly original philosophical encounters. (shrink)

This review article of Frederik Stjernfelt’s Sheets, Diagrams, and Realism (2022) argues that Peirce’s theory of iconicity with its subdivision into the image-diagram-metaphor triad must not be reduced to diagrammatic iconicity. The foundation of the triadic subdivision of the icon is not in Peirce’s diagrammatic logic but in Peirce’s cenopythagorean categories. A focus is on misinterpretations of Peirce’s concept of thirdness in the firstness of the icon. The paper argues that not only metaphors, but also comparisons, analogies, analogic (...) arguments, and examples belong to the third class of icons. (shrink)

New forms of transnational mobility and diasporic belonging have become emblematic of a supposed global condition of uprootedness. Yet much recent theorizing of our so-called postmodern life emphasizes movement and fluidity without interrogating who and what is on the move. This book examines the interdependence of mobility and belonging by considering how homes are formed in relationship to movement. It suggests that movement does not only happen when one leaves home, and that homes are not always fixed in a single (...) location. Home and belonging may involve attachment and movement, fixation and loss, and the transgression and enforcement of boundaries. (shrink)

A documentary photographer captures the glory and decay of one of rural America's most elemental icons in this collection of images that encapsulate the dramatic transformations that have overtaken the Iowa countryside. Original.

In this paper, we try to shed light on the ontological puzzle pertaining to models and to contribute to a better understanding of what models are. Our suggestion is that models should be regarded as a specific kind of signs according to the sign theory put forward by Charles S. Peirce, and, more precisely, as icons, i.e. as signs which are characterized by a similarity relation between sign (model) and object (original). We argue for this (1) by analyzing from a (...) semiotic point of view the representational relation which is characteristic of models. We then corroborate our hypothesis (2) by discussing the conceptual differences between icons, i.e. models, and indexical and symbolic signs and (3) by putting forward a general classification of all icons into three functional subclasses (images, diagrams, and metaphors). Subsequently, we (4) integratively refine our results by resorting to two influential and, as can be shown, complementary philosophy of science approaches to models. This yields the following result: models are determined by a semiotic structure in which a subject intentionally uses an object, i.e. the model, as a sign for another object, i.e. the original, in the context of a chosen theory or language in order to attain a specific end by instituting a representational relation in which the syntactic structure of the model, i.e. its attributes and relations, represents by way of a mapping the properties of the original, which hence are regarded as similar in a relevant manner. (shrink)

On the young bride’s shoulder is a mauve bite mark: the outline of a mouth, a double arch,teeth marks, open jaws, lips raised up over hard enamel. Not the barely open lips of a kisson the skin; open, rather, as for a kiss on the mouth, but this time penetrating the skin: abristling kiss with the teeth bared, extreme – at the limit of the kiss, or beyond. A cruelkiss: a kiss of flesh . A young couple kisses in a (...) plane: the beginning ofthe film. Later we will see this icon, not knowing when it was imprinted, like a tattoo or abranding with the red hot iron of some ancient justice.What is a kiss? This is the question posed by Claire Denis’s film. Or rather: what isfucking?2It has long been accepted and repeated that kissing is a kind of devouring. Itbelongs to a core of imagery and metaphor that includes fairy tales , the fascination with cannibalism, the symbolism of Christian communion andthat of the lacerations of Dionysos, Osiris or Acteon, together with ghouls, striges andvampires, werewolves, incubi and succubi. This entire carnivorous breed is concealedwithin the film. It is recalled in its entirety, evoked by the gesture of Coré, the sick woman, standing on a bank, filmed from a low angle raising her coat aboveher shoulders to bring to mind for a moment the silhouette of Murnau’s Nosferatu.The vampire’s true formula is only revealed when one says ‘the kiss of the vampire’.That is what is at stake here, allowing for the fact that we are no longer in the era ofvampire stories: the kiss as vampire.It is not a question of any particular kiss, but rather that the kiss, in itself, opens on to the bite, and the taste of blood. And consequently it is a question of another wellknown coupling, that of Eros and Thanatos: not in a dialectic of opposites, but in a mutualexcitation and exasperation, each asking the other to go further, to go all the way to theend, to get completely lost. (shrink)

The Syllabus for Certain Topics of Logic is a long treatise that Peirce wrote in October and November to complement the material of his 1903 Lowell Lectures. The last of the eight lectures was on abduction, first entitled “How to Theorize” and then “Abduction.” Of abduction, the Syllabus states that its “conclusion is drawn in the interrogative mood ”.1 This is not the first time that Peirce associates abduction to interrogations,2 but the statement is significant because it is the first (...) time that the “interrogative mood” is ascribed to speculative grammar. At the same time, such... (shrink)