The aim of the paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first among philosophers – and one of the first among thinkers in general – who focused on the issues of artistic and rhetorical genres, philosophy ignored these issues for a considerably long time. One of the first philosophers who approached the issue of genre within a wider context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher (...) and literary scholar. As early as in the 1920s he started to reflect on the so-called small speech genres. It later served him as the basis for a remarkable theory of the primary and secondary genres. Bakhtin is a world-wide renowned novel theoretician, but his genre theory is no less topical, since it corresponds with the issues focused on by philosophers much later. (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a (...) literary scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

In The Gay Science §341, the thought of eternal return is introduced as the announcement of a “demon.” Two possible hearers are described: one is crushed by the demon’s speech, while the other is overjoyed. This article argues that these responses are different because they are responses to different messages. One is conveyed in plain words by the demon’s speech; the other is implied by a final reference to “this ultimate eternal confirmation and sealing.” While that confirmation is (...) provided by what the demon says, not everyone will be aware of it: rather, only someone for whom the value of life has become problematic will be aware of it. Further, it seems that the demon does not understand his own message, since he personifies a will to knowledge that is indifferent to such concerns. Thus, only a human being can gain insight into the value and meaning of life from the thought of eternal return. (shrink)

Moral behaviour, and more recently wisdom and prudence, are emerging as areas of interest in the study of business ethics and management. The purpose of this article is to illustrate that Cicero—lawyer, politician, orator and prolific writer, and one of the earliest experts in the field recognised the significance of moral behaviour in his society. Cicero wrote ‘Moral Duties’ (De Officiis) about 44 BC. He addressed the four cardinal virtues wisdom, justice, courage and temperance, illustrating how practical wisdom, theoretical/conceptual wisdom (...) and justice were viewed in Rome of the first century BC. ‘Moral Duties’ is a letter admonishing his son, Marcus. It refers to personal behaviour, business practice and analyses terms such as good faith and criminal fraud. In addition, it contains material which would be suitable for tutorials/seminars and discussions, particularly in the areas of critical thinking in business ethics and general management. A study of De Officiis in respect to present day management and business practice could give a wider perspective to business ethics and management students. If concepts such as moral virtue, moral propriety and moral goodness, many of which seem to be ignored in business situations today, are to be embedded in business leaders of the future, it is reasonable to expect that these qualities will be analysed and discussed by business students today. Further, a study of Cicero’s six-step approach, when preparing an address/speech, could be useful and productive for practitioners and students in this area. (shrink)

Organic evolution, or change, among the diatoms has proceeded with considerable regularity. The origins, the extinctions, and the increases in numbers of species and genera, on the whole, have submitted to law and order, as rules-within-limits . The changes of evolution have followed from two sorts of phenomena — 1) the origin and extinction of shortlived or unstable species, in a proportion which has been more or less constant, but different in the two groups of diatoms, Centricae and Pennatae; these (...) short-lived species died out in the subperiod of their origin even under favourable enough environment or surrounding conditions, because of the innate instability of these particular species: and 2) the origin of new species which demonstrated their innate capacity for permanence by remaining in the living condition from their origins mostly up to the present time. The continued or continual additions of new and long-living species, in proportion to the number available as possible and parental species, has given the geometrical progressions.Consequently evolution in the diatoms has been monopodial, or one-stemmed, and not sympodial or not with many substitutions of one species after another in successions. The two kinds of species-durations are well-known in other classes of plants and animals. Exactly the same processes of additions, subtractions, and multiplications, particularly as found in the centric diatoms, are very probable in these classes of plants and animals which have given the same answer or arithmetical result for the whole of their previous histories, in the form of the frequency distribution of the present sizes of their genera.The rules-within-limits of this basic evolution are described, defined, and discussed in their relations to various theories of evolution which perhaps only concern the working of factors of superimposed modifications that reduce the results of the pattern or plan of basic evolution.Die phylogenetische Entwicklung wurde im Bereich der Kieselalgen von bestimmten Gesetzmässigkeiten beherrscht. Die Entstehung neuer Arten und Gattungen, ihr Wiederverschwinden und die Zunahme des Formenreichtums, resultierend aus der Zahl der neuentstandenen, vermindert um die der wieder verschwindenen Arten und Gattungen und vollzog sich nach Regeln , die durch folgende Phänomene gekennzeichnet sind: Zwischen der Zahl der neuentstehenden und der Zahl der in der gleichen geologischen Subperiode aus inneren Gründen wieder aussterbenden Arten besteht eine mehr oder wenig feste Beziehung. Diese ist für die Centricae und Pennatae verschieden. Ein bestimmter Anteil der neuentstandenen Arten und Gattungen erwies sich aus inneren Gründen als „ausdauernd” und blieb bis auf den heutigen Tag erhalten. Die Zunahme der Arten- Zahl durch das Hinzukommen langlebiger Formen war stetig und vollzog sich nach Massgabe geometrischer Progressionen.Diese Tatsachen führen zu dem Schluss, dass die phylogenetische Entwicklung der Kieselalgen nach monopodialem, und nicht nach sympodialem Muster vorsichging. Auch in andern Pflanzengruppen und im Tierreich durften die gleichen Gesetzmässigkeiten herrschend sein. Am klarsten gelangen sie bei den Centricae zum, Ausdruck und werden vom Autor als das Fazit von Additions-, Subtraktions-, und Multiplikationsprozessen aufgefasst. Die heutige Situation bezüglich Häufigkeit der Grössen der Gattungen, in Zahl der Arten, ist das Endergebnis der summativen Wirkung dieser Einzelprozesse.Diese als ‚rules-within-limits’ bezeichneten Gesetzmässigkeiten werden im einzelnen beschrieben, erklärt und zusammenfassend dargestellt. Zu andern Evolutionstheorien in Beziehung gebracht, werden sie schliesslich für Erörterung des Problems benutzt, inwieweit noch andere evolutionsgeschichtliche Prozesse als übergeordnete Faktoren in den vom Verfasser dargestellten Grundplan des Evolutionsgeschehens eingreifen können.L'évolution organique ou le changement parmi les Diatomées s'est effectué avec une régularité considérable. Les origines et les extinctions, et les accroissements des nombres des espèces et des genres, se sont soumis en tout aux lois et aux ordres, commes des régularités à l'intérieur de légères déviations. Le changement de l'évolution fut la conséquence de deux sortes de phénomène: l'origine et l'extinction des espèces éphémères dans une proportion plus ou moins déterminée mais différente pour les deux classes des Diatomées, Centricae et Pennatae; ces espèces éphémères moururent dans la subpériode de leur origines malgré le caractère assez favorable des circonstances environnantes, à cause de l'évanescence inhérente aux espèces particulières, et l'origine des espèces nouvelles qui démontrèrent leur qualité innée de permanence tout en continuant de vivre depuis leurs origines, pour la plupart, jusqu'à présent. Les additions continuelles d'espèces nouvelles et permanentes, en nombres proportionnés aux nombres disponibles comme espèces parentes et possibles, donnèrent des accroissements par progressions géométriques.Par conséquent, l'évolution parmi les Diatomées fut monopodiale et non pas sympodiale. Les deux sortes d'espèces-durées sont bien connues parmi beaucoup d'autres classes de plantes et d'animaux. Les mêmes procédés d'additions, de soustractions et de multiplications, particulièrement tels qu'on les trouve dans les Centricae, sont très probables pour ces classes de plantes et d'animaux qui ont donné un résultat le plus semblable pour la somme totale de leur histoire précédente, sous la forme de la répartition des fréquences de leurs grandeurs générique actuelles.Les régularités à l'intérieur de légères déviations de cette évolution fondamentale sont détaillées, définies et discutées dans leurs relations aux diverses théories touchant les autres méthodes de l'évolution qui jouent le rôle de facteurs modifiants superposés au dessin général ou au dessein de l'évolution fondamentale. (shrink)

Although sensorimotor contingencies may explain visual perception, it is difficult to extend this concept to speech perception. However, the basic concept of perception as active hypothesis testing using attention does extend well to speech perception. We propose that the concept of sensorimotor contingencies can be broadened to sensory-attentional contingencies, thereby accounting for speech perception as well as vision.

Modern linguistics is characterized by the establishment and formation of a new promising direction, based on anthropocentric theory of speech genres. The popularity of this direction lies in the interest of the scientists in the phenomenon of virtual communication, which has a certain structure and differs in mechanisms of influence on the social content. The multidimensionality and richness of genre forms determine the need for a diverse approach to the study of speech genres in modern genology. The (...) aim of the article is to study and analyze the theory of speech genres in modern linguistics. The author presents the basic theoretical foundations of the study of the theory of speech genres. Taking into account the achievements of modern studies, the concept of speech genres is analyzed, features and functions of the visual elements of the speech genre are described. It is proved that the modern speech genre and its variety the virtual speech genre are an informational and communicative environment in which there is a certain styling, sphere of communication, speech behavior. The speech genre and the virtual speech genre belong to the written communication and rely on the fullest use of lexical, grammatical, graphic, and media means of speech, which foresees certain adjustments, as well as it differs by the form of dialogue and monologue. (shrink)

In 1644 George Wither stood outside or without the doors of the House of Commons and delivered a speech to Parliament and the nation simultaneously. Not only did this “print oration” function as a prototype for Areopagitica, A Speech of John Milton [...] to the Parliament of England, but it inspired a genre of print pamphlets that would extend well into the eighteenth century. This article identifies and argues for the popular consequences of the genre, detailing (...) its contribution to England’s developing structure of political communication and representation. (shrink)

Deborah Thomas _Beyond Genre: Melodrama, Comedy and Romance in Hollywood Films_ Moffat, Dumfriesshire, Scotland: Cameron and Hollis, 2000 ISBN 0-9065506-17-4 142 pp.

Au cours des dernières décennies, les théoriciens des actes de discours ont amorcé l’analyse des discours afin de décrire la logique qui gouverne l’usage et la compréhension du langage en contexte d’interlocution. Cet article s’inscrit dans la foulée de ces études. Il interroge la fécondité de la notion d’actes de discours en pragmatique littéraire, analyse quelques genres littéraires et propose une typologie des discours composée de huit catégories génériques qui font état des relations logiquement possibles entre les discours factuels et (...) fictionnels, en guise de réponse à une question qu’un théoricien littéraire a posé autrefois aux théoriciens des actes de discours. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 139-169.

Reading literature with the aid of computational techniques is controversial. For some, digital approaches apparently fetishize the curation of textual archives, lack interpretative rigor, and are thoroughly ’neoliberal’ in their pursuit of Silicon Valley-esque software-tool production. For others, the potential benefits of amplifying reading-labor-power through non-consumptive use of book corpora fulfills the dreams of early twentieth-century Russian formalism and yields new, distant ways in which we can consider textual pattern-making (Jockers; Moretti, Distant Reading; Moretti...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Testimony of Sense: Empiricism and the Essay from Hume to Hazlitt by Tim MilnesMargaret WatkinsTim Milnes. The Testimony of Sense: Empiricism and the Essay from Hume to Hazlitt. Oxford: Oxford University Press, 2019. Pp. viii + 278. Hardback. ISBN: 9780198812739. $91.00.In his brief autobiography, “My Own Life,” Hume reports that “almost all [his] life has been spent in literary pursuits and occupations” (E-MOL: xxxi). This is one (...) of at least ten places in this brief work in which he associates himself with “letters” or “literature”—as compared to at most four associations with philosophy. The moral to be inferred is not that Hume considered himself not to be a philosopher. Rather, he conceived of philosophy as a kind of literature. The Treatise was itself a “literary attempt.” Indeed, opposition between the “literary” and “philosophical” aspects of a text would have been foreign to Hume and his contemporaries—a notion for a later age, despite his occasional loose distinction between the relevant genres, as in his list of writings “historical, philosophical, or literary” in “My Own Life” (E-MOL: xxxvi).Yet despite Hume’s own understanding of the continuity between philosophy and literature, broadly conceived, it is still common for contemporary philosophers to ignore literary questions in their examination of Hume’s work, or to presume that one can easily distinguish the “philosophical” parts from the “literary” ones. Tim Milnes’s The Testimony of Sense is therefore a welcome addition to the Hume literature (pun intended). With a particular focus on the essay—a genre of great importance to Hume—Milnes contributes to the small set of engagements with Hume from the disciplinary perspective of English literature. With training in both philosophy and literature, as well as established expertise on Romanticism and its own essays, Milnes is well-qualified for the task. The Testimony of Sense includes sustained engagement with Hume’s contemporaries and successors, but for the purposes of this review, I engage the book primarily as a Hume scholar for Hume scholars.Milnes’s story plays out in three acts. The first establishes the need for public trust created by a skeptical crisis, itself a product of Hume’s criticism of the epistemic program of thinkers in the Cartesian and Lockean traditions. The second explains how the essays of the long eighteenth century constitute a response to that need in various ways. The third reveals in detail how the Romantic essayists, particularly William Hazlitt and Charles Lamb, both respond to and deviate from the “neoclassical” essayists, typified by Hume and Samuel Johnson.The first chapter, “Self and Intersubjectivity,” lays the groundwork by articulating how Hume, Adam Smith, Thomas Reid, and Dugald Stewart identify the need for what we now call intersubjectivity. Milnes describes the common thread as a kind of “natural transcendentalism.” In what sense are these thinkers properly understood as [End Page 175] transcendentalists? The central idea seems to be that all posit things other than reason as “conditions of meaningful thought” (72). For Hume, it is the social, linguistic experience of a community of virtuous judges. The intricate relations between self and other essential to such a community get “internalized within the specular drama of the impartial spectator” (72) in Smith’s writing, which itself takes part in the drama through his “halting, qualified syntax” that mimics “everyday speech” (44). Reid posits a “prescience” of trust, which grounds our reliance on both human testimony and the uniformity of nature, itself undergirded by the design of a benevolent God. Stewart, who posits axiomatic truths that help constitute the “stamina of intellect,” goes furthest, actually calling these truths transcendental (55). This chapter also puts these eighteenth-century thinkers in conversation with twentieth-century theorists, including Habermas, Davidson, and Rorty.Chapter 2, “The Subject of Trust,” deepens the analysis by situating these “natural transcendentalisms” in the broader enlightenment context. In contrast to Descartes, Bacon, and Locke, who were suspicious of our reliance on the opinions of others, the eighteenth-century thinkers understand trust as prior to reason in various ways—though not prior to solidarity. The particulars in each case depend on their responses to skepticism and their accounts of the relation between... (shrink)

Edward S. Small _Direct Theory: Experimental Film/Video as Major Genre_ Carbondale and Edwardsville: Southern Illinois University Press, 1994 ISBN 0-8093-1920-9 122 pp.

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of (...) thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation, Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral. (shrink)

This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to the idea (...) that philosophy is not a search for objective absolutes or momentous conclusions. This is a characteristic inconclusiveness that small talk shares. While small talk is often derided as unimportant on account of this very inconclusiveness, the work of Cavell provides a propitious framework for appreciating small talk's underacknowledged philosophical stakes and for reconsidering assumptions about the relative value of communicative practices. In order to better illustrate this relation between small talk and philosophy, this art... (shrink)

Dehumanization is routinely invoked in social science and law as the primary factor in explaining how propaganda encourages support for, or participation in, violence against targeted outgroups. Yet the primacy of dehumanization is increasingly challenged by the apparent influence of revenge on collective violence. This study examines critically how various propaganda influence audiences. Although previous research stresses the dangers of dehumanizing propaganda, a recently published study found that only revenge propaganda significantly lowered outgroup empathy. Given the importance of these findings (...) for law and the behavioral sciences, this research augments that recent study with two additional samples that were culturally distinct from the prior findings, showing again that only revenge propaganda was significant. To explore this effect further, we also conducted a facial electromyography (fEMG) among a small set of participants, finding that revenge triggered significantly stronger negative emotions against outgroups than dehumanization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Power of “Pliant Stuff”: Fables and Frankness in Seventeenth-Century Dutch RepublicanismArthur WeststeijnIn the preface to his 1609 collection of classical fables entitled De sapientia veterum (On the Wisdom of the Ancients), Francis Bacon vindicated his choice for such a playful genre. Although the writing of fables might seem just an “exercise of pleasure for my own or my reader’s recreation,” Bacon stressed that that was not the (...) case. On the contrary, he argued that “beneath no small number of the fables of the ancient poets there lay from the very beginning a mystery and an allegory.” Therefore, he continued, through such fables, “as sacred relics and light airs breathing out of better times,” hidden meanings can be exposed and made understood to unskilled ears and eyes. Indeed, “the employment of parables as a method of teaching, whereby inventions that are new and abstruse and remote from vulgar opinions may find an easier passage to the understanding,” shows that the fable serves as a very appropriate expedient for instruction and persuasion, the higher goals of rhetoric beyond simple entertainment and delight.1 [End Page 1]Yet, for all these noble purposes, Bacon could not hide his unease with those aspects of the fable which seemed to escape his pen’s command. Embarrassed by the “levity and looseness with which people indulge their fancy in the matter of allegories,” he acknowledged himself to have trod slippery ground. As he asserted: “I know very well what pliant stuff fable is made of, how freely it will follow any way you please to draw it, and how easily with a little dexterity and discourse of wit meanings which it was never meant to bear may be plausibly put upon it.” For Bacon, this intrinsic ambivalence of the fable gave rise to discomfort, and from the start he sought to remove any potential misunderstandings about his intentions. However, not all seventeenth-century writers of fables shared his concerns. Instead, the very nature of the fable as “pliant stuff,” as a genre which necessarily conveys meanings in an ambiguous, suggestive, and indirect manner, made it a particularly useful rhetorical device for those who would not or could not articulate their opinions openly.This article shows that a number of seventeenth-century authors deliberately employed the fable for its political expediency as an opaque prism to diffuse unconventional ideas that could undermine authority. Central in this overview are the Dutch merchants and fervent republican theorists Johan and Pieter de la Court, the main representatives of the radicalization of Dutch republicanism in the decades following the Peace of Westphalia. While most mainstream republicans in the Netherlands emphasized the need of a monarchical figure, a Stadholder, in the ideally balanced republican regime, the brothers De la Court claimed that such a monarchical element would necessarily entail tyranny.2 Their writings employed two different types of fables to substantiate this fundamental claim: the first based on the political allegories of the Italian satirist Traiano Boccalini, the second following the Aesopian tradition as exemplified by the famous [End Page 2] Dutch poet and playwright Joost van den Vondel. Through an analysis of the rhetorical role of these fables, this article attempts to shed more light on the reasons why fables were used in seventeenth-century republican thought. It will argue that the literary aspects of the fable cannot be separated from its political function, a function that eventually can be characterized as highly paradoxical: not in spite but because of its openness to different readings, the fable involved a disguised rhetorical plea for frankness and liberty of speech.Rhetoric and Fables: The Standing of an Emblematic GenreIn classical antiquity, when authors such as Aesop and Phaedrus had created a distinct genre of allegorical tales, the use of such fables had been as much reproved as their particular rhetorical force had been recognized. According to Quintilian, fables should not be a part of the linguistic armory of the truly decent orator, for fables “are specially attractive to rude and uneducated minds, which are less suspicious than others in their receptions of fictions and, when pleased, readily agree with the arguments from which their pleasure is derived... (shrink)

‘Think before you speak’: The power of the tongue by Philo and James. It is appropriate to reflect on the ability of language in pursuing and establishing peace. This contribution briefly explores the Jewish Wisdom literature, the Jewish-Hellenistic philosophy of the corpus Philonicum and the wisdom genre of James 3 as valuable sources on the power of the tongue. At least five practical guidelines regarding speech and its role in the creation of peace are deduced from these three (...) collections of literature: the tongue might be small, but its effects are powerful; believers’ speech should be characterised by truth and honesty; there are times when one needs to speak up and openly; but there are also times that one should be cautious and rather keep quiet; wisdom is needed in exercising the ability to differentiate when to speak and when to keep quiet. It is important, however, to develop the ability to distinguish when to speak and when to keep quiet. (shrink)

The speech of the Armenian embassy to Khusrow in the opening of Book 2 of Procopius'Warshas received little scholarly attention. Historians propose that this embassy, along with those sent by the Goths and Lazi, provided Khusrow with a pretext for violating the Eternal Peace in 540. As for the speeches themselves, they have been considered formulaic set pieces, requirements of the genre in which Procopius was writing. However, Anthony Kaldellis has argued that Procopius uses the Armenians as a (...) mouthpiece for his own criticisms of Justinian, namely that the emperor is to blame for ending the Eternal Peace and that he behaved like an oriental despot. While these literary and historical readings are not incompatible, none fully explicates the mechanics and function of the Armenians' speech. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

I examine what would be necessary to move part-of-speech tagging performance from its current level of about 97.3% token accuracy (56% sentence accuracy) to close to 100% accuracy. I suggest that it must still be possible to greatly increase tagging performance and examine some useful improvements that have recently been made to the Stanford Part-of-Speech Tagger. However, an error analysis of some of the remaining errors suggests that there is limited further mileage to be had either from better (...) machine learning or better features in a discriminative sequence classifier. The prospects for further gains from semisupervised learning also seem quite limited. Rather, I suggest and begin to demonstrate that the largest opportunity for further progress comes from improving the taxonomic basis of the linguistic resources from which taggers are trained. That is, from improved descriptive linguistics. However, I conclude by suggesting that there are also limits to this process. The status of some words may not be able to be adequately captured by assigning them to one of a small number of categories. While conventions can be used in such cases to improve tagging consistency, they lack a strong linguistic basis. (shrink)

The present paper aims to report on the preliminary findings from the initial stages of ongoing research on hate speech in Lithuanian online comments. Comments are marked strongly by such phenomena as flaming and trolling; therefore, in this genre we can expect a high degree of hostility, obscenity, high incidence of insults and aggressive lexis, which can inflict harm to individuals or organizations. The goal of the current research is thus to make an attempt to identify some features (...) of verbal aggression in Lithuanian by applying the principles and instruments of corpus linguistics, which proved to be a useful approach when dealing with such issues as trolling. It is expected that further analysis of those features will help to identify and define formal linguistic criteria that could facilitate identification of hate speech in public discourse. The data has been obtained from the Lithuanian corpus of user-generated comments collected from one major Lithuanian portal, www.delfi.lt. The corpus consists of all the comments posted in the year 2014 and in total includes 17,909 comments, which make up 1,160,109 words. For the initial data analysis, linguistic aspects, such as wordlists, collocations, and formulaic language, were analysed by using the AntConc software. The interpretations of the results are still very tentative, but what the initial findings show is that overt aggression does not feature among the most frequent and most salient features of comments. Aggression is, in our data, indirectly expressed through creative language use, which can mainly be studied through qualitative analysis. (shrink)

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

Autocommunication, communication with oneself, may become distinct from communication with an “other” both in form and function. Autocommunication has a special role in the development of thinking in small children, as differentiation of speech for oneself, known as “private speech,” from communication for social purposes entails the child’s organization of her or his own cognition and behavior with the aid of symbols. Recent studies have suggested that speech distinctly for the child him or herself is particularly (...) observable during what is called “crib speech” and thus it appears to support already early language acquisition. The purpose and functions of crib speech in child development have been topics of interest until recently, but they are still debated. In autocommunication, instead of transfer of signs from one mind to another as when in communication with an “other,” there is transfer of signs from one state of mind to another, as in the case of recalling something with the help of signs. Next to this mnemonic type autocommunication, Juri Lotman was interested in the type in which textual devices within a text guide the communicative interpretation in relation to the text itself, particularly characteristic to poetry. The paper provides a semiotic analysis of crib speech in terms of Lotman’s concept of autocommunication explaining its particular appearance both in form and content, as well as what initiates and inspires it for the small child and why does it bring such joy. From the point of view of semiotics, crib speech presents as an exceptionally rich phenomenon. In addition to being small children’s language practice, crib speech appears as language play, if not poetry, serving as a modelling system for enacting and representing the world as it appears for the small child. (shrink)

Words in Semitic texts often consist of a concatenation of word segments, each corresponding to a Part-of-Speech (POS) category. Semitic words may be ambiguous with regard to their segmentation as well as to the POS tags assigned to each segment. When designing POS taggers for Semitic languages, a major architectural decision concerns the choice of the atomic input tokens (terminal symbols). If the tokenization is at the word level the output tags must be complex, and represent both the segmentation (...) of the word and the POS tag assigned to each word segment. If the tokenization is at the segment level, the input itself must encode the different alternative segmentations of the words, while the output consists of standard POS tags. Comparing these two alternatives is not trivial, as the choice between them may have global effects on the grammatical model. Moreover, intermediate levels of tokenization between these two extremes are conceivable, and, as we will aim to show, beneficial. To the best of our knowledge, the problem of tokenization for POS tagging of Semitic languages has not been addressed before in full generality. In this paper, we study this problem for the purpose of POS tagging of Modern Hebrew texts. After extensive error analysis of the two simple tokenization models, we propose a novel, linguistically-motivated, intermediate tokenization model that gives better performance for Hebrew over the two initial architectures. Our study is based on the well-known Hidden Markov Models (HMMs). We start out from a manually devised morphological analyzer and a very small annotated corpus, and describe how to adapt an HMM-based POS tagger for both tokenization architectures. We present an effective technique for smoothing the lexical probabilities using an untagged corpus, and a novel transform for casting the segment-level tagger in terms of a standard, word-level, HMM implementation. The results obtained using our model are on par with the best published results on Modern Standard Arabic, despite the much smaller annotated corpus available for Modern Hebrew.. (shrink)

Is pornography within the coverage of the First Amendment? A familiar argument claims that it is not. This argument reasons that the free speech principle protects the communication of ideas, which appeal to the reason ; pornography communicates no ideas and appeals to the passions rather than the reason ; therefore pornography is not protected by the free speech principle. This argument has been specified in different ways by different writers. The most prominent and careful of these are (...) Frederick Schauer and John Finnis. Both founder on the attempt to distinguish pornography from art, which both would protect. If art, film, and literature should be protected, then this protection should extend to the pornographic subsets of these genres. (shrink)

Academic English has been the focus of attention for many researchers in the past few years. However, academic spoken English has not received much attention, and those who have selected this field have mainly taken academic lectures and conference paper presentations as their corpus. In this article, a new classification of spoken academic genres is presented, which is formed by classroom genres, institutional genres and research genres. Among these, institutional genres have been selected as a corpus, specifically the Honoris Causa (...) acceptance speech, which has not yet been analysed. We believe that this genre has specific characteristics, mainly related to purpose and structure. In this study, we demonstrate that Honoris Causa speeches follow an established structural pattern and that they always have two purposes: a common one, namely, to express gratitude for the award; and a secondary one that varies from one speech to the other. It is also proved that common rhetorical patterns relate the speaker, the topic and the secondary purpose of the speeches. (shrink)

Étudier les actes de requête dans les discours prononcés aux Nations Unies s’avère d’une utilité certaine dans le travail de caractérisation de ce sous-genre diplomatique. La formulation indirecte des actes de langage et les procédés linguistiques qui éloignent les sources potentielles de confrontation révèle des discours contraints par l’exercice de la « politesse », au service de l’impératif institutionnel de valorisation du consensus. Ces discours qui s’éloignent du fonctionnement du langage ordinaire transfèrent la prise en charge de l’énonciation aux (...) États-membres qui sont ici de véritables locuteurs et qui partant parlent en leur propre nom. L’on observe alors l’impact d’un contexte socio-discursif sur le fonctionnement de langue. Les requêtes formulées dans ces discours reflètent les problématiques qui préoccupent les États membres, puisque dans bien des cas, une requête peut être l’aveu d’un manque. Les verbes illocutoires donnent un bon aperçu des « façons de parler » et témoignent d’ores-et-déjà d’une routinisation des pratiques langagières. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricoeur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed (...) to someone and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricoeur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricoeur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricoeur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricœur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed (...) to someone and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricœur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricœur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricœur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

Proposing his conception of narrative identity in Oneself as Another, Paul Ricœur holds that human life is comprehensible, once the story of a man’s life has actually been told, and it is the narrative of one’s life which constructs one’s identity. Developing his theory of heteroglossia and the polyphony of human speech, explicated chiefly in Speech Genres and The Dialogic Imagination, Mikhail Bakhtin recognizes the intrinsically intertwining character of utterance and response. According to him, utterance is always addressed (...) to someone and antedates an answer. Bakhtin’s “addressivity,” as well as his view of discourse as fundamentally dialogic, are convergent with Ricœur’s elucidation both of man’s answerability to the Other and of narrative identity. The dynamic character of narrative identity, as construed by Ricœur, converges with the dynamic nature of language as viewed by Bakhtin. The aim of this article is to study the intersections of Ricœur’s narrative theory and Bakhtin’s recognition of the polyphonic nature of speech. I view these as inherently interrelated, and as testifying, respectively, to the philosophical and linguistic aspects of one and the same phenomenological vision. That vision accounts for selfhood, understood as vulnerable and contextualized, while also recognizing that it is conveyed by means of language with its essentially dialogic openness. (shrink)

This is the story of a woman, now long dead and almost forgotten, but for a crumbling gravesite overlooking the ocean at Bronte in Sydney and some small acts of remembrance that functioned to restore her voice ever so partially. The hint of her voice allowed genealogical traces to emerge and help heal the wounds of not only the individual family genealogy to which this woman was almost lost but also for the monumental primordial forgetting of women. The story (...) of this woman whose life seems exceptionally different from my own, whom I never met, is re-told a hundred years after she lived and breathed, to heal deep ancestral wounds and give voice to the struggles of the living and in particular to us—their grand-daughters. (shrink)

Theories of discursive genres provide the philosophical and theoretical framework for the empirical examination of the ways in which immigrant women construct their cultural identities in contexts of violence. The claim of the paper is that the analytical genres of confessional and testimonial discourse enable the examination of the particular ways by which immigrant women both reproduce and resist power and violence.

The paper presents two objections against Putnam’s Twin Earth argument, which was intended to secure semantic externalism. I first claim that Putnam’s reasoning rests on two assumptions and then try to show why these assumptions are contentious. The first objection is that, given what we know about science, it is unlikely that there are any natural-kind terms whose extension is codetermined by a small set of microstructures required by Putnam’s indexical account of extension determination. The second objection is that (...) there may not be a plausible concept of a speech community whose adoption would classify Oscar and Twin Oscar as members of different speech communities and, at the same time, render Oscar and Twin Oscar as being in the same psychological state. I contend that Putnam’s argument fails because both objections are justified. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Unmasking the Maxim: An Ancient Genre And Why It Matters Now W. ROBERT CONNOR We live surrounded by maxims, often without even noticing them. They are easily dismissed as platitudes, banalities or harmless clichés, but even in an age of big data and number crunching we put them to work almost every day. A Silicon Valley whiz kid says, Move Fast and Break Things. Investors try to (...) Buy Low and Sell High. Investigative reporters Follow the Money. Others Follow their Bliss. The lavish host thinks, The More the Merrier, while the Modernist architect is sure that Less is More. Captains of Industry whisper to themselves, Me First; captains of sinking ships shout, Women and Children First. Be Prepared was the Boy Scouts’ marching song, while the Proud Boys Stand Down and Stand By, awaiting their marching orders. Maxims are perhaps the smallest members in a large family of speech acts, which among the Greeks included proverbs, oracles, riddles, blessings, curses and lamentations. Not all of these continue in use, but maxims have found companions—mottos, mantras, advertising tag lines and jingles, slogans, political rallying cries, hashtags, three- or four-letter acronyms and 280 character tweets from the goddess Twitter. Familiarity, however, can breed contempt, or at least inattentiveness to the full range of their influence. Sometimes what sounds at first like empty verbiage turns into action. Bruce Lee adapted an old Taoist saying when he said, Be Water, and thereby provided what was for a while a surprisingly effective strategy for protesters in Hong Kong. arion 28.3 winter 2021 6 unmasking the maxim Maxims empower, for good or ill. In the hands of bigots or ideologues, they can turn deadly. Sic Semper Tyrannis shouted John Wilkes Booth after shooting Abraham Lincoln. A manufacturer of assault rifles urged potential customers to Earn Your Man Card. How better to earn it than to obey 8chan, a web site favored by white nationalists, with its own maxim, Embrace Infamy. A devotee of the site did just that, perpetrating a mass shooting in El Paso, Texas. Maxims, then, should not be lightly dismissed. Since the ancient Greeks so relished maxims, they should surely be interrogated to help us better understand the power of these often underestimated speech acts. Before turning to the Greeks, however, the English word maxim needs a closer look. english “maxim” english borrowed maxim from a Latin phrase and boiled it down for everyday use. In Latin writings about logic, the expression maxima propositio, biggest proposition, denoted a statement that did not need to be proved, but could provide the basis for proof of other, lesser propositions. This phraseology goes back at least to Boethius in the sixth century of our era. It’s the equivalent of the generalizations that serve as the major premises in syllogistic logic. If this makes maxims sound like the axioms of geometry, that is historically right. The starting points of plane geometry are propositions that deserve to be accepted; even without proof that they are worthy of belief. That’s the meaning of the term axiōma. No one needs to prove that things equal to the same thing are equal to each other. Think about it; after a while it seems self-evident. It is worthy of assent. We might equally well call such an axiom a maxim; indeed, the earliest (1426) attested use of maxim in English is described in the Oxford English Dictionary as “an axiom; a self-evident proposition assumed as a premise in mathematical, or dialectical reasoning.” W. Robert Connor 7 This usage is now obsolete, but Thomas Jefferson understood the idea behind it, since he believed that there were such truths, waiting to be put to work in building a society where all people were equal and possess certain inalienable rights. He did not feel he had to prove these propositions; they were in his view self-evident. In using these ideas in his draft of the Declaration of Independence, he was, in effect, transferring to politics what Euclid had done in geometry. It was a swift, strategic stroke on his part, for, since self-evident truths require no argument or explanation, they focus discussion not on... (shrink)

Although using different labels, genre theorists from different traditions have generally given privilege to the communicative purpose, in this article referred to as rhetorical objective, as genre determinant. Genre analysts who have studied press releases in particular tend to share this view, but nevertheless categorize communicative events conveyed through the press release as belonging to one genre despite variation in rhetorical objectives. This article argues that although the press release may be seen as a genre (...) on the basis of textual form, it does not qualify for the genre label if analysed in terms of content and rhetorical objective. To substantiate my claim, I shall discuss a small corpus of press releases, all focusing on a specific biotechnological issue. In my analyses I shall discuss staging in terms of content as well as logico-semantic relations between stages, patterns of stage combinations and their linguistic realizations with the aim of identifying variation in rhetorical objective. (shrink)

This paper proposes a multimodal ethnosemiotic conceptual framework for culturally themed selective Web archiving, taking as a practical example the curation of the London French Special Collection in the UK Web Archive. Its focus on a particular ‘community’ is presented as advantageous in overcoming the sheer scale of data available on the Web; yet, it is argued that these ethnographic boundaries may be flawed if they do not map onto the collective self-perception of the London French. The approach establishes several (...) theoretical meeting points between Pierre Bourdieu’s ethnography and Gunther Kress’s multimodal social semiotics, notably, the foregrounding of practice and the meaning-making potentialities of the everyday; the implications of language and categorisation; the interplay between subject and object; evolving notions of agency, authorship and audience; together with social engagement, and the archive as dynamic process and product. The curation rationale proposed stems from Bourdieu’s three-stage field analysis model, which places a strong emphasis on habitus, considered to be most accurately presented through blogs, yet necessitates its contextualisation within the broader field, through institutional websites, for example, whilst advocating a reflexive awareness of the researcher/curator’s role. This, alongside the Kressian acknowledgement of the inherent multimodality of on-line resources, lends itself convincingly to selection and valuation strategies, whilst the discussion of language, genre, authorship and audience is relevant to the potential cataloguing of Web objects. By conceptualising the culturally themed selective Web-archiving process within the ethnosemiotic framework constructed, concrete recommendations emerge regarding curation, classification and crowd-sourcing. (shrink)

Indirect speech is a remarkable trait of human communication. The present paper tackles the sociobiological underpinnings of communicative indirectness discussing both socio-interactional and cognitive rationales behind its manifestation in discourse. From a social perspective, the use of indirect forms in interactions can be regarded as an adaptive response to the epistemic implications of transacted new information in small primary groups, representing – in Givón’s terms – our “bio-cultural” descent. The design features of indirect strategies today may therefore be (...) explained in terms of a form-function mapping in which indirect communicative expressions allowed a “safer” transaction of contents and a more cooperative attitude of speakers in both face-to-face and public contexts of communication. The unchallengeability effects notably induced by underencoded meanings have now received extensive experimental backing, unveiling intriguing underlying cognitive mechanisms such as the well-known cognitive illusions or fallacies. (shrink)

Indirect speech is a remarkable trait of human communication. The present paper tackles the sociobiological underpinnings of communicative indirectness discussing both socio-interactional and cognitive rationales behind its manifestation in discourse. From a social perspective, the use of indirect forms in interactions can be regarded as an adaptive response to the epistemic implications of transacted new information in small primary groups, representing – in Givón’s terms – our “bio-cultural” descent. The design features of indirect strategies today may therefore be (...) explained in terms of a form-function mapping in which indirect communicative expressions allowed a “safer” transaction of contents and a more cooperative attitude of speakers in both face-to-face and public contexts of communication. The unchallengeability effects notably induced by underencoded meanings have now received extensive experimental backing, unveiling intriguing underlying cognitive mechanisms such as the well-known cognitive illusions or fallacies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyAnthony J. CascardiGenres in Dialogue: Plato and the Construct of Philosophy, by Andrea Wilson Nightingale; xiv & 222 pp. Cambridge: Cambridge University Press, 1996, $49.95 paper.That what we call “philosophy” may be a construct, contingent upon its social and historical circumstances and dependent upon its discursive elaboration in texts that have come to be accepted as authoritative, is a possibility (...) that seems increasingly plausible at the end of the twentieth century. To judge from recent debates over the “end of philosophy” there are few outside the discipline proper who would accept the procedures by which philosophy came to legitimize itself as an autonomous discourse. Philosophy as we know it now seems to be one discourse among many others equal to it, and its associated values (e.g., truth, authenticity, virtue) seem hard pressed to maintain their preeminence when faced with claims that there is no scale according to which all values can be ranked. In the tradition of Plato, Descartes, and Kant, however, philosophical values were bound up with the identity of philosophy as an autonomous discourse. Here, the disciplinary identity of philosophy was dependent upon the “purification” of its discourse: the separation of what is “philosophical” from what is not allowed philosophy to conduct its pursuit of wisdom above the flux of contingent events.How should we understand and evaluate twentieth-century claims about the contingency of philosophical discourse? The question may be approached in divergent ways. One, articulated from inside the discipline of philosophy, seeks to press on with the project of Plato, Descartes, and Kant in order to isolate and refine the language that is most transparent to the truth. According to this view, the claim that philosophy is constructed would be mistaken or confused, and in any case not a philosophical claim at all. Another approach, articulated from outside the discipline of philosophy proper, would be to map the discursive construction of philosophy in terms of the “ideological” interests at work in the very process of that construction, keeping in mind that what is “ideological” is always fashioned in some discursive way. While each of these approaches has something to recommend it, each is insufficient. Typically, the project of “purification” fails to reflect sufficiently upon the contingency of the discourse it aims to refine, while the project of ideology-critique typically fails to recognize its own implicit appeal to some notion of truth or authenticity—or, at the very least, of truths pursued in earnest and communicated intelligibly.Andrea Nightingale’s fine book on Plato and the “construct” of philosophy is everywhere responsive to the contingency of philosophical discourse. Nightingale deals with this contingency by inspecting Plato’s strategies through a lens that is at once social, historical, and discursive. Genres in Dialogue is likewise aware of the claims that Plato makes on behalf of the values of “truth” and “authenticity.” But Nightingale’s strategy is to deflect (philosophical?) questions about truth and authenticity in favor of an analysis that focuses on Plato’s [End Page 527] role in the inaugural configuration of what we have come to recognize and accept as philosophical discourse. Rather than concentrate on the later, ideological appropriation of philosophy in the West, Nightingale sets her sights on philosophy’s inaugural moment, when debates about truth and authenticity were first configured in relation to the question of different modes of speech, some of which attempted to assert their primacy over all others. On Nightingale’s very provocative account, philosophy is not something that became contingent with the passage of time; it was from the very start a discursive construct.Nightingale argues that procedures of this construction, evidenced principally in Plato’s dialogues, were unique. While recognizing that the Platonic dialogues were the staging ground for the rivalries between philosophy on the one hand and rhetoric and poetry on the other, her more important claim is that Plato incorporated a panoply of discursive genres into his texts, always in order to parody, subvert, or otherwise challenge their authority, the better to establish the primacy of philosophy as a discursive practice. What philosophy itself is goes largely unanswered by Plato. Instead... (shrink)

Aristotle's statement that the spectator of epideictic rhetoric judges dynamis is problematic because it seems to direct audience judgment towards the ability of the speaker as opposed to the subject-matter of his speech. I argue that, as a reference to the speaker's ability, the remark indexes the peculiar competitive structure in which speeches of praise and blame are conventionally involved. Thus understood, it is essential to Aristotle's taxonomy of genres and helps resolve the dilemma created by naming the (...) class='Hi'>genre of praise and blame after a mode of performance, epideixis, compatible with speeches of any formal description. (shrink)