L'humour en musique n'a pas bonne presse. Labile, déroutant, anecdotique, il a été vilipendé par certains philosophes et compositeurs de la modernité – Schopenhauer, Adorno, Varèse et Boulez en tête – tandis que d'autres – Bergson, Jankélévitch – y voyaient l'expression d'une légèreté sérieuse, l'essence même de l'art. Après une période de déni, consécutive à la Seconde Guerre mondiale, l'humour musical se manifeste depuis les années 1960 chez de multiples compositeurs comme Mauricio Kagel, Gyêrgy Ligeti, Luc Ferrari, Luciano Berio, Bruno (...) Maderna, Arvo Part, Krzysztof Penderecki, Régis Campo, etc. Les quatorze articles réunis dans ce volume tentent tout d'abord d'en éclaircir les principales nuances et de caractériser les cousinages avec le comique, la satire, la parodie, l'ironie. Un deuxième temps est consacré à l'étude du rire musical, ses techniques et sa sémantique. Sans être toujours attaché à l'humour, il engendre des significations secondaires : la peur, la folie, le désespoir. La dernière partie aborde l'esthétique de la satire, qui révèle de riches intertextualités, en particulier à travers le détournement de citations. Y sont également abordés les liens qu'entretiennent l'humour et ses dérivés avec les mutations postmodernes et hypermodernes des sociétés occidentales. (shrink)

This seriously playful book provides comic relief in an age of neoliberalism and argues that parody can be used to creatively benefit our practices of self-narration and quests for knowledge. It demonstrates how parody utilizes humor, play, and self-reflection to allow for a helpful, alternative relationship to mistakes and our multifaceted-self. The book works to delineate specific ways of viewing, studying, creating, and performing a particular form of humorous parody, and through pedagogical application, it balances practical hands on examples (...) via digital video creation with examples and exercises such as interrogating our creative histories and parodying them--either as a classroom exercise or in individual self-reflection. The core readership for this book is rhetoric and composition scholars researching continental philosophy, humor, and narrative theory, and it lends itself to classroom implementation for professors, as it brings together (often for the first time) major academic conversations on humor throughout philosophy, literary and cultural studies, communication studies, and media studies. Therefore, this book will be essential reading for undergraduate/graduate courses that feature humor, alternative forms of communication in the public sphere, alternative rhetorical strategies, and courses that focus on the importance of creativity and play in our daily lives and scholarship. (shrink)

Nietzsche's writing style is designed to elicit affective responses in his readers. Humour is one of the most common means by which he attempts to engage his readers' affects. In this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self‐parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophical authority. (...) In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and cultivate what he sees as the right kinds of readers for his works. (shrink)

This contribution is an attempt to integrate the notion of conceptual blending (Fauconnier and Turner 1998; Fauconnier and Turner 2002; and Fauconnier and Turner 2003) and Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, through the analysis of a multimodal Internet meme. The case study chosen is a parodic music video of the Knack’s classic hit My Sharona, showing the absurdity in everyday life during the times of the Covid-19 pandemic. The study is (...) thus based on two conceptual paradigms: Blending Theory and Pragmatic Studies of Parody. (shrink)

The question “What is humour?” has exercised in varying degrees such philosophers as Aristotle, Hobbes, Hume, Kant, Schopenhauer and Bergson and has traditionally been regarded as a philosophical question. And surely it must still be regarded as a philosophical question at least in so far as it is treated as a conceptual one. Traditionally the question has been regarded as a search for the essence of humour, whereas nowadays it has become almost a reflex response among some philosophers to dismiss (...) the search for essences as misconceived. Humour, it will be said, is a family-resemblance concept: no one could hope to compile any short list of essential properties abstracted from all the many varieties of humour— human misfortune and clumsiness, obscenity, grotesqueness, veiled insult, nonsense, wordplay and puns, human misdemeanours and so on, as manifested in forms as varied as parody, satire, drama, clowning, music, farce and cartoons. Yet even if the search for the essence of humour seems at first sight unlikely to succeed, I do not see how we can be sure in advance of any conceptual investigation; and in any case we might do well to start with the old established theories purporting to give the essence of humour, for even if they are wrong they may be illuminatingly wrong and may help us to compile a list of typical characteristics. (shrink)

Stanisław Dygat’s humour is an integral feature of his prose and the language he uses plays a crucial role in it. Flexible, fluent, abounding with original comparisons, flowing gently and with verve, not tiresome. Dygat feels at ease with Polish; and it shows. Reading Dygat’s novels one has an impression of wandering through unlimited space. This impression is largely due to his creative attitude to language, his skill in using its various means and features, even those from the “ancient” past (...) of literature. Some “ tricks” of Dygat’s prose are largely obsolete in contemporary literature, such as telling names. The writer performs a delicate balancing act between innovative ideas and stylisation or literary allusions; and he does it easily and gracefully. The text presents humour, the comic and verbal humour on various levels of the novel’s structure. The article starts with recurring narrative features of Dygat’s prose such as individualisation of character’s language; then presents: dialogues, digressions, aphorisms, key words, stylisation and literary allusions, phraseology modifications, telling names, onomatopoeia, situation description, metaphors, comparisons, repetitions and multiplications. The text closes with witty details of narration such as deminutives, augmentatives and witty “epigrams”. Humour is inextricably interwoven into Dygat’s language, but integral as it is, its role seems superior to other characteristics of his prose. Dygat’s takes advantage of the comic literature tradition and its old ideas. He is a master of parody and stylisation. The great raconteur can focus on each sentence or even word, without sacrificing the verve in dialogues or the dynamism in his description. (shrink)

The seventh chapter of the Zhuangzi 莊子 contains a narrative about Liezi 列子, his teacher Huzi 壺子, and a physiognomist named Jixian 季咸. Traditionally, the story has been read as a didactic tale about how to become a true Daoist sage or as an illustration of attaining spiritual perfection. This essay will argue for an alternative reading of the story as a humorous parody about failed sages, and, at the same time, as an illustration of the benefits of a playful (...) facelessness—or genuine pretending. It thereby turns out to be a counterpart of the following narrative of Hundun 混沌 which completes the Inner Chapters. The story about Liezi’s retirement illustrates how his teacher Huzi remains unharmed by virtue of being a faceless “genuine pretender” whereas Hundun’s demise is due to his failure to maintain his facelessness. (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book explores (...) how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

Nietzsche's Ecce Homo was published posthumously in 1908, eight years after his death, and has been variously described ever since as useless, mad, or merely inscrutable. Against this backdrop, Nicholas D. More provides the first complete and compelling analysis of the work, and argues that this so-called autobiography is instead a satire. This form enables Nietzsche to belittle bad philosophy by comic means, attempt reconciliation with his painful past, review and unify his disparate works, insulate himself with humor from (...) the danger of 'looking into abysses', and establish wisdom as a special kind of 'good taste'. After showing how to read this much-maligned book, More argues that Ecce Homo presents the best example of Nietzsche making sense of his own intellectual life, and that its unique and complex parody of traditional philosophy makes a powerful case for reading Nietzsche as a philosophical satirist across his corpus. (shrink)

Everyone's favorite houseguest who never left, Leon Black (played by award-winning comedian JB Smoove on HBO's Curb Your Enthusiasm) drops his wisdom and good-bad advice for the masses. Learn the secrets Larry David has gleaned from the Falstaff of television."--Amazon.

This is Oh, the Places You'll Never Go-the ultimate hilarious, cynical, but absolutely realistic view of a college graduate's future. And what he or she can or can't do about it. "This commencement address will never be given, because graduation speakers are supposed to offer encouragement and inspiration. That's not what you need. You need a warning." So begins Carl Hiaasen's attempt to prepare young men and women for their future. And who better to warn them about their precarious paths (...) forward than Carl Hiaasen' The answer, after reading Assume the Worst, is: Nobody. And who better to illustrate-and with those illustrations, expand upon and cement Hiaasen's cynical point of view-than Roz Chast, best-selling authorllustrator and National Book Award winner' The answer again is easy: Nobody. Following the format of Anna Quindlen's commencement address (Being Perfect) and George Saunders's commencement address (Congratulations, by the way), the collaboration of Hiaasen and Chast might look typical from the outside, but inside it is anything but. This book is bound to be a classic, sold year after year come graduation time. Although it's also a good gift for anyone starting a job, getting married, or recently released from prison. Because it is not just funny. It is, in its own Hiaasen way, extremely wise and even hopeful. Well, it might not be full of hope, but there are certainly enough slivers of the stuff in there to more than keep us all going. (shrink)

Reads the frame of Plato’s Symposium and analyses this dialogue’s humor and literary form with a view to the philosophical import of such means of expression. Argues that the frame introduces the Symposium as an over-the-top parody of Platonic dialogue. Multiple layers of reporting and the leitmotif of mirror-imitation points the reader to the futility of such forms of reception.

This unorthodox volume of related literary-philosophical essays is sure to ruffle a few feathers by making merry with the styles of philosophy fashionable today, and in each of the last four decades. Beginning with a strictly formalistic treatment of the relationship of perfection of form to truth of content in literature, Watson (author of the widely reviewed work, The Philosopher's Diet) comes full circle to a concluding essay in which the content of life is unraveled as a pig's meaningless "tale." (...) In between, the reader is taken on a Cook's Tour of hopping and skipping, meaning, seducing, dying, and dreaming in such alluring essays as "The Seducer and the Seduced," "Ape Dreams," and "A Pig's Tail." The chapters focus on one or more fundamental arguments so dear to philosophers of many stripes, but are written with an attention to style not found in conventional philosophy. Writing in a discipline for which a robust sense of humor applied to the pursuit of "serious" philosophy is apt to mean professional oblivion, Watson aims his wittiest salvos at the Dogmatic and Edifying Intent of popular philosophical objectives. He highlights the stylistic conceits and ambiguity that often turn quite ordinary statements into ponderous pendantics. Are these pieces parodies or not? Does Watson really hold the positions he sets forth, or is he making lighthearted fun? Yes! The Philosopher's Joke will amuse and delight, frustrate and annoy, but above all, it will make readers think. (shrink)

Introduction: Laughter as an expression of human nature in the Middle Ages and the early modern period: literary, historical, theological, philosophical, and psychological reflections -- Judith Hagen. Laughter in Procopius's wars -- Livnat Holtzman. "Does God really laugh?": appropriate and inappropriate descriptions of God in Islamic traditionalist theology -- Daniel F. Pigg. Laughter in Beowulf: ambiguity, ambivalence, and group identity formation -- Mark Burde. The parodia sacra problem and medieval comic studies -- Olga V. Trokhimenko. Women's laughter and gender politics (...) in medieval conduct discourse -- Madelon Köhler-Busch. Pushing decorum: uneasy laughter in Heinrich von Dem Türlîn's Diu crône -- Connie L. Scarborough. Laughter and the comic in a religious text -- John Sewell. The son rebelled and so the father made man alone: ridicule and boundary maintenance in The Nizzahon vetus -- Birgit Wiedl. Laughing at the beast: the judensau: anti-Jewish propaganda and humor from the Middle Ages to the early modern period -- Fabian Alfie. Yes . . . but was it funny? Cecco Angiolieri, Rustico Filippi and Giovanni Boccaccio -- Nicolino Applauso. Curses and laughter in medieval Italian comic poetry -- Feargal Béarra. Tromdhámh guaire: a context for laughter and audience in early modern Ireland -- Jean E. Jost. Humorous transgression in the non-conformist fabliaux: a Bakhtinian analysis of three comic tales -- Gretchen Mieszkowski. Chaucerian comedy: Troilus and Criseyde -- Sarah Gordon. Laughing and eating in the fabliaux -- Christine Bousquet-Labouérie. Laughter and medieval stalls -- Scott L. Taylor. Esoteric humor and the incommensurability of laughter -- Jean N. Goodrich. The function of laughter in The second shepherds' play -- Albrecht Classen. Laughing in late-medieval verse and prose narratives -- Rosa Alvarez perez. The workings of desire: Panurge and the dogs -- Elizabeth Chesney Zegura. Laughing out loud in the Heptaméron: a reassessment of Marguerite de Navarre's ambivalent humor -- Lia B. Ross. You had to be there: the elusive humor of the Sottie -- Kyle Diroberto. Sacred parody in Robert Greene's Groatsworth of wit -- Martha Moffitt Peacock. The comedy of the shrew: theorizing humor in early modern Netherlandish art -- Jessica Tvordi. The comic personas of Milton's Prolusion VI: negotiating masculine identity through self-directed humor -- John Alexander. Ridentum dicere verum (using laughter to speak the truth): laughter and the language of the early modern clown "pickelhering" in German literature of the late seventeenth century (1675-1700) -- Thomas Willard. Andreae's ludibrium: Menippean satire in The chymische hochzeit -- Diane Rudall. The comic power of illusion-allusion -- Allison P. Coudert. Laughing at credulity and superstition in the long eighteenth century. (shrink)

I wish here to outline a new methodology for the history of philosophy, which is inspired from the practice of scholarship on Wittgenstein; I will call it “selective interpretation.” It is a method by which an historical figure is read so as to make any philosopher sound like they completely agree with one’s own personal stand on philosophical issues. First, I seek to systematize a set of rules which will aid one in reading the text any damn way one pleases. (...) The next section lays out these rules, outlining the necessary tools to read any text exactly as you want it to read. In the rest of the paper, I plan to give a few specific examples of selective interpretation of the early Wittgenstein: reading the Tractatus so that it sounds like David Hume, Immanuel Kant and Arthur Schopenhauer, respectively. I hope that my analysis here will be therapeutic to Wittgenstein scholars. And I hope also to help other historians of philosophy come to understand this daring methodological proposal. (shrink)

Terry Pratchett's writing celebrates the possibilities opened up by inventiveness and imagination. It constructs an ethical stance that values informed and self-aware choices, knowledge of the world in which one makes those choices, the importance of play and humor in crafting a compassionate worldview, and acts of continuous self-examination and creation. This collection of essays uses inventiveness and creation as a thematic core to combine normally disparate themes, such as science fiction studies, the effect of collaborative writing and shared (...) authorship, steampunk aesthetics, productive modes of "ownership," intertextuality, neomedievalism and colonialism, adaptations into other media, linguistics and rhetorics, and coming of age as an act of free will. In all Pratchett's constructed worlds and narratives-from Discworld, to the science-fictional flat planet of Strata, from a parody of Conan the Barbarian's Cimmeria to the comedically apocalyptic Good Omens-questions of identity, community, and the relations between self and other are constantly examined, debated, and reshaped. Pratchett's worlds thus become ethical worlds: fantasies in which language always matters, stories resonate with the past and the future, and choices emphasize the importance of compassion and creation. (shrink)

One of the pleasures of watching Saturday Night Live (SNL) comes from knowing the show is live. The not‐ready‐for‐prime‐time‐players, their guest hosts, the unannounced walk‐on cameos, the house band, and the guest musicians are all in New York at the very moment the show airs, offering us a mocking, postmodern representation of reality through absurd (and sometimes very juvenile) humor. From guest hosts spoofing themselves in sketches, to the various impersonations of cultural figures, to the parody commercials to the (...) pseudo‐news of “Weekend Update,” SNL humorously captures the present and reflects it back to us, satirically revealing the hidden realities we all experience. This chapter explores if Plato (427–347 BCE) and his Cave Myth, and Jean Baudrillard (1929–2007) and his conception of simulacra, can help us better understand the nature of SNL's reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

Can philosophy laugh at itself? Like Houdini I weigh myself down with chains, the harder to test my virtuosity as an escape artist. So I take the heaviest burden on myself: Hegel. If any philosopher was serious, Hegel was. But - to parody Nietzsche - here is the heaviest thought: Hegel had a sense of humor. My reader will think that already I am joking, but please do not laugh. I am deadly serious: Hegel had a sense of (...) class='Hi'>humor. I will proceed seriously to substantiate this audacity to the logical concept by looking at the relation of Hegel and Aristophanes. Let me dampen any suspicion of frivolity or outrage to logical respectability. So I slip back into the tone of scholarly sobriety and purr: To my best knowledge, this relation is one of the most overlooked by commentators. It is also one of the most interesting for the following reasons. (shrink)

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Introduction I - La métaphore aussi mérite qu'on se batte pour elle Présentation 1. Ligne droite, pendules, spirales... 2. La formation des langues nationales 3. L'anthropologie linguistique entre le Droit et la Vie 4. (...) Les hommes fous de leur langue 5. Le réel de la langue, c'est l'impossible 6. Deux Saussure? 7. L'irruption de l'équivoque dans le réel 8. Octobre 17 et la force des mots 9. Les protagonistes de l'Octobre linguistique et littéraire 10. Les paysans de l'intelligentsia 11. La double face du géant Maïakovski 12. Le grand nettoyage commence 13. L'humour perdu dans la Grande Méthode 14. Le double langage 15. La « linguistique marxiste » 16. De Cercle en Cercle 17. Le dernier des Cercles 18. La linguistique devient sérieuse II - Nous sommes d'une génération qui a tué ses poètes Présentation 1. La grande traversée 2. La langue : modèle logique ou réalité physique? 3. Popper dans Chomsky 4. Dieu infini a créé le monde fini 5. L'ambiguïté comme parodie de l'équivoque 6. Le système mis à nu par ses failles 7. Quelle est la couleur des idées vertes? 8. Nous sommes de la génération qui fait de la linguistique 9. Jamais le singe le plus intelligent... 10. Stratégies phagocytaires 11. Deux Chomsky? 12. Enseigner la grammaire ou pas? 13. Droit continental européen et droit anglo-saxon 14. Énigme, Witz et joke 15. Le langage humain vu par un Martien 16. Les failles d'une raison sans faille 17. Dans les têtes, la machine d'État Conclusion :La langue perdue? Bibliographie Pages de fin. (shrink)

Over sixty years ago, Walter Headlam identified Ecclesiazusae 960–76 as a paraclausithyron, or song sung by an excluded lover from the street to his beloved within. In 1958, however, C. M. Bowra suggested that the whole of Eccl. 952–75 was actually the sole surviving example of a previously unrecognized genre of Greek lyric poetry, the informal love duet. The thesis has been widely accepted, and is adopted by Rossi, Henderson and Silk, as well as by the Oxford editor, Ussher, who (...) rejects Headlam's identification explicitly. Only Zimmermann has failed to embrace Bowra's interpretation wholeheartedly, although he offers no detailed discussion of the passage. In fact, Eccl. 952–75 is not evidence for a lost lyric genre, but a sophisticated literary parody, carefully designed as an elaborate poetic comment on the larger action of the play in which it appears. Bowra's ‘love duet’ is a critical fantasy, whose fictional existence only serves to obscure the real purposes and humour of this Aristophanic love-song. (shrink)

Over sixty years ago, Walter Headlam identified Ecclesiazusae 960–76 as a paraclausithyron, or song sung by an excluded lover from the street to his beloved within. In 1958, however, C. M. Bowra suggested that the whole of Eccl. 952–75 was actually the sole surviving example of a previously unrecognized genre of Greek lyric poetry, the informal love duet. The thesis has been widely accepted, and is adopted by Rossi, Henderson and Silk, as well as by the Oxford editor, Ussher, who (...) rejects Headlam's identification explicitly. Only Zimmermann has failed to embrace Bowra's interpretation wholeheartedly, although he offers no detailed discussion of the passage. In fact, Eccl. 952–75 is not evidence for a lost lyric genre, but a sophisticated literary parody, carefully designed as an elaborate poetic comment on the larger action of the play in which it appears. Bowra's ‘love duet’ is a critical fantasy, whose fictional existence only serves to obscure the real purposes and humour of this Aristophanic love-song. (shrink)

En este artículo investigamos la incidencia de tres formatos de presentación de información multisemiótica textual en la comprensión de textos escritos a partir de un pasaje retórico del género Informe de Política Monetaria. Para ello se diseñó un experimento con tres pruebas de comprensión, cuyos textos variaban en la preponderancia multisemiótica constitutiva: texto original, texto con predominancia del sistema gráfico y texto con predominancia del sistema verbal. Estos instrumentos fueron aplicados a 151 estudiantes de una carrera universitaria en el área (...) de economía, Chile, divididos en dos grupos: estudiantes de primer año de universidad y estudiantes de tercer año. Los resultados indican, por un lado, que no existen diferencias estadísticamente significativas entre las tres condiciones de las pruebas de comprensión, en cada grupo de estudiantes. Por otro, sí se registran diferencias significativas entre los resultados de comprensión de los grupos de lectores de primer y tercer año, particularmente a favor de textos que preponderantemente privilegian un solo formato de codificación de la información ; mientras que no se distingue por nivel de inserción disciplinar en textos que exigen una lectura integrada de los códigos verbal y gráfico. Se discuten implicancias de estos resultados para la comprensión de textos especializados multisemióticos. In this paper we investigate the impact of three presentation formats of textual multisemiotic information in the comprehension of written texts from a rhetorical passage of the genre Monetary Policy Report. To do this, an experiment with three comprehension tests was designed, in which texts varied in the constituent multisemiotic preponderance: original text, text with predominance of the graphic system, and text with predominance of the verbal system. These instruments were applied to 151 students at a university program in the field of Economics in Chile. They were divided into two groups: university freshmen and university third graders. The results indicate, on the one hand, that there are no statistically significant differences between the three conditions of the comprehension tests, in each group of students. On the other hand, there are significant differences between the results of the reading comprehension tests of first and third year university students, particularly, in favor of texts predominantly of one information encoding format ; while there is no difference in terms of the disciplinary university level in texts that required an integrated reading of verbal and graphic codes. Implications of these results for the comprehension of multisemiotic specialized texts are discussed. (shrink)

¿Dónde hallar al marxismo hoy? Contestar esta pregunta suscita el problema que Jacques Derrida (1995: 40) asume cuando sostiene: “hay más de uno, debe haber más de un (Marx)”. ¿Cuál es entonces el Marx que Althusser nos invita a leer y a llevar a la acción política? El objetivo de este texto es rastrear los lineamientos del Marx que sugiere Althusser (a través de los conceptos de práctica política y práctica teórica) en el pensamiento de Álvaro García Linera.Estos conceptos althusserianos (...) nos llevan a plantear a Álvaro García Linera como “heredero” (Derrida, 1995) de la filosofía marxista. Por su condición de militante y vicepresidente de Bolivia, su producción teórica se desarrolla dentro de una coyuntura muy particular. Es así como podemos entender que García Linera no hace más que abordar en su producción teórica un problema que está objetivamente planteado por el proceso en el que se encuentra: la potencia emancipadora del componente comunitario indígena.Pondremos el foco en la relectura del Manifiesto comunista que propone García Linera a través de estos conceptos althusserianos para adentrarnos en un pensamiento que invoca a Marx al mismo que tiempo que resalta la necesidad de pensar dentro de la coyuntura. De esta manera, no buscamos sacar conclusiones sobre su verdad o falsedad sino más bien producir un análisis político de su discurso con el fin de rastrear las contradicciones que surgen de leer a Marx a través de las variantes que propone la coyuntura, y así profundizar los análisis en comunicación y política.También nos valdremos de entrevistas, conferencias y otros escritos suyos para situar su pensamiento en la actualidad. Finalmente nos proponemos rastrear una serie de interlocutores con los que discute y argumenta para sentar las bases de un proyecto de investigación que profundice el análisis de su obra. (shrink)

Una riflessione, talvolta discutibile, su un problema centrale nello studio della storia, sul modo cioè di comprendere la sensibilità di uomini del passato, cercando di accostarla alla sensibilità di uomini nostri contemporanei. Si considera, come caso esemplare e particolarmente difficile, la riflessione di Agostino sul tema della grazia e della predestinazione. Ogni trasposizione di dottrine anche lungo la linea del tempo storico è certamente un tradimento delle intenzioni originali dell’autore, ma un tradimento necessario per sperare di capirlo. L’intreccio di tesi (...) su predestinazione, grazia, destino e carattere può aiutare, ma solo a condizione di essere consapevoli che si tratta comunque di analogie che mai riescono a chiarire completamente, ma possono aiutare. A reflection, sometimes questionable, on a central problem in the study of history, that is, on how to understand the sensibility of men of the past, trying to approach it to the sensibility of our contemporary men. We investigate, as an exemplary and particularly difficult case, Augustine's reflection on the subject of grace and predestination. Any transposition of doctrines even along the historical timeline is certainly a betrayal of the author's original intentions, but a necessary betrayal to hope to understand him. The interweaving of theses on predestination, grace, destiny, and character can help, but only on the condition of being aware that these are nevertheless analogies that never succeed in fully clarifying, but can help. (shrink)

Not many studies have focused on the analysis of the rhetorical organization of a genre and the respective frequency of occurrence of moves and steps as they occur in a corpus across disciplines – particularly, with a complementary qualitative-quantitative approach. This article aims to become a step in helping to fill this gap in research on Spanish. In this way, the textbook genre, the occurrence of its rhetorical macro-moves, moves and steps and disciplinarity are the central focus of this study. (...) More specifically, in this article we seek to determine and to compare the frequency of occurrence of macro-moves, moves and steps in a corpus of 126 university textbooks across the academic discourse of four disciplines. We distinguish the major areas of knowledge as well as the specific disciplines. The main findings show there are differences between the occurrence of some discourse moves and steps across the texts of disciplines under study, which reveals a distinctive feature in the didactic component of textbooks. So we can infer that knowledge construction process through this genre is not carried out in the same way and that disciplinarity plays an important role in the diversifying organizational discourse patterns detected. (shrink)

This article identifies and describes the rhetorical organization of the Textbook genre, based on a corpus-based approach and on part of PUCV-2006 Corpus of Academic Spanish. This subcorpus includes 126 textbooks collected from four scientific disciplines at undergraduate university programmes: Social Work, Psychology, Construction Engineering and Industrial Chemistry. In order to fulfil the goals, the article determines and describes the communicative purposes of each of the moves and steps identified, and gives examples from the four disciplinary domains. A new macro-level (...) to fully account for the analysis is introduced and justified, which turned out to be essential for a better description of an extensive textual unit as these texts are. This is named as macro-move. The main findings reveal a well-organized organization directed towards educational instruction. The genre fundamental nucleus is formed by the macro-move Conceptualization and Exercising, which is repeated as many times as the contents are displayed. By the end of the article, the question appearing in the title is answered and arguments are offered to explain why the genre’s rhetorical organization is described as a ‘colony-in-loops’. (shrink)

As the specter of climate change looms on the horizon, people will face complex decisions about whether to support climate change policies and how to cope with climate change impacts on their lives. Without some grasp of the relevant science, they may find it hard to make informed decisions. Climate experts therefore face the ethical need to effectively communicate to non-expert audiences. Unfortunately, climate experts may inadvertently violate the maxims of effective communication, which require sharing communications that are truthful, brief, (...) relevant, clear, and tested for effectiveness. Here, we discuss the ‘mental models’ approach towards developing communications, which aims to help experts to meet the maxims of effective communications, and to better inform the judgments and decisions of non-expert audiences. (shrink)