Criticisms of the ethical justification of antidoping legislation are not uncommon in the literatures of medical ethics, sports ethics and sports medicine. Critics of antidoping point to inconsistencies of principle in the application of legislation and the unjustifiability of ethical postures enshrined in the World Anti-Doping Code, a new version of which came into effect in January 2009. This article explores the arguments concerning the apparent legal peculiarities of antidoping legislation and their ethically salient features in terms of: notions of (...) culpability, liability and guilt; aspects of potential duplication of punishments and the limitations of athlete privacy in antidoping practice and policy. It is noted that tensions still exist between legal and ethical principles and norms that require further critical attention. (shrink)

Kick off the year right... and you will find yourself capable of recognizing the depth and breadth of John's genius. This event, commented on by Bujar Hoxha (South-East European University) chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, (...) the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Eero Tarasti, professor of musicology at the University of Helsinki (chair) in 1984-2016. He was President of the IASS/AIS - International Association for Semiotic Studies, 2004-2014 and is now its Honorary President. In 2016 he has founded the Academy of Cultural Heritages. He studied music in Sibelius Academy, Helsinki, and then in Vienna, Paris, Rio de Janeiro and Bloomington. He got his PhD from the University of Helsinki (1978) after studies in Paris with Claude Lévi-Strauss and A. J. Greimas. He is one of the founders and the director of the international research group Musical Signification since 1984.Tarasti has become Honorary Doctor at Estonian Estonian Academy of Music and Theatre, New Bulgarian University (Sofia), Indiana University (Bloomington), University of Aix-Marseille, and Gheorghe Dima National Music Academy in Cluj-Napoca, Rumania. He has published about 400 articles, edited 50 anthologies, and written 30 monographs; among them one finds: Myth and Music (1979), A Theory of Musical Semiotics (1994), Heitor Villa-Lobos (1996), Existential Semiotics (2000), Signs of Music (2003), Fondéments de la sémiotique existentielle (2009), Fondamenti di semiotica esistenziale (2010), Semiotics of Classical Music (2012, in French 2016), Sein und Schein, Explorations in Existential Semiotics (2015), and Transcending Signs: Essays in Existential Semiotics (2023); two novels: Le secret du professeur Amfortas (2002) and Retour à la Villa Nevski (2014, in Italian L’heredità di Villa Nevski 2014, in Finnish Eurooppa/Ehkä 2016). He has supervised 150 PhDs in Finland and abroad. *** Dr. Bujar Hoxha is a full professor of Communication Sciences at the South-East European University in Tetovo and Skopje, North Macedonia. His teaching courses include communication theory, introduction to communication sciences, and Semiotics of Mass Communication. His main scientific interests are structural semiotics, semiotics of passions, semiotics of disabilities, and existential semiotics. He gained his PhD from the University of Skopje in 2008 on the semiotics of Umberto Eco. Out of his creative and intellectual work, one can number two published novels, a book, as well as several scientific articles published in prestigious scientific journals, such as: “Semiotics of Precision and Imprecision” (2016) and “Multilingualism and Sameness vs Otherness in a Semiotic Context”, (2018) both in de Gruyter Mouton's Semiotica, Berlin and Boston, as well as “On the Applicability of the Semiotics of Passions” (2018) and “The Signs’ Behavior in Autistic Children: Semiosis of an Unspoken Language” (2021), both in the Humanities Bulletin, issued by London Academic Publishing, London, United Kingdom. Recently, Dr. Hoxha has published a monograph entitled: Umberto Eco’s Semiotics: Theory, Methodology and Poetics, issued by Cambridge Scholars Publishing in January 2022, New Castle upon Tyne, UK. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

One need not know much history of semiotics in order to recognize the background of my title. It is of course an allusion to Umberto Eco’s classic Struttura assente from 1968, which turned out to be a major touchstone in the history of European semiotics. At that time, everything about semiotics had become “structural”. But why, for Eco, was structure “absent”? This notion of absence reveals something essential in both the history of structuralism and in the reasoning to which most (...) semiotics has remained faithful – namely, that “true” reality is not that which can be seen, heard or felt, but the structure behind and causing any manifest phenomenon. As Greimas put it, any surface reality was only an “effet du sens”, a meaning-effect. In a word, manifest reality is only Schein – appearance, illusion – a notion that may be found as early as in the teachings of Schiller and Kant. Getting at the structure involves the kind of reductionism described by Mireille Marc-Lipiansky: réductionnisme qui cherche à ramener le supérieur à l’inférieur. Under the category of “antihumanism”, she distinguished among four different phases of reductionism: the reduction of the individual to the collective; the reduction of the conscious to unconscious categories; the reduction of consciousness to an unconscious regulative agglomeration or “combinatory”, which eliminates the creative activity of a subject and of history; and finally, the reduction of freedom to necessity. One cannot think of a better summary of the issue, and to judge from the world around us, this world-view has certainly won out. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 21-34.

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

Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...

Thirty high-level essays on various aspects of semiotics by Finnish, Estonian, and Hungarian scholars.

The essay deals with the formation of the Greimassian thought from its earliest origins in his young years at Kaunas University, i.e. his connections with Wilhelm Sesemann, Lev Karsavin and Russian formalism, to the rise of structuralism in Paris. The Paris School approach stems from Semantique structurale (1967) leading to the ‘third semiotic revolution’, as Greimas called it, by the invention of the modalities. This made his method close to even analytic philosophy and modal logics. In both, a linguistic turn (...) and use of formal logics took place. Yet Greimas’ semiotics grew out of a purely linguistic framework into a broader philosophical approach. Nowadays, considered one of the classics of the semiotic scene, his method still has not lost anything of its analytic acuity and epistemic temptation. Even such new paradigms as existential semiotics grow organically from some Greimas’ ideas which have kept their relevance.В статье исследуется формирование научных взглядов Греймаса: юность в Каунасском университете, знакомство с Василием Сеземаном, Львом Карсавиным и идеями русского формализма, рождение структурализма в Париже. Основой парижской школы семиотики стала книга Греймаса Semantique structurale (1967), которая, по его словам, привела к ≪третьей семиотической революции≫ благодаря изобретению модальностей. Это сблизило метод Греймаса с аналитической философией и модальной логикой. В обеих науках произошел лингвистический поворот и стали пользоваться формальной логикой. Семиотика Греймаса преодолела рамки чистой лингвистики, став более широким философским подходом. Сейчас его метод считается классикой семиотики. Однако метод Греймаса не потерял своей аналитической остроты и эпистемологической привлекательности. Даже такие новые парадигмы, как экзистенциальная семиотика, органически вырастают из идей Греймаса, сохранивших свою актуальность.Artikkel kasitleb Greimase mottemaailma valjakujunemist alates selle varaseimatest allikatest, mis parinesid noorusaastatest Kaunase Ulikoolis, s.t tema sidemetest Wilhelm Sesemanni, Lev Karsavini ja vene vormikoolkonnaga, kuni strukturalismi tekkimiseni Pariisis. Pariisi koolkonna lahenemise aluseks on Semantique structurale (1967), mis toob kaasa “kolmanda semiootilise revolutsiooni”, nagu Greimas seda nimetas, leiutades modaalsused. See muutis tema meetodi sarnaseks ingliskeelse analuutilise fi losoofi a ja modaalloogikaga, kus molemas toimus lingvistiline poore ning hakati kasutama formaalloogikat. Ent Greimase semiootika kasvas puhtlingvistilisest raamistikust valja avaramaks fi losoofi liseks lahenemiseks. Tanapaeval, mil tema meetodit peetakse semiootikavaldkonna klassikasse kuuluvaks, ei ole see kaotanud midagi oma analuutilisest teravusest ja episteemilisest koitvusest. Isegi sellised uued paradigmad nagu eksistentsiaalne semiootika kasvavad orgaaniliselt valja monedest Greimase ideedest, mis on sailitanud oma relevantsuse. (shrink)

PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...

(by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...

A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...) The most formalized aspect of the analysis is constituted by what has been called a modal grammar of the piece (the term modality understood here in its philosophico-linguistic sense). The analysis tries to show how the musical form emerges from its inner processual traits, kinetic, epistemic and other aspects of a modal nature. It thus approaches for instance the problem of segmentation from the processual and dynamic nature of musical works. Moreover, the analysis is also an attempt to study the narrativity in music, since the narrative content of a piece like Chopin's G minor Ballade is clearly seen as the result of its modal processes. (shrink)

This paper investigates how play practices affect players’ relationships with the urban environment through the bodily movement and performances that characterize them. Building on a definition of playful behavior derived by semiotics of culture, we investigate urban play from the perspective of motor praxology to outline how movement is central for the experience of the players. We then concentrate on the role of semiotic valorizations in different urban contexts, notably the famous typology of Metro users by Floch and different kinds (...) of ludic mobility. Finally, we combine these two perspectives with the zemic model realized within existential semiotics in order to create a typology or urban players as well as urban playful enunciation modes. (shrink)

Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the so-called (...) 'organic growth' which particularly manifests in symphony. The concepts of 'organic/inorganic' can be used as analytic terms, whereby one might even compare such composers as Jean Sibelius and Gustav Mahler. Music is said to be 'organic' when (I) its theme actors live in their proper Umwelt (or isotopy); (2) all music material stems from the same themes (it is innerly iconic); (3) all musical events follow each other coherently (inner indexicality or the principle of Growth); (4) music strives for some goal (temporality). Moreover the Ueküll idea of a particular lch-Ton of every organism can be turned back to music. Hence we can say that every musical piece is like an 'organism' which has its lch-Ton detennining which signs it accepts and how it acts in the musical environmentof its own and formed by other musical works. (shrink)

Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...

Edmund Gettier is Professor Emeritus at the University of Massachusetts, Amherst. This short piece, published in 1963, seemed to many decisively to refute an otherwise attractive analysis of knowledge. It stimulated a renewed effort, still ongoing, to clarify exactly what knowledge comprises.

This new edition of the classic Contemporary Theories of Knowledge has been significantly updated to include analyses of the recent literature in epistemology.

This edited volume represents a unique addition to the available literature on animal ethics, animal studies, and neuroethics. Its goal is to expand discussions on animal ethics and neuroethics by weaving together different threads: philosophy of mind and animal minds, neuroscientific study of animal minds, and animal ethics. Neuroethical questions concerning animals’ moral status, animal minds and consciousness, animal pain, and the adequacy of animal models for neuropsychiatric disease have long been topics of debate in philosophy and ethics, and more (...) recently also in neuroscientific research. The book presents a transdisciplinary blend of voices, underscoring different perspectives on the broad questions of how neuroscience can contribute to our understanding of nonhuman minds, and on debates over the moral status of nonhuman animals. All chapters were written by outstanding scholars in philosophy, neuroscience, animal behavior, biology, neuroethics, and bioethics, and cover a range of issues and species/taxa. Given its scope, the book will appeal to scientists and students interested in the debate on animal ethics, while also offering an important resource for future researchers. Chapter 13 of this book is available open access under a CC BY 4.0 license at link.springer.com. (shrink)

Le philosophe Jean Baudrillard (1929-2007) a-t-il vraiment existé? Que reste-t-il de lui? "Une élégance certaine de la pensée", affirme l'un de ses meilleurs interprètes, François L'Yvonnet. Le philosophe de La Société de consommation, des Stratégies fatales et des Cool Memories s'attachait à l'idée du fragment comme mode de pensée : car dans le détail, tout est parfait, c'est dans sa reproduction que tout se complique. François L'Yvonnet explore cinq fragments de la philosophie de Jean Baudrillard et de sa biographie pour (...) mieux saisir l'éclat et la jubilation d'une pensée toujours vivante et contemporaine. (shrink)

Excerpt from Der Echte: Und der Xenophontische Sokrates Der xen0phontische Sokrates selbst wieder zwang, die Fuh rung der Untersuchung weit mehr, als bisher geschehen, zu ver breitem. Die Memorabilien sind das Gegentheil eines selbst herrlichen Kunstwerks, weisen an allen Ecken und Enden uber sich hinaus, stehen als ein schwaches Glied in der Kette der sokratischen Literatur und zunachst in der der xenophontischen Schriften. Es galt, sie zunachst als solches zu begreifen und das volle Licht der Parallelen bei Xenophon auf sie (...) einwirken zu lassen. Dabei enthullten sich die Mem. Oft nur als durftiger Abklatsch anderer xenophontischen Schriften, von denen sie erst die farbige Beleuchtung, die Erklarung ihrer Motive, die Auf hellung ihrer Ordnung erhalten. So ward nun moglichst psycho logisch aus Xenophon erklart, was sich aus ihm erklaren liess. Indessen fur die Hauptsache, das Philosophische, stellte Xeno phon's notorische Unselbstandigkeit neue Fragen und Aufgaben, und hier ergab nun eine weitschichtige Vergleichung seine fast vollige philosophische Abhangigkeit im Ganzen wie im Einzelnen vom Kynismus, die in Grad und Art und plausiblen Motiven genau der Abhangigkeit der romischen Praktiker von den stoischen Nachfolgern der Kyniker_ entspricht. Nicht nur die Memorabilien, auch die andern Socratica Xenophon's, sowie vor Allem Cyropadie Hiero Agesilaus, de rep. Lac. Prolog und Epilog des Oynegeticus offenbarten sich mehr und mehr als durchaus kynisirende Schriften, und auch hier liegt dem Verf. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

Ingthorsson, McTaggart’s Paradox and the R-theory of Time L. Nathan Oaklander University of Michigan-Flint, USA [email protected] his provocative book, McTaggart’s Paradox, R.D. Ingthors- son argues that McTaggart’s argument for the unreality of time rests on the principle of temporal parity according to which all times or events in time exist equally or co-exist in a sense that is compatible with their being successive. Moreover, since temporal parity is also an essential tenet of the B-theory, McTaggart’s argument against the reality of (...) time can also be used to undermine the B-theory. Ingthorsson argues further that only by adopting an ontologically frugal presentist metaphysics can one avoid McTaggart’s paradox and account for identity through time and change. The aim of this paper is to clarify Russell’s authentic view of time in con- trast to the B-theory which is McTaggart’s misrepresentation of Russell and argue that temporal parity it is not a fundamental tenet of the Rus- sellian theory. For that reason, the R-theory is immune to objections that are based on temporal parity. I shall then offer my own interpretation of McTaggart’s paradox that renders Ingthorsson’s version of presentism subject to it. (shrink)