Levinas maintains that there is a lasting significance to hedonism if we consider the important role of pleasures for our embodied existence. In this essay, we go back to Plato to explore the nature of pleasure, different kinds of pleasures, and their contribution to the good life. The good life is a considerate mixture of pleasures which requires knowing, understanding and remembering. Pleasures take us to the most basic level of existence which the Presocratics can help us understand through their (...) idea of elements. With the help of Levinas, we can expand the concept of elements to include elemental states. As a result, we see how our embodied existence opens us up to various levels of otherness. (shrink)

This paper addresses the selective mechanisms by which criminal proceedings produce strong arguments. It does so by focusing on the failing of argument themes (topoi) in the course of criminal proceedings, rather than on their career. In a further step, the notion of failing is bound to learning: different forms of failing point at different ways and places of learning. The study is comparative, relating cases from four different legal regimes (England, USA, Italy and Germany) that are taken from four (...) extensive ethnographic studies in defense lawyer’s firms. We will track down the failures of topoi at three different stages (pre-trial, trial, and deliberation) in our different legal regimes. Failing occurs in all proceedings in various modes and at different stages. We argue that those modes as well as the different stages at which they occur point at the spots in the respective procedures that allow for learning about the inherent conceptions of “good reasons.”. (shrink)

This study makes a case for the conversational phenomenon the authors have named the comical hypothetical. The CH becomes discursively co-created during ongoing conversation when one or more speakers depart from the normal turn-taking system and engage in the interactional creation of an imaginary world. Data stem from ethnographic observations as well as from spontaneous recordings of social situations in three different locations. Out of 20 hours of taped conversations, 10 recognizable CH segments were analyzed for the present study. The (...) authors present a macro-structure analysis of the comical hypothetical using Hymes's SPEAKING mnemonic, with an emphasis on the act sequence. A second-level micro-analysis uncovers the interactional properties of the CH using a conversation analytic approach. The examination reveals a distinct four-part act sequence of the CH made up of intricate and creative interactional turns. Lastly, the significance and functions of the CH are also discussed. (shrink)

This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, (...) Rembrandt’s “Jacob’s Struggle with the Angel”, Sir Jacob Epstein’s “Jacob and the Angel”, and Marc Chagall’s “Jacob Wrestling with the Angel”, show the “third meaning” of the passage to be predicated on the foundational relation between naming and facing, pointing to the understanding of “The Struggle” as the face-to-face relationship of love and responsibility grounded in ethics. (shrink)

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

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

This essay concerns itself with the Lawyer cartoon, a thematic subgenre of the “The New Yorker Magazine” cartoon, which focuses on the legal profession in the US context. An examination of the cultural meaning of this phenomenon is carried out on the strength of ethnography of communication, which discloses the cartoon as a cultural, social and rhetorical artifact. Among the findings of this study are the structural components, functions, and the rules of configuring the Lawyer cartoon toward it becoming a (...) matter of “risibility” as well as a matter of cultural symbolism. By presenting the attorney as an abnormal character with excessive and hypocritical characteristics, the Lawyer cartoon points to the ascriptions of a disrupted self, making the profession appear as fundamentally inauthentic. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 216 Seiten: 201-224.

In this article I examine Andrei Tarkovsky’s 1962 film Ivan’s Childhood. The film tells a story about a twelve-year old Russian boy, whose family was killed by the Germans at the onset of WWII. Orphaned and dispossessed, Ivan began to scout for the Soviet troops. Eventually, he was captured, tortured and executed by the Gestapo. Using a wide gamut of mythopoetic “articulations,” in this film, Tarkovsky shows how Ivan’s victimization affected him beyond repair, leading to the erosion of his child (...) identity and the emergence of a traumatic duality. The film therefore is not only a poignant condemnation of the war, but a disclosure of the victim phenomenon carried out by mythopoetic means. In my analysis of Ivan’s Childhood, I approach this phenomenon by focusing on the effects of trauma on the child, with a special emphasis on dreaming. For my theoretic, I employ the phenomenology of the child. (shrink)

This article seeks to disclose the sense(s) of translation by attending to it in the phenomenological key with Edmund Husserl’s The Origin of Geometry. I suggest that the text could be approached through the prism of generative phenomenology, and I investigate it from two different perspectives: xenological and Derridean. Both perspectives are employed toward the same objective: to demonstrate the theoretical relevance of Husserl’s text to the understanding of a complex social phenomenon such as translation. The emphasis on sociality, historicity, (...) and tradition, as these themes transpire in The Origin, brings about a new understanding of translation as a phenomenon of the liminal in-between, with its basic structure defined as the encounter with the alien. Derrida gives this emphasis much attention in his commentary on The Origin. In this commentary, he focuses on the constitution of a communal history, which is not possible without the iteration of the origin, the basic means of which is communication on the general level, while on the level of different socio-cultural worlds translation comes up as the most optimal mode for the encounter with the alien. The encounter takes place in the liminal in-between which points to repeatability as the original sense of translation inscribed in the acts of binding and approximation. (shrink)

In this essay I examine the criminal defense file. I argue that being a largely neglected “object” of the legal field, upon a close examination, the file discloses its intriguing materiality as what is predicated on the structure of the fold that allows for the objective, virtual, and narrative spheres to overlap in a specific act-object, which, with Gilles Deleuze, I call objectile. A subsequent phenomenological analysis of the legal file as objectile shows how its constitutive features help the attorney (...) shape ordinary matters into plentiful matters, turning the file into a locally designed sign system. Once exposed, this system reveals its relations to the legal system at large, with individual activities, institutional practices, and legal procedures all being a part of a complex manifold that is law. (shrink)

In this essay, I argue for the continuous influence of Gregory Bateson’s Communicology on the field of family therapy. My argument is based on a re-examination of Bateson’s Palo Alto research period. More specifically, I suggest that family therapy saw its genesis in Bateson’s work on the double bind paradox, which has become the matrix for the family’s communication system approach. In this essay I closely examine the paradox’s structure from two perspectives: systemic and semiotic. I show how several main (...) elements of the problem posed by Bateson translated into various approaches to family therapy thus constituting it as a self-sustaining paradigm. (shrink)

In this essay, I argue for the continuous influence of Gregory Bateson’s Communicology on the field of family therapy. My argument is based on a re-examination of Bateson’s Palo Alto research period. More specifically, I suggest that family therapy saw its genesis in Bateson’s work on the double bind paradox, which has become the matrix for the family’s communication system approach. In this essay I closely examine the paradox’s structure from two perspectives: systemic and semiotic. I show how several main (...) elements of the problem posed by Bateson translated into various approaches to family therapy thus constituting it as a self-sustaining paradigm. (shrink)

In this essay I explore a possibility of experiential synthesis of the medicalized abnormal body with its aesthetic images. A personal narrative about meeting extreme abnormality serves as an introduction into theorizing aesthetic abnormality. The essay builds its argument on the phenomenological grounds; I therefore approach corporeality with Edmund Husserl and Maurice Merleau-Ponty. In turn, Max Ernst introduces an aesthetic frame for the subsequent examination of uncanny surreality. Two exemplars of the surreal body, Joel Witkins "Satiro" and Don DeLillds "Body (...) Artist," intend to substantiate the preceding theoretic. The study shows how the encounter with the abnormal embodiment may suspend normalized modes of constitution to provoke uncanny experiences. (shrink)

This article seeks to contribute towards the emergent field of law and emotion by offering a multi-perspectival study that combines legal, philosophical and empirical considerations into an interdisciplinary research on shame in the German courts of lower and middle instance. On the basis of this joint theory, the study proposes the existence of law-relevant emotions, whose relevance could be argued phenomenologically and validated empirically; hence, the main claim of this study: in the courtroom emotions are communicated for specific procedural purposes. (...) The interdisciplinary nature of the study enables us to determine the role and function of shame in an institutional setting, its relation to other emotions and, more importantly, obtain the sense of shame as it acquires a specific institutional relevance. (shrink)