This chapter contains sections titled: Dispelling a Confusion ‘You Shall Not Make … Any Marks Upon Yourselves: I Am YHVH’ ‘You Are Not Your Own … Therefore Honor God with Your Body’ ‘We Must Not Injure Our Bodies: This Is the Beginning of Filial Piety’ The Christian Confucian Confusion.

The origins of tattooing are very ancient, and the modern fascination with the practice serves to remind us that it has been an enduring fixture in human history. Its functions are many and often overlap, but the particular focus here is on the tattoo as an aspect of punishment. Comparative evidence, however, is welcomed whenever it proves useful. This article first marshals and examines the late antique literary evidence extending from North Africa in the third century to Constantinople in the (...) ninth. Then that evidence is put in its legal context. From at least the time of Augustus, the penal tattoo, which was generally placed on the face or forehead, had been associated with degradation. Such remained the case in late antiquity, and it also becomes clear that the tattoo accompanied a sentence of exile and hard labor, usually in mines or quarries. The deeper meaning of the tattoo and its placement on the forehead is considered in the light of modern understandings. There follows a discussion of the actual form taken by the tattoo, which normally displayed the name of the crime, the name of the emperor, or the name of the punishment. Based on the available data, the last option appears to have been the most common penal tattoo in this period. Finally, the article hypothesizes that the Christians effected a transformation of the tattoo and subverted its original intent, so that, rather than being a sign of punishment, it became a sign of glory in which one could take pride. Thus the penal function, in some settings at least, was overtaken by a primarily religious one. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

Religion comes in many shapes and sizes, and the classification of religious movements may help scholars understand how these groups form, develop and change. One of the most common tools used in the sociology of religion to do so is the church-sect typology, which is rooted in the basic idea that religious movements can be placed along a continuum according to their degree of congruence with mainstream society. This article provides an overview of how this kind of thinking developed, in (...) order to show how the church-sect typology has been widely accepted and built upon, as well as being heavily criticised by other sociologists. The first part consists of a survey of early versions of the typology, contains different methods of classifying religious movements and provides further explanations where necessary, especially where the term ‘cult’ is concerned. The next section is focused on the many criticisms of the church-sect typology as a whole, after which some possible solutions are offered, and it will end with some recommendations in the form of a new theoretical framework. (shrink)

The phrase ei mihi is used fifteen times by Plautus. On all but one occasion these words introduce a new speaker. The single ‘exception’ is, I suggest, rather an error of transmission. I quote the line in context, Bac. 1171–4 NIC. Ni abeas, quamquam tu bella es, malum tibi magnum dabo iam. BACCH. Patiar, non metuo, ne quid mihi doleat quod ferias. NIC. Ut blandiloquast! ei mihi, metuo. SOR. Hie magis tranquillust. 1173 non – blandiloquast uno versu B 1174 SOROR (...) B: B D. (shrink)

This paper offers a speculative elaboration on downward workplace mobbing – the intentional and repeated inflictions of physical or psychological harm by superiors on subordinates within an organization. The authors cite research showing that workplace mobbing is not a marginal fact in today's organizations and that downward workplace mobbing is the most prevalent form. The authors also show that causes of and facilitating circumstances for downward workplace mobbing, mentioned by previous research, match current organizational shifts taking place within a context (...) of globalisation. This paper argues that it is not the organizational shifts themselves which are to "blame", but an inadequate transformation of leadership and power in reaction to those shifts. Using Foucault's power-knowledge-rules of right triad, the authors offer an explanation for downward workplace mobbing beyond the organizational changes themselves. More precisely, as the organizational changes can be characterized by a new power/knowledge bond calling forth new rules of right, downward workplace mobbing could be seen as manifestations of power outside of the delineations drawn by these new rules of right. In other words, downward workplace mobbing is pathology of current organizational shifts, resulting from not acting out the full ethical potential of the discourse of excellence, adventure, creativity and responsibility, which characterizes these shifts. (shrink)

A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book with (...) a refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

We analyse the system of ethical review of human research in the Baltic States by introducing the principle of equivalent stringency of ethical review, that is, research projects imposing equal risks and inconveniences on research participants should be subjected to equally stringent review procedures. We examine several examples of non-equivalence or asymmetry in the system of ethical review of human research: (1) the asymmetry between rather strict regulations of clinical drug trials and relatively weaker regulations of other types of clinical (...) biomedical research and (2) gaps in ethical review in the area of non-biomedical human research where some sensitive research projects are not reviewed by research ethics committees at all. We conclude that non-equivalent stringency of ethical review is at least partly linked to the differences in scope and binding character of various international legal instruments that have been shaping the system of ethical review in the Baltic States. Therefore, the Baltic example could also serve as an object lesson to other European countries which might be experiencing similar problems. (shrink)

Intense scientific work on HIV/AIDS has led to the development of effective combination drug therapies and there is hope that effective vaccines will soon be produced. However, the majority of people with HIV/AIDS in the world are not benefiting from such advances because of extreme poverty. This article focuses on the pandemic as a reflection of a complex trajectory of social and economic forces that create widening global disparities in wealth and health and concomitant ecological niches for the emergence of (...) new infectious diseases. While the biomedical approach to HIV/AIDS is necessary, has prolonged the lives of many individuals and could offer much at the level of population health, it cannot, in isolation, improve the health of populations. To achieve the latter will require understanding and addressing the deeper social causes of pandemics. Broadening the discourse on ethics to include public health ethics and the ethics of international relations could contribute to reducing the impact of the pandemic and to preventing the emergence of new infectious diseases in the future. (shrink)

This article deals with various responses to the phenomenon of Orientalism. Since the publication of Edward Said s book _Orientalism_, there has been an ongoing discussion about the influence of Orientalism on contemporary social sciences in the East. In the West, Orientalism was an original theory, but in the East its acceptance was tantamount to an assimilation of foreign point of view on social reality. I argue that it is a symptom of provincialism among scientists from the East. Even though (...) most of them tried to overcome Orientalism, they used the same categories and methodology. In this sense they repeated its mistakes and misunderstandings. This article analyzes different attempts of overcoming Orientalism and shows why they are provincial. (shrink)

A century and a half after the Kulturkampf in Germany, and three decades after James Davison Hunter’s account of the “culture warriors,” this book review examines what Nietzsche might have to say to us today about our understanding of the past and our relation to the future. It considers two studies of the four essays of Nietzsche’s Unzeitgemässe Betrachtungen taken as a whole, one study of Nietzsche’s second essay on history, one on Nietzsche’s general conception of decadence and culture, and (...) a collection of essays on Nietzsche’s views of history and memory. Taken together, these studies not only complement each other in respect of their readings of the Unzeitgemässe Betrachtungen and the question of culture, they also throw light on other aspects of Nietzsche by reminding us of the rootedness of Nietzsche’s thought in the outlook of Weimar classicism and highlighting the vitalist aspects of Nietzsche’s thought. The review concludes that Nietzsche is more timely than ever, not least because of his critique of education, as well as his attention to such key themes as identity politics, Erinnerungskultur, and museumization; it is still possible to agree with Nietzsche’s sentiments as expressed in a motto from an early notebook of July 1862: “I prefer the past to the present; but I believe in a better future.”. (shrink)

Journal of Philosophy of Education, EarlyView.

Purpose: Some enigmatic remarks and behaviors of Socrates have been a subject of debate among scholars. We investigated the possibility of underlying epilepsy in Socrates by analyzing pathographic evidence in ancient literature from the viewpoint of the current understanding of seizure semiology. Methods: We performed a case study from a literature survey. Results: In 399 BCE, Socrates was tried and executed in Athens on the charge of “impiety.” His charges included the “introduction of new deities” and “not believing in (...) the gods of the state,” because he publicly claimed that he was periodically and personally receiving a “divine sign,” or daimonion, that directed him in various actions. We found textual evidence that his daimonion was probably a simple partial seizure (SPS) of temporal lobe origin. It was a brief voice that usually prohibited Socrates from initiating certain actions. It started when he was a child, and it visited Socrates unpredictably. Moreover, we found at least two descriptions of Socrates’ unique behavior that are consistent with complex partial seizures (CPSs). The fact that Socrates had been experiencing both SPSs and CPSs periodically since childhood makes the diagnosis of temporal lobe epilepsy (TLE) likely. Conclusions: We hypothesize that Socrates had a mild case of TLE without secondary generalization. This is the first report in 2,400 years to present a pathographic diagnosis of TLE in Socrates based on specific diagnostic features in the ancient textual evidence. Our study demonstrates that the knowledge of modern epileptology could help understand certain behaviors of historic figures. (shrink)

This paper is an attempt to argue that there existed a very prominent view of signs and signification in late sixteenth- and seventeenth-century Europe which can help us to understand several puzzling aspects of baroque culture. This view, called here "pansemioticism," constituted a fundamental part of the baroque conception of the world. After sketching the content and importance of pansemioticism, I will show how it can help us to understand the (from a modern perspective) rather puzzling concept of the polymath, (...) or polyhistor, which constituted the ideal of the baroque scientist. In this context I will also discuss a seventeenth century phenomenon essentially connected with polyhistorism, namely that of the early modem polyhistorical collections, the Wunderkamnmern. Since such a study needs a clearly determined focal point, we will concentrate on the last three quarters of the seventeenth century and will mainly discuss works by German authors of the time. (shrink)

What does it mean to drive a Cadillac? What does 'cuckoo' suggest about the bird? -- two examples explored in this investigation of the history of language signs and of what philosophers, linguists, and others have had to say about them. Rudi Keller shows how signs emerge, function, and develop in the permanent process of language change. He recombines thoughts and ideas from Plato to the present day to create a new theory of the meaning and evolution of icons and (...) symbols. By assuming no prior knowledge and by developing his argument from first principles, Rudi Keller has written a basic text which includes all the necessary features: easy style, good organization, original scholarship, and historical depth. This is a non-technical book which will interest linguists, philosophers, students of communications and cultural studies, semioticians/semanticists, sociologists, and anthropologists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

This article critiques certain notions of a learning society. These are framed largely in economic and humanist frameworks of competitiveness and social exclusion. This overlooks the implications of information, communications and media technologies, and the linguistic turn in social theory. These suggest a learning society can be framed as a 'society of signs'. Some of the possible implications of the latter are outlined.

Conducting research during or in the aftermath of disasters poses many specific practical and ethical challenges. This is particularly the case with research involving human subjects. The extraordinary circumstances of research conducted in disaster settings require appropriate regulations to ensure the protection of human participants. The goal of this study is to systematically and qualitatively review the existing ethical guidelines for disaster research by using the constant comparative method. We performed a systematic qualitative review of disaster research ethics guidelines to (...) collect and compare existing regulations. Guidelines were identified by a three-tiered search strategy: 1) searching databases, 2) an Internet search, and 3) a search of the references in the included documents from the first two searches. We used the constant comparative method for analysis of included guidelines. Fourteen full text guidelines were included for analysis. The included guidelines covered the period 2000-2014. Qualitative analysis of the included guidelines revealed two core themes: vulnerability and research ethics committee review. Within each of the two core themes, various categories and subcategories were identified. Some concepts and terms identified in analyzed guidelines are used in an inconsistent manner and applied in different contexts. Conceptual clarity is needed in this area as well as empirical evidence to support the statements and requirements included in analyzed guidelines. (shrink)

Establishing and maintaining reference is a crucial part of discourse. In spoken languages, differential linguistic devices mark referents occurring in different referential contexts, that is, introduction, maintenance, and re-introduction contexts. Speakers using gestures as well as users of sign languages have also been shown to mark referents differentially depending on the referential context. This article investigates the modality-specific contribution of the visual modality in marking referential context by providing a direct comparison between sign language and co-speech gesture with (...) speech in elicited narratives. Across all forms of expression, we find that referents in subject position are referred to with more marking material in re-introduction contexts compared to maintenance contexts. Furthermore, we find that spatial modification is used as a modality-specific strategy in both DGS and German co-speech gesture, and that the configuration of referent locations in sign space and gesture space corresponds in an iconic and consistent way to the locations of referents in the narrated event. However, we find that spatial modification is used in different ways for marking re-introduction and maintenance contexts in DGS and German co-speech gesture. The findings are discussed in relation to the unique contribution of the visual modality to reference tracking in discourse when it is used in a unimodal system with full linguistic structure versus in a bimodal system that is a composite of speech and gesture. (shrink)

Eetu Pikkarainen describes the educational thinking of Johann AmosComenius (1592-1670) from a perspective of Bildung -theoretical problems. Comenius has had a remarkable influence on modern education, particularly through his language-learning and general didactical methods and principles. However, Comenius’ broader pansophic views have had somewhat more benign later effects. Comenius developed a reformation programme concerning the ‘main areas’ of reality, from theology and education to philosophy and language to social questions and world peace. This program has important connections to the modern (...) theories of Bildung. Comenius connects individual human growth with global issues such as the growth of scientific knowledge, the justice of political systems, and world peace. In his philosophy, Comenius strongly criticises the problems of the rising modern thinking such as trapping to dualisms. From that angle, Comenius appears an almost postmodern thinker with surprising similarity to the thoughts of C S Peirce. (shrink)

Music is said to be the most autonomous and least representative of all the arts.

Eetu Pikkarainen describes the educational thinking of Johann AmosComenius (1592-1670) from a perspective of Bildung -theoretical problems. Comenius has had a remarkable influence on modern education, particularly through his language-learning and general didactical methods and principles. However, Comenius’ broader pansophic views have had somewhat more benign later effects. Comenius developed a reformation programme concerning the ‘main areas’ of reality, from theology and education to philosophy and language to social questions and world peace. This program has important connections to the modern (...) theories of Bildung. Comenius connects individual human growth with global issues such as the growth of scientific knowledge, the justice of political systems, and world peace. In his philosophy, Comenius strongly criticises the problems of the rising modern thinking such as trapping to dualisms. From that angle, Comenius appears an almost postmodern thinker with surprising similarity to the thoughts of C S Peirce. (shrink)

A collection of fourteen essays which provide an overview of the argument for intelligent design, with diagrams, explanations, and relevant quotations.

In our research and teaching we explore the value and the place of rhetoric in education. From a theoretical perspective we situate our work in different disciplines, inspired by major ‘turns’: linguistic, cultural, anthropological/ethnographic, interpretive, semiotic, narrative, literary, rhetorical etc. In this article we engage in the discussion about what all these turns might entail for education by elaborating on what it implies to read the world as a ‘text'—as is central in a semiotic approach—and by introducing new rhetoric in (...) general, and the work of the literary critic and rhetorician Kenneth Burke in particular, as a possible theoretical and methodological resource. We illustrate its application in the analysis of a fictional narrative. Our aim is to explore how an understanding of education as rhetoric can be integrated into the teacher education curriculum. (shrink)

The “sign of consequence” is a notation for propositional logic that Peirce invented in 1886 and used at least until 1894. It substituted the “copula of inclusion” which he had been using since 1870.

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 205 Seiten: 87-93.