The goal of this paper is an account of the semantics and pragmatics of exclamation. I focus on two key observations: first, that sentence exclamations like Wow, John bakes delicious desserts! and exclamatives like What delicious desserts John bakes! express that a particular proposition has violated the speaker’s expectations; and second, that exclamatives are semantically restricted in a way that sentence exclamations are not. In my account of these facts, I propose a characterization of illocutionary force of exclamation, (...) a function from propositions to speech acts of exclamation. The difference in meaning between sentence exclamations and exclamatives has consequences for the type of violated expectation. I end with a comparison to some previous approaches and a tentative extension of parts of the analysis to other constructions. (shrink)

L’analyse de l’exclamation d’un point de vue diachronique fait l’objet de notre étude dans cet article. Le point de départ de l’analyse est la définition de l’Oxford English Dictionary et on se propose de citer les principales formes exclamatives depuis le vieil anglais et de comprendre comment elles sont analysées à cette époque. On poursuit l’étude historique par une analyse diachronique des fonctions exclamatives des mots en wh-, en particulier what et how puis on s’intéresse aux marqueurs d’intensité so (...) et that pour finir par l’emploi de l’impératif. (shrink)

La notion d’exclamation contient à la fois l’idée d’extériorisation et d’intensité. Une première observation aboutit à l’hypothèse suivante : l’exclamation se caractérise par un surcroît d’expressivité qui donne de la saillance à un énoncé ou à un fragment d’énoncé. La motivation de l’exclamation peut se trouver en amont, en aval, et/ou à l’intérieur d’un énoncé. L’exclamation est compatible avec tout type d’énoncé, comme modulation énonciative marquée qui s’oppose toujours à une variante non exclamative. On s’interroge sur (...) l’affinité entre exclamation et émotion ; entre exclamation et hiatus par rapport à une attente ; entre exclamation et haut degré, entre exclamation et pluri-modalité. On réexamine les énoncés exclamatifs du corpus, apostrophes, interjections, focalisation, énoncés injonctifs, déontiques, optatifs, assertifs, appréciatifs, structures exclamatives. (shrink)

À partir d’un corpus d’enregistrements de répliques de la pièce de Tennessee Williams A Streetcar Named Desire, cet article traite de la phonologie des énoncés exclamatifs. Il établit que les spécificités phonologiques essentielles des exclamations sont de nature suprasegmentale et se trouvent être observées au niveau intonatif. Après avoir identifié certaines caractéristiques récurrentes des contours mélodiques observés dans les énoncés exclamatifs et montré que celles-ci sont conditionnées par la motivation sémantique et l’iconicité de l’intonation, nous nous intéressons aux liens indirects (...) qui existent entre l’intonation des exclamations et l’expression du degré. Nous fondant sur une réflexion sur la fonction démarcative de l’intonation et la valeur illocutoire des énoncés exclamatifs, nous suggérons également que l’étude de l’intonation des exclamations est susceptible d’éclairer la notion d’acte d’énonciation en contexte d’interaction orale. (shrink)

Introduction Dans le prolongement du volume hors-série consacré à la mise en relation par la prédication et les prépositions abordées au prisme de plusieurs approches linguistiques, nous conduisons dans ce volume une réflexion sur deux domaines que nous réunissons pour les nombreuses particularités qu’ils partagent a priori : il s’agit des questions et des exclamations. En effet, questions et exclamations partagent des phénomènes syntaxiques et phonologiques, une v...

Dans le cadre d’une approche pragmatique, centrée sur l’usage en contexte des formes linguistiques, nous opérons une disjonction fondamentale entre fonction d’exclamation et formes d’exclamation. Le corpus choisi illustre la grande diversité des formes d’exclamation en anglais, qui ne se réduisent pas aux exclamatives en what et how. En nous appuyant sur divers travaux pragmatiques, nous montrons que la fonction d’exclamation est éminemment complexe, liée à l’expression de la subjectivité du locuteur mais également à des paramètres (...) intersubjectifs : elle exprime prototypiquement un décalage cognitif entre un état de fait et des représentations, ou entre deux états de fait, mais elle peut aussi être motivée par des conventions sociales, ou participer d’un positionnement expressif particulier d’un locuteur vis-à-vis de son interlocuteur. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 205 Seiten: 37-86.

Previous research shows that females use more exclamation marks than males, often to establish rapport. The purpose of the present studies was to test whether people associate texters’ use of exclamation marks with friendliness and femaleness. If this association is due to normative expectations, we hypothesized that females would appear less friendly if they did not use an exclamation mark in texting. In Study 1, participants rated a texter using an exclamation mark to be highly female (...) and highly friendly. The gender results disappeared when friendliness was controlled for. In Study 2, we tested whether friendliness ratings decreased if texters violated gender-associated punctuation. Participants rated a texter with a gendered name on friendliness. Regardless of gender, participants inferred greater friendliness to texters using an exclamation mark. That is, there was no evidence of a cost for violating this gender expectation. We conclude that people predict that a texter using an exclamation mark is likely to be female, but do not penalize females for not using an exclamation mark. (shrink)

This article begins by distinguishing force and mood. Then it lays out desiderata on a successful account. It sketches as background the program of truth-theoretic semantics. Next, it surveys assimilation approaches and argues that they are inadequate. Then it shows how the fulfillment-conditional approach can be applied to imperatives, interrogatives, molecular sentences containing them, and quantification into mood markers. Next, it considers briefly the recent set of propositions approach to the semantics of interrogatives and exclamatives. Finally, it shows how to (...) integrate exclamatives and optatives into a framework similar to the fulfillment approach. (shrink)

Andreas Stokke presents a comprehensive study of lying and insincere language use. He investigates how lying relates to other forms of insincerity and explores the kinds of attitudes that go with insincere uses of language. -/- Part I develops an account of insincerity as a linguistic phenomenon. Stokke provides a detailed theory of the distinction between lying and speaking insincerely, and accounts for the relationship between lying and deceiving. A novel framework of assertion underpins the analysis of various kinds of (...) insincere speech, including false implicature and forms of misleading with presuppositions, prosodic focus, and semantic incompleteness. -/- Part II sets out the relationship between what is communicated and the speaker's attitudes. Stokke develops the view of insincerity as a shallow phenomenon that is dependent on conscious attitudes rather than deeper motivations. The various of ways of speaking while being indifferent toward what one communicates are covered, and the phenomenon of 'bullshitting' is distinguished from lying and other forms of insincerity. Finally, an account of insincere uses of interrogative, imperative, and exclamative utterances is also given. (shrink)

"At places distant from where you are, but also uncomfortably close," writes David Takacs, "a holocaust is under way. People are slashing, hacking, bulldozing, burning, poisoning, and otherwise destroying huge swaths of life on Earth at a furious pace." And a cadre of ecologists and conservation biologists has responded, vigorously promoting a new definition of nature: biodiversity --advocating it in Congress and on the Tonight Show; whispering it into the ears of foreign leaders redefining the boundaries of science and politics, (...) ethics and religion, nature and our ideas of nature. These scientists have infused the environmental movement with new focus and direction, but by engaging in such activities, they jeopardize the societal trust that allows them to be public spokespersons for nature in the first place. The Idea of Biodiversity analyzes what biodiversity represents to the biologists who operate in broader society on its behalf, drawing on in-depth interviews with the scientists most active today in the mission to preserve biodiversity, including Peter Raven, Thomas Lovejoy, Jane Lubchenco, and Paul Ehrlich. Takacs explores how and why these biologists shaped the concept of biodiversity and promoted it to society at large--examining their definitions of biodiversity their opinions about spirituality and its role in scientific work the notion of biodiversity as something of intrinsic value and their views on biophilia, E. O. Wilson's idea that humans are genetically predisposed to love nature. Takacs also looks at the work of twentieth-century forerunners of today's conservation biologists--Aldo Leopold, Charles S. Elton, Rachel Carson, David Ehrenfeld--and points out their contributions to the current debates. He takes readers to Costa Rica, where a group of scientists is using biodiversity to remake nature and society. And in an extended section, he profiles the thoughts and work of E. O. Wilson. "When I'm asked, 'should we save this species orthat species, or this place or that place?' the answer is always 'Yes!' with an exclamation point. Because it's obvious. And if you ask me to justify it, then I switch into a more cognitive consciousness and can start giving you reasons, economic reasons, aesthetic reasons. They're all dualistic, in a sense. But the feeling that underlies it is that 'yes!' And that 'yes!' comes out of the affirmation of being part of it all, being part of this whole evolutionary process. And agreeing with Arne Naess that each species, each entity, should be allowed to continue its evolution and to live out its destiny... just do its thing, as we say. Why not? And the 'why not?' is there's too many people."--Michael E. Soule, from an interview in The Idea of Biodiversity "An important contribution, a first distanced examination of a critical, modern topic by a scholarly, honest broker."--E. O. Wilson, Harvard University. (shrink)

Science is often thought of as a methodical but dull activity. But the finest science, the breakthroughs most admired and respected by scientists themselves, is characterized by elegance." "What does elegance mean in the context of science? Economy is a considerable part of it; creativity too. Sometimes, a suggested solution is so simple and neat that it elicits an exclamation of wonder from the observer. The greatest science, whether primarily theoretical or experimental, reflects a creative imagination." "In this book, (...) the distinguished physiologist and writer Ian Glynn explores some of the finest examples of elegance in science: the delightful simplicity of the laws discovered by Kepler and Newton in the motion of the planets; Galileo's experiments with an inclined plane; the remarkable work of Thomas Young on light; dazzling insights into the counterintuitive workings of our perception demonstrated by Richard Gregory and Vilayanur Ramachandran; and the several breakthroughs that led to Crick and Watson's unravelling of the structure and function of DNA. The result is a fascinating tour through some of the most important episodes in the history of science."--BOOK JACKET. (shrink)

In several recent papers and a monograph, Andreas Stokke argues that questions can be misleading, but that they cannot be lies. The aim of this paper is to show that ordinary speakers disagree. We show that ordinary speakers judge certain kinds of insincere questions to be lies, namely questions carrying a believed-false presupposition the speaker intends to convey. These judgements are robust and remain so when the participants are given the possibility of classifying the utterances as misleading or as deceiving. (...) The judgements contrast with judgements participants give about cases of misleading or deceptive behaviour, and they pattern with judgements participants make about declarative lies. Finally, the possibility of lying with non-declaratives is not confined to questions: ordinary speakers also judge utterances of imperative, exclamative and optative sentences carrying believed-false presuppositions to be lies. (shrink)

Peckham claims that my "behavior" in dealing with the quotations in Natural Supernaturalism is the same, in methodology and validity, as the interpretative behavior of Booth's waiter. But the great bulk of the utterances in my quotations—and no less, of the utterances constituting Peckham's own essay—do not consist of orders, requests, or commands. Instead, they consist of assertions, descriptions, judgments, exclamations, approbations, condemnations, and many other kinds of speech-acts, the meanings of which are not related to my interpretative behavior, even (...) in the indirect way in which the meaning of Booth's order is related to the future behavior of his waiter. M. H. Abrams, author of Natural Supernaturalism and The Mirror and the Lamp and Class of 1916 Professor of English at Cornell University, responds in this essay to Morse Peckham's "The Infinitude of Pluralism" . Morse Peckham, in his Critical Response, was commenting on issues raised by the forum on "The Limits of Pluralism" , to which M. H. Abrams contributed. Previous contributions to Critical Inquiry are "Rationality and Imagination in Cultural History: A Reply to Wayne Booth" and "The Deconstructive Angel". (shrink)

Titles of modern interviews are studied on the material of German mass media texts. Leading syntactic structures, communicative signs and pragmatical aspects of titles are analyzed. The most attention is paid to titles in form of questions or exclamation, which have the strongest communicative pragmatical effect. Exclamation and questions in the position of titles lose value of incentive and interrogative, incentive or interrogative remain only formally, which makes them quasi-incentive and quasi-interrogative. Exclamation and question functions go by (...) the wayside, in the first place extends forecasting capabilities for the content of subsequent title text. Besides, in article the titles in the form of question containing the address are analyzed. Illocutionary goal of these titles is an invitation to a discussion of the potential reader, and a joint search for common perspectives in this or that activity, for selected search of the most appropriate of all the possible solutions to a problem. They seem to reproduce the process of reflection of the author and cause to think about the issues raised by recipients. (shrink)

Excerpt from Philosophie de la Pratique: Économie Et Éthique En décrivant cette façon de procéder de la réflexion ordi naire en présence de la réalité, et en en montrant l'impuis sance philosophique, nous avons, en mémé temps, 'montré déjà le caractère et l'impuissance de la méthode psychologique, appliquée aux problèmes philosophiques. En effet, la philo sophie psychologique, bien qu'elle ait été exposée en 'de pesants traités et en de solennelles conférences académiques, ne fait ni plus ni moins que ce que (...) fait cette réflexion ordi naire, ou plutôt elle n'est précisément que cette réflexion ordi naire. Après avoir ramené ades classes les images des infinies manifestations de l'activité humaine, en mettant par exemple, dans ces classes, à côté de la pensée et de l'imagination la volonté et l'action, elle considère ces classes comme des rén lités. Mais les classes sont des classes et non des distinctions philosophiques celui qui, les prenant trop au sérieux, les entend de cette seconde manière se trouve ensuite, sans s'y attendre, forcé de s'apercevoir un beau jour qu'elles n'ont rien de réel. Et alors il s'exclame, crie et proclame l'inexistence des facultés de l'âme, ou déclare qu'elles ne sont qu'un artie fice mental auquel rien ne correspond dans la réalité; ou mème il va plus loin et, en mème temps que ces fausses distinctions, iljette à I'cenle critérium lui - mème ou la dis tinction, et il affirme que toutesles manifestations spirituelles se réduisent à un élément unique. Puis, cet élément finit par ètre précisément une de ces classes auparavant rejetées: de là, la tentation de montrer les faits volitifs comme n'étant rien d'autre que des faits de représentation, ou ceux de représen tation comme n'étant rien d'autre que des faits de volition, ou les uns et les autres comme n'étant que des faits de senti ment, et ainsi de suite. 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)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.3 (2002) 281-283 [Access article in PDF] This Is Not Here Katherine Morris How, if at all, are we to characterize psychiatric patients' (and others') descriptions of so-called depersonalization experiences? What exactly are they saying when they say, for example, "I have no self" or "I feel as if I don't belong to my own body" or "Nothing seems real"? Filip and Susanna Radovic attempt (...) to use a combination of conceptual and phenomenological analysis to answer this question. The importance of this, they suggest, is to enable a better definition of the depersonalization syndrome, better classification of symptoms as belonging or not belonging to this syndrome, and better theories of the relevant psychopathological processes.Their conceptual analysis focuses on ambiguities in the words unreal and feel, because "It feels unreal" is a characteristic expression of a depersonalization experience, and on the "as-if" element of these descriptions, because patients will often say "It feels as if everything is unreal." The phenomenological analysis consists in fleshing out some of these senses. These analyses are supplemented with a helpful table and a discussion section distinguishing expressions of depersonalization experiences from similar-sounding expressions from everyday life; for example, "existential reflections" on the one hand, and exclamations like "Did I win? I cannot believe it, it feels so unreal!" on the other. But I focus here on the analyses. Unreal and Feels So, first, they claim that the word unreal has at least three different uses: (1) "nonexistent", (2) "artificial, fake, or made up," and (3) "failing to satisfy some important criterion of the kind in question," which they also express as "not normal" or "unusual," and even "unfamiliar."Already this analysis seems to me to go importantly awry. As Austin famously argued, the word real has multiple senses, including the ones picked out here. 1 But, as he also argued, real, precisely, does not always contrast with unreal; hence an ambiguity in the word real does not imply an ambiguity in the word unreal. An artificial diamond is, indeed, not a real diamond (sense [2])—but it is not an unreal diamond! 2 Again, a friend who does not help you in your hour of need is a "false friend," that is, "not a real friend" (sense [3])—but he is not an unreal friend. Finally, they are surely wrong to equate the false friend's "failure to satisfy some important criterion of friendship" with his being "abnormal" or "unusual" (a fortiori "unfamiliar"). Someone who is "not a real friend" or "not a true friend" is not an unusual or an unfamiliar (sort of) friend!What of their analysis of the ambiguity in feels? (a) Sometimes, they imply, feels means roughly "is believed to be."" (b) At other times, it refers to a specific type of quasi-sensory experience. 3 Thus, I suppose, if I say "I feel ill," I may either mean that I believe myself to be ill or that I am experiencing some characteristic feeling like nausea or dizziness. Hence, feels unreal may either mean "is believed to be unreal" or characterize a specific type of experience.But, as they note, the (alleged) treble ambiguity in unreal means that feels unreal in sense (a) is itself trebly ambiguous, and they suggest that all [End Page 281] three senses may be relevant to characterizing depersonalization experiences. They primarily focus on sense (a3). The thought, as far as I understand it, is that just as a "real friend" is one who helps you in your hour of need, so a "real self" is (inter alia) one that experiences itself as an agent or author of its actions, and a "real world" one full of life and engaging. Thus to say that your self "feels unreal" in sense (a3) is to say that in not experiencing your self as agent or author you recognize that "real selves" do so, and to say that the world "feels unreal" is to say that in experiencing it as lifeless and unengaging you recognize that "real worlds" are not so experienced.So far, so good. But they... (shrink)

Section précédente Deuxieme section – L'indétermination L'informe, est au cœur de leur recherche plastique. Telle, au sein des « Vers nouveaux », cette exclamation de Mémoire : Regret des bras épais et jeunes d'herbe pure! Qui regrette? Génitif objectif ou subjectif? Quand? Quels bras? De quels corps? Ceux d'un enfant ou d'une rivière? La nominalisation délivre de toute référence événementielle et temporelle ; la modalité exclamative fait surgir radieusement le - Poétique et Études littéraires – GALERIE – Nouvel article.

ABSTRACT Nietzsche was an avid reader of Emerson's essays, and their influence is discernible from his earliest philosophical writings through to his final philosophical works. Nietzsche's copies of Emerson's books are covered with traces of his reading, from underlinings, exclamation marks, question marks, and dog-eared pages to numerous annotations and philosophical comments written in the margins. I use some of these to analyze the influence Emerson exerted on Nietzsche's conception of history and historiography. The two authors can be considered (...) “twin souls” in that they both praised the strengthening effects of past greatness and, at the same time, opposed psychological subjugation or fanaticism. Nevertheless, they were not twin minds: Nietzsche rejected Emerson's metaphysical concept of an Oversoul and turned it into the ideal of a Dionysian soul, which aims at reliving the history of humanity in order to increase its power. (shrink)

This volume comprises a selection of contributions to the theorizing about argumentation that have been presented at the 9th conference of the International Society for the Study of Argumentation, held in Amsterdam in July 2018. The chapters included provide a general theoretical perspective on central topics in argumentation theory, such as argument schemes and the fallacies. Some contributions concentrate on the treatment of the concept of conductive argument. Other contributions are dedicated to specific issues such as the justification of questions, (...) the occurrence of mining relations, the role of exclamatives, argumentative abduction, eudaimonistic argumentation and a typology of logical ways to counter an argument. In a number of cases the theoretical problems addressed are related to a specific type of context, such as the burden of proof in philosophical argumentation, the charge of committing a genetic fallacy in strategic manoeuvring in philosophy, the necessity of community argument, and connection adequacy for arguments with institutional warrants. The volume offers a great deal of diversity in its breadth of coverage of argumentation theory and wide geographic representation from North and South America to Europe and China. (shrink)

Insincerity is the intentional conflict between a state of mind and a synchronic linguistic act. Three cases have to be distinguished: lying, as the opposition of belief and assertion (the act is untruthful); dishonesty, as the opposition of will and declaration of will (act empty); and simulation, as the opposition of emotion and exclamation (act ungenuine). One of the problems arising is: Are there insincere commands, and if not, why?Disloyalty, on the other hand, is a diachronic inconsequence, the breach (...) of a linguistic action (act unredeemed) which was binding for the future (such as, e.g. a promise). There is a cross-connection to dishonesty, which can be seen as the will to be disloyal. (shrink)

This paper develops a way to model performative speech acts within a framework of dynamic semantics. It introduces a distinction between performative and informative updates, where informative updates filter out indices of context sets (cf. Stalnaker, Cole (ed), Pragmatics, Academic Press, 1978), whereas performative updates change their indices (cf. Szabolcsi, Kiefer (ed), Hungarian linguistics, John Benjamins, 1982). The notion of index change is investigated in detail, identifying implementations by a function or by a relation. Declarations like _the meeting is (hereby) (...) adjourned_ are purely performative updates that just enforce an index change on a context set. Assertions like _the meeting is (already) adjourned_ are analyzed as combinations of a performative update that introduces a guarantee of the speaker for the truth of the proposition, and an informative update that restricts the context set so that this proposition is true. The first update is the illocutionary act characteristic for assertions; the second is the primary perlocutionary act, and is up for negotiations with the addressee. Several other speech acts will be discussed, in particular commissives, directives, exclamatives, optatives, and definitions, which are all performative, and differ from related assertions. The paper concludes a discussion of locutionary acts, which are modelled as index changers as well, and proposes a novel analysis for the performative marker _hereby._. (shrink)

In 1936, in a chapter of Language, Truth and Logic clearly influenced by Hume and influenced also by Ogden's and Richards's The Meaning of Meaning, Ayer claimed that judgments of value, in so far as they are not scientific statements, are not in the literal sense significant but are simply expressions of emotion which can be neither true nor false. To say ‘You acted wrongly in stealing that money’ is not to state any more than one would have stated by (...) merely saying ‘you stole that money’. To add that the action was wrong is not to make a further statement about it, but simply to evince one's moral disapproval. ‘It is as if I had said “you stole that money” in a peculiar tone of horror, or written it with the addition of some special exclamation mark. The tone or the exclamation mark adds nothing to the literal meaning of the sentence. It merely serves to show that the expression of it is attended by certain feelings of the speaker’. (shrink)

Recognition of sarcastic statements has been a challenge in the process of sentiment analysis. A sarcastic sentence contains only positive words conveying a negative sentiment. Therefore, it is tough for any automated machine to identify the exact sentiment of the text in the presence of sarcasm. The existing systems for sarcastic sentiment detection are limited to the text scripted in English. Nowadays, researchers have shown greater interest in low resourced languages such as Hindi, Telugu, Tamil, Arabic, Chinese, Dutch, Indonesian, etc. (...) To analyse these low resource languages, the biggest challenge is the lack of available resources, especially in the context of Indian languages. Indian languages are very rich in morphology which pose a greater challenge for the automated machines. Telugu is one of the most popular languages after Hindi among Indian languages. In this article, we have collected and annotated a corpus of Telugu conversation sentences in the form of a question followed by a reply for sarcasm detection. Further, a set of algorithms are proposed for the analysis of sarcasm in the corpus of Telugu conversation sentences. The proposed algorithms are based on hyperbolic features namely, Interjection, Intensifier, Question mark and Exclamation symbol. The achieved accuracy is 94%. (shrink)

Each chapter heading bears a phrase from a contemporary author, held to incorporate the character of that section of the study under consideration. Chapter 1 carries the title given to early English translations of the Lettres provinciales; chapter 2 recalls the description of Pascall by Boyle and other English scientists; and chapter 3 draws from Kennett's preface to his version of the Pensees. The heading of chapter 4 is from Pope's Essay on Man. The exclamation which introduces chapter 5 (...) concludes an essay in the Gentleman's Magazine for 1789, probably by Boswell; the words for chapter 6 come from a pastoral letter of John Wesley; and chapter 7 represents the verdict of Coleridge. The title of the book itself is derived from the heading to the twenty-first chapter of Kennett's Pensees, which seems to have forecast the essence of the eighteenth-century's perplexity upon the issues raised by Pascal: 'The strange Contrarieties discoverable in Human Nature, with regard to Truth, and Happiness, and many other things.'. (shrink)

The next major move is to ascribe to the mind of our first statement the blessed rage for order of our second. We may then bring the exclamation and the warning into immediate play in the following manner: We assume that--at least so far as western civilization is concerned--all periods of human culture arise as responses to a single perennial human need, namely, the mind's desire for order. But we remember that this desire is problematical. It is always threatened (...) from two sides by dangers between which the human enterprise steers a perilous course, a course which zigzags from one brink to another, driving men continually from one to another temporary solution, one to another cultural environment. The dangers are simple, constant and recurrent, but the historical thrust is irreversible. (shrink)

In this paper I propose an emendation for a long-standing textual problem in the Satyricon. In the Cena Trimalchionis one of the freedmen, Niceros, recounts a bizarre story, culminating in a frightening encounter between him and a werewolf. In a desperate attempt to escape peril, Niceros draws his sword to repel horrific shadows and utters a sequence of eleven letters which has puzzled scholars for more than a century: matavitatau. I propose a correction which hypothesizes the presence of a verb (...) and an interjection, namely gladium strinxi etmatavi – tatae! –umbras cecidi. I support my proposal by analyzing the intersections between literary genres and poetic texts in the Satyricon. After analyzing the meanings and nuances of tatae, I argue that the presence of such an exclamation is perfectly suitable for the situation of fear and danger that Niceros is experiencing. I suggest that Homer’s Odyssey and Vergil’s Aeneid offer decisive indications to make the presence of an interjection plausible. Niceros’ dreadful encounter with the werewolf recalls epic models, namely the descent of Odysseus and Aeneas into the Underworld. Finally, I suggest that Petronius portrays Niceros as a mythomaniac narrator who fails to appropriate the conventions of Latin and Greek epic poetry. (shrink)

Some philosophers conceive freedom as a state; others view it as an ideal. A songwriter sees it as a way of life: "Like a bird on a wire, like a drunk in a midnight choir, I have tried in my way to be free." The embattled statesman and the political idealist perceive causal links among personal freedoms, societal democracy, and global peace. In this cross-disciplinary volume, the contributors reassess and rephrase the conceptualizations and theorizations of freedom and their applicability to (...) daily life. Framed by historical contexts, their field-specific studies help reconcile theory and practice. Their shared and unique ideational framework can be paraphrased in six words, a question mark, and a exclamation point: Freedom? Beware what you wish for. (shrink)

This article examines the apocalyptic turn evident in René Girard's Battling to the End , which puts an exclamation point on what has been an increasing tendency in Girard's thought. Its general aim is to describe Girard's particular form of biblical apocalyptic. Toward that end, it unfolds Girard's arguments against other apocalyptic contenders, including Hegel and Heidegger; it opens up a space of conversation with other forms of apocalyptic thought ; and in and through Girard's affirmation of Benedict XVI, (...) raises the question of whether there is a structural symmetry between their thought, and whether both articulate a form of Augustinian apocalyptic. (shrink)

Ce livre fait suite à Exclamations philosophiques, suivi de Thèmes, publié en 2003, par les soins de l'Université de Paris-1. Fondée sur de nombreux récits, l'exclamation propose ici l'éthique d'un Amour-Refus dont la devise est : "Tu souffres donc je t'aime et je ne tolère pas que tu souffres, donc je prends les moyens de te libérer de ta souffrance". Attitude qui implique une liberté d'esprit, appelée par les problèmes de notre temps. C'est dire qu'allant du conflit entre la (...) Cruauté originelle et l'Aimance fondamentale, pour accéder enfin à la Raison ardente, ce livre développe l'expérience vécue d'un cheminement, - vers la "civilisation du corps", qu'un "érotisme du bien" assure dans le Droit, et magnifie dans l'éthique du respect. La leçon du Surréalisme, poursuivie dans le Surrationalisme de Gaston Bachelard, débouche sur "un parler-vrai" qui peut surprendre le lecteur, mais le respecte absolument. Pour preuve, l'abondance des notes, et le glossaire, situés en fin de volume. (shrink)

The objective to which this manuscript is oriented to is focused on the analysis of interpersonal communication in sport. The multimodal essence of human nature adopts special characteristics in individual and team sports, given the roles that athletes adopt in different circumstances, depending on the contingencies that characterize each competition or each training session. Themixed methodsframework allows us to advance in the ways of integration between qualitative and quantitative elements, taking advantage of the proven possibilities of systematic observation, which we (...) can considermixed methodin itself, and which provides rigor and flexibility in the study of the communicative flow in sport. In any sport, the procedure followed by systematic observation may require direct observation, which is characterized by its high perceptiveness, or indirect observation, when it comes to verbal behavior or documentary material. In all cases, the procedure is structured in three macro-stages: QUAL-QUAN-QUAL. In this work we start from a conceptual positioning about interpersonal communication, to later show the sequential gear in sports about obtaining qualitative data, its transformation into other types of data that are still qualitative but have been structured, analyze them quantitatively, and return to a qualitative stage where the interpretation of the results is possible. This process ofquantitizingconstitutes the cornerstone that gives shape and structure to any research on interpersonal communication in sport that combines the fine nuances of qualitative data (a motor action, a gesture, an exclamation,…) with the power of robust quantitative data analysis suitable for the treatment of organized qualitative data, which will provide qualitativefeed-back. (shrink)

ucking became the subject of congressional debate in 2003, after NBC broadcast the Golden Globe Awards. Bono, lead singer of the mega-band U2, was accepting a prize on behalf of the group and in his euphoria exclaimed, "This is really, really, fucking brilliant" on the air. The Federal Communications Commission (FCC), which is charged with monitoring the nation's airwaves for indecency, decided somewhat surprisingly not to sanction the network for failing to bleep out the word. Explaining its decision, the FCC (...) noted that its guidelines define "indecency" as "material that describes or depicts sexual or excretory organs or activities" and Bono had used fucking as "an adjective or expletive to emphasize an exclamation.". (shrink)

ASSERTIONS ARE A SYMBOLIC FORM that exists only within species--specifically human language. Language, of course, allows for many other conventions of symbolic expression: greetings, exclamations, commands, exhortations, imprecations, interrogatives, and so forth. But assertions are unique in possessing, of themselves, a truth-value--that is to say, in being adjudicable as true or false. All other varieties of discourse are adjudicable as true or false by reason of assertions they presuppose, contain, or imply. But the assertion as such is what is directly (...) so adjudicable. (shrink)

This contribution addresses the issue of one of the instances of non-standard negation, the so-called expletive negation. Though it discusses data from a variety of languages, it mainly concentrates on Italian, proposing that the behavior of EN in comparative, exclamative and temporal clauses warrants an analysis of EN in terms of an operator of implicature denial. This approach derives the fact that EN is truth-conditionally irrelevant from the fact that the semantics of negation as a truth-value reversal operator is shifted, (...) in the case of EN, to the layer of implicated meaning. The analysis has a number of interesting consequences for the notion of metalinguistic negation. It further derives many of the interpretive effects normally linked to the so-called evaluative analysis of EN, and is compatible with a new set of data showing that EN scopally interacts with other negative elements. Finally, the proposal advanced here has a number of non-trivial implications regarding the relation between morphosyntax and the systems of interpretation, potentially affecting the standard view of language within cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 33.2 (2005) 42-70 [Access article in PDF] "O Happy Living Things" Frankenfoods and the Bounds of Wordsworthian Natural Piety Anne-Lise François With all the flowers Fancy e'er could feignWho breeding flowers will never breed the same. —John Keats, "Ode to Psyche" And I could wish my days to beBound each to each in natural piety. —William Wordsworth, "My heart leaps up" O happy living things! no tongue Their (...) beauty might declare:A spring of love gusht from my heart, And I bless'd them unaware!Sure my kind saint took pity on me, And I bless'd them unaware. —Samuel Taylor Coleridge, "The Rime of the Ancient Mariner" "O happy living things!"—vitamin-enriched grains; potatoes equipped to kill their predators; silk-producing goats; fast-growing salmon that hardly require feeding. Is it possible to predicate the breathless exclamation that escapes Coleridge's mariner, unaware not of water snakes but of the fantastic array of genetically modified creatures—animals and plants—currently under design or production by biotech industries? Already in May 2000 a New York Times article was announcing the imminent arrival of "fast-growing trout and catfish, oysters that can withstand viruses, and an 'Enviropig,' whose feces are less harmful to the environment because they contain less phosphorus." An article inset describes the emergent production of "pharm-animals":These domesticated beasts—cows, pigs, goats, sheep, and chickens—have been given the ability to produce pharmaceuticals and other valuable substances in their milk, eggs or semen. Endowed by scientists with foreign genes, often taken from humans, these animals, or bioreactors, as they are also known, earn their keep as living chemical factories. Two companies, the Genzyme Corporation of Cambridge, Mass., and PPL Therapeutics, a Scottish company, already have products from pharm animals being tested in clinical trials supervised by the Food and Drug Administration. Many other animals are [End Page 42] still in the development stage. For example, Nexia Biotechnologies in Canada is working on a goat that carries a gene from spiders allowing it to produce spider silk in its milk. When the spider silk, which consists of extremely strong, light proteins, is extracted from the goat's milk, the substance, potentially, can be used in applications like bulletproof vests. [Yoon] This last sentence is intriguing. The genetic revolution often bills itself as a second green revolution that will prevent starvation and alleviate disease, promising to feed the world's growing population in terms that tend to essentialize poverty and hunger as inevitable symptoms of a human condition, rather than understand them through the lens of specific colonial and postcolonial histories. But bulletproof vests? The indignant leftist response here would be to deride the collusion between biotechnology and the military-industrial complex—bulletproof vests leaving little doubt as to whose desires count as universal, timeless needs. Yet such a response is perhaps too quick to attribute reason to these genetic experiments in cross-species breeding, and too quick to accept the terms in which biotechnicians present themselves—as the instruments of reason, whether of global capitalism or universal human progress. Part of what this essay wishes to suggest is that to dream up such things and to think of wanting to do them—make a goat produce spider silk in its milk—involve particular fantasies, fantasies not simply about recreating the world in one's image, but about learning to desire the world again, to be excited by it or "surprised" by its existence, to borrow a phrase from Stanley Cavell. The journalist's parenthetical "potentially" indicates that no use has yet been determined, no burning need fuels such experiments, and hints at the boredom behind them—what William Wordsworth might have called the "state of almost savage torpor" in which desire itself has to be invented.As the New York Times writer's double metaphor of animal as laborer- and factory-in-one suggests—"these animals, or bioreactors, as they are also known, earn their keep as living chemical factories"—the binaries animal-human, machine-animal... (shrink)

Freud puts the verse of Virgil as an epigraph to his book on the interpretation of dreams. It is the exclamation of Juno who, after having tried in every way to defeat Aeneas, witnesses his landing on the coast of Lazio and the birth of Rome. She cannot give a reason for her defeat and then:_she sought the earth: and summoned Allecto, the grief-bringer, from the house of the Fatal Furies, from the infernal shadows: in whose mind are sad (...) wars, angers and deceits, and guilty crimes (VII, 323–325)_(The Italian version of the Aeneid by Vittorio Sermonti, Rizzoli, 2007). In the transforming world of cyber space, we ask whether we can bring into interplay our conscious and unconscious parts to dream and interpret the world of digital sociality and of seemingly total knowledge. We further ask whether we can build upon our deeply rooted mechanisms of resistance and rebellion to cultivate the growth of social and individual awareness of the danger of social fragmentation arising from the utopian fantasies of individualism and mobility, and thus confront the dilemmas of surveillance capitalism and autocratic automaton. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. In ancient (...) Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

If such rhetorical flourishes are allowed any weight against indisputable historical fact, what strange inferences might we not draw from Juvenal's exclamation: “… Arma quidem ultra litora Iuuernae promouimus” or “de conducendo loquitur iam rhetore Thyle.“’.

This study aimed at finding students? perspectives on integrating feature films on digital versatile discs (DVDs) in oral communication classes of advanced English as foreign language (EFL) learners. A total of 29 students being trained as teachers of English participated in the study. Data were collected through a survey questionnaire. All participants unanimously agreed that through films they had the opportunity to learn about how people initiate and sustain a conversational exchange, and how they negotiate meaning; types of exclamation (...) and filling expressions; colloquial English in real?life contexts, and non?verbal communication. Participants also acknowledged that viewing feature films exposed them not only to a wide range of native speakers, each with their own slang, accents and dialects, but also to a wealth of contextualised vocabulary expressions and authentic cross?cultural information. The study suggests that it is possible to exploit feature films in foreign language classes with a wide array of pedagogical options. (shrink)

Tension is a major issue in the analysis of argumentative discourse in ordinary language. Tension is an operator showing that the speaker is highly involved in her speech, and wants to share her commitments, that is, wants to persuade her audience. This paper proposes a case study of an extremely tense and controversial argument with strong anti-Semitic undertones. The following sections examine the main components of tension: radicalization of arguments; exclamations; rhetorical questions; emotions. Tension is interpreted as a verdictive operator (...) resisting refutation. (shrink)

Reading Nietzsche's work, one can be struck and sometimes even offended by his emphatic, occasionally aggressive use of the term "nausea". Not only does Nietzsche use the term frequently in a triple exclamation,1 he also uses it in places where one would expect more differentiated and, arguably, more precise terms, such as "disgust," "disdain," "aversion," "repugnance," "revulsion," "loathing," and the like. Obviously, Nietzsche, that superb master of language, was not lacking an appropriate vocabulary; hence, an explanation for this fact (...) is needed. A chief aim of this article is to argue that his choice of this—to our ears almost assaulting—term was carefully... (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 st1:*{behavior:url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} One of the most celebrated biologists of the past century, Edward O. Wilson has received virtually every scientific award and recognition for his provocative and innovative enquiry into the nature of the relationship between moral behavior and biology which the scientific community can offer. For over twenty-five years, (...) his development of a field of study at Harvard University called sociobiology and the analytical concept he created called conscilience have revolutionized our thinking about ethics and human behavior. Exploring the interrelatedness of the chemistry of the mind and the genetic bases of culture, he has challenged the philosophical, theological, and sociological world to embrace a creatively converging view of science and ethics, of biology and human behavior. This essay is a critical review of Wilson’s major works written during the past three decades which have caused both international exuberance among scientists and an exclamation of outrage among many in the philosophical and theological world. This is the first comprehensive review and critical assessment of his major works. (shrink)

" C'est pas juste!": combien de fois un enfant ne prononce-t-il pas - tout haut ou en silence - cette exclamation indignée? Combien de fois n'a-t-il pas le sentiment de ne pas avoir la place qui lui revient? Mais un adulte aussi trouve injuste, selon les cas, une contravention, un licenciement, une guerre, la réussite du voisin. Ce qui est juste, pensons-nous, doit l'être pour tous. Or nous pensons aussi qu'il doit y avoir ce qui est juste pour chacun, (...) comme un vêtement bien ajusté, ou comme le droit de faire "juste ce que je veux". Y a-t-il donc deux justices? L'une égale pour tous, l'autre différente pour chacun? Mais chacune ne risque-t-elle pas d'être injuste à sa manière, en s'opposant à l'autre? Qu'est-ce donc qui est juste? Et de qui peut-on dire que "c'est un juste"? (shrink)

This book is the first collective volume specifically devoted to the multifaceted phenomenon of intensification, which has been traditionally regarded as related to the expression of degree, scaling a quality downwards or upwards. In spite of the large amount of studies on intensifiers, there is still a need for the characterization of intensification as a distinct functional category in the domain of modification. The eighteen papers of the volume contribute to this aim with a new approach (mainly corpus-based). They focus (...) on intensification from different perspectives (both synchronic and diachronic) and theoretical frameworks, concern ancient languages (Hittite, Greek, Latin) and modern languages (mainly Italian, German, English, Kiswahili), and involve different levels of analysis. They also identify and examine different types of intensifiers, applied to different forms and structures, such as adverbs, adjectives, evaluative affixes, discourse markers, reduplication, exclamative clauses, coordination, prosodic elements, and shed light on issues which have not been extensively studied so far. (shrink)