This paper explores the possibility of a standard legal language (e.g. English) for a principled evolution of law in line with technological development. In doing so, reference is made to blockchain networks and smart contracts to emphasise the discontinuity with the liberal legal tradition when it comes to decentralisation and binary code language. Methodologically, the argument is built on the underlying relation between law, semiotics and new forms of media adding to natural language; namely: code and symbols. In what follows, (...) I will concentrate on the study of factors that explain why such approach can be fruitful for the future of law and innovation. I have three reasons for selecting this topic. The first is a more pragmatic reason, based on my current research of law as a linguistic phenomenon. Secondly, the topic does also touch the matter on binary code language, rivalrous to legal alphabetic language. Lastly, the study aims at emphasizing the pivotal role of the jurist as an interpreter in a changing society accommodating diverging realms of reality. The study is structured as follows. Firstly, a quick exam of the traits of blockchain networks would provide the contextual link to establish the arguments in support of the need of a standard legal language. Secondly, a comparison between liberal legal institutions and theory of semiotics is set to perceive their functioning and ascertain their limits in the light of todays unprecedented changes. Thirdly, a summary on blockchain networks’ legal features would constitute the thrust behind the idea of a uniform legal language. Methodologically, the argument does also establish some relations with classical laws of physics and philosophy of media. Its aim is to demonstrate how the suggested legal interpretation and semiotic-based approach can contribute to overcome existing stumbling blocks including, but not limited to, the lack of cooperation at the international level as well as the gap in State norms when it comes to innovation. In this sense, the proposed strategies do not intend to replace current advances in the legal thought. In contrast, it seeks to harmonise their results providing a methodical approach that can concur to inform a new technique to address new controversial issues. In practice, the proposed method regarding the adoption of a uniform legal language would lower transactive costs in terms of normative coordination in the matter of international cooperation and in the definition of applicable law among different legal systems. Alternatively, it might contribute to the convergence of legal systems and/or their underlying concepts. Differently put, article’s contribution can be envisaged in fostering juridical consistency with regards to different forms of languages’ coexistence. (shrink)

This book reassesses Gadamer's hermeneutics by bringing it into a dialogue with John McDowell's minimal empiricism. It employs the resources of McDowell's minimal empiricism to address the transcendental and ontological presuppositions for objective experience and understanding, while retaining Gadamer's emphasis on the historicity of understanding. By means of the dialogue with McDowell, the book develops a hermeneutical conception of objectivity and perceptual experience, which also entails reinterpretations of Gadamer's notions of tradition, practical wisdom and meaning. The book explores the philosophical (...) space beyond the analytic-Continental divide and demonstrates that hermeneutics is not limited to a reflection on understanding as it is practiced in the human sciences, but can be revived as a distinct and cogent philosophical approach with a transcendental and ontological dimension. Thaning's book is a richly detailed, well-argued and coherent presentation of a defensible, and potentially very important, philosophical position. It demonstrates an impressively deep understanding of the literature both from the phenomenological tradition and from the part of the analytical tradition, inspired by Wilfred Sellars, to which John McDowell belongs. Being a substantial philosophical achievement in its own right, the book raises far-reaching questions that will be of interest to a wide audience. Dr. Steven Crowell, Rice University, Houston (USA) Morten Thaning's book is an important contribution to the discourse of philosophical hermeneutics. Thaning extensively discusses a topic, which recent debates have touched upon, but which up to now has not been the subject matter of concentrated scholarly work: the relation between Gadamer's hermeneutics and McDowell's empiricism. With Thaning's interpretation Gadamer' work can be read anew as concerning the problem of hermeneutical objectivity. Prof. Dr. Günter Figal, University of Freiburg (Germany). (shrink)

Research in Critical Discourse Studies has for long recognised the central role that both direct and indirect communicative strategies play in the reproduction of social inequality, but a main proponent of this approach has expressed scepticism with regard to the contribution that theories of pragmatics which specifically focus on speaker intentions can make to its agenda. This paper sets out to examine how relevance theory’s theoretical machinery can be applied to the critical discussion of ideology in discourse, by (...) offering insights that overcome the limitations imposed by this concentration of its precursors on speaker intentions. More specifically, I discuss how the cognitive perspective that relevance theory adopts can inform our understanding of the way in which ideological effects automatically arise during spontaneous utterance interpretation. After accounting for the derivation of these effects, I briefly suggest how it can additionally be taken to underlie the propagation of ideologies through discursive practice. (shrink)

Gregory Savich Skovoroda (1724-1794) belongs both to the Russian and Ukrainian philosophy. His philosophical doctrine was only revivified at the turn of the 19th-20th centuries, which was caused by the affinity of the philosophical searches of the Silver Age (beginning of the 1890s-1922) with the religious and philosophical doctrine by Gregory Skovoroda. In the history of philosophy, Gregory Skovoroda can be considered «boundary figure» marking transition from the Middle Ages to the culture of the Modernity. The article deals with the (...) thinker’s ethical doctrine, particularly, with two interpretations of nature: essential and voluntary. Moralizing was the main aim and content of the most works by Gregory Skovoroda. Practical philosophy by Gregory Skovoroda immediately sides with his understanding of nature. Volition, wish (desire), affinity, true man are its basic categories. The main aim of Skovoroda’s moralizing is to show the way to the happy life. The essential topic of the Skovoroda’s creative work are concentrated in his ethics: ontology, or doctrine of three worlds (microcosm, macrocosm, symbolic world – the Bible), exegetical method of cognition and symbolism, doctrine of nature and category of affinity, the principle of self-cognition and doctrine of the «true man», doctrine of heart and anthropology, eudemonism and problem of reality of the evil and the good in the world. According to the canons of the symbolism Skovoroda criticizes material, corporeal side of the world and gives preference to its spiritual meaning. Nevertheless, Skovoroda remains a religious thinker in his practical philosophy; he meditates per religious canons. For the 18th century Gregory Skovoroda’s doctrine had been as archaic as it became relevant at the turn of the 19th-20th centuries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical scholars (...) divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

On method, discursive logics, and epistemology -- Questions of medieval discursive practice -- From the middle ages to the (w)hole of Utopia -- Kepler, his Dream, and the analysis and pattern of thought -- Campanella and Bacon: concerning structures of mind -- The masculine birth of time -- Cyrano and the experimental discourse -- The myth of sun and moon -- The difficulty of writing -- Crusoe rights his story -- Gulliver's critique of Euclid -- Emergence, consolidation, and (...) dominance of a discourse. (shrink)

This essay outlines some fundamental differences between the evaluative and explanatory language of Aristotelian practical reason based on his empirical psychological theory of human development, on the one hand, and the late 20th and 21st century discourse of human rights based on a NeoKantian transcendent principle of universal human dignity on the other. To what extent are these two types of political discourse compatible in today’s globalizing world? To the extent that they are not compatible, which should be (...) preferred? My answer is that they are compatible and even complementary, but only if the Aristotelian framework is treated as more fundamental, and the rights-and-dignity perspective is understood as a potentially good political solution, for the time being, in the contemporary context of global politics. (shrink)

Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing (...) on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci?s thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci?s theory as well as the critical review of the application of its main concepts in the existing body of research on music. (shrink)

The global COVID‐19 pandemic challenged the world—how it functions, how people move in the social worlds and how government/government services and people interact. Health services, operating under the principles of new public management, have undertaken rapid changes to service delivery and models of care. What has become apparent is the mechanisms within which contemporary health services operate and how services are not prioritising the person at the centre of care. Person‐centred care (PCC) is the philosophical premise upon which models of (...) health care are developed and implemented. Given the strain that COVID‐19 has placed on the health services and the people who deliver the care, it is essential to explore the tensions that exist in this space. This article suggests that before the pandemic, PCC was largely rhetoric, and rendered invisible during the pandemic. The paper presents an investigation into the role of PCC in these challenging times, adopting a Foucauldian lens, specifically governmentality and biopolitics, to examine the policies, priorities and practical implications as health services pivoted and adapted to changing and acute demands. Specifically, this paper draws on the Australian experience, including shifting nursing workforce priorities and additional challenges resulting from public health directives such as lockdowns and limitations. The findings from this exploration open a space for discussion around the rhetoric of PCC, the status of nurses and that which has been lost to the pandemic. (shrink)

The article examines examples of sociocultural practices in advertising and PR, music, cinema, gamification, tourism, and art. Analyzing the proposed topic, the dependence of transformation of sociocultural practices on technologization and informatization of society, on merging of different spheres of creative industries (on the example of advertising and content), and interdependence of society and the process of content creation were established. The sphere of “project activity” as a way of combining traditional and innovative foundations to improve and enrich culture, effectively (...) draw attention to social problems, and involve new people in the creative industry was considered separately. To carry out this research the author used the following methods: comparative-historical, hermeneutic method of generalization. At the end of the article, the author concludes that in the era of globalization with different topical problems in the creative sector of the economy there is a certain way out. This sector of the economy combines economy and culture, develops small and medium-sized businesses, reduces unemployment, and monetizes human ideas and creativity. Today sociocultural practices are required to be mobile, digitalized, merging different directions within the sphere, flexible, unique content, subordinated to economic indicators, and attracting attention to a particular event or problem. (shrink)

In this much-anticipated revision and translation of Scienza e Retorica, Marcello Pera argues that rhetoric is central to the making of scientific knowledge. Pera begins with an attack of what he calls the "Cartesian syndrome"--the fixation on method common to both defenders of traditional philosophy of science and its detractors. He argues that in assuming the primacy of methodological rules, both sides get it wrong. Scientific knowledge is neither the simple mirror of nature nor a cultural construct imposed by contingent (...) interests, thus we must replace the idea of the scientific method with that of scientific rhetoric. Pera proposes a new dialectics of science to overcome the tension between normative and descriptive philosophies of science by focusing on the rhetoric in the proposition, defense, and argumentation of theories. Examining the uses of rhetoric in debates drawn from Galileo’s Dialogues, Darwin’s Origins, and the Big Bang-Steady State controversy in cosmology, Pera shows how the conduct of science involves not just nature and the inquiring mind, but nature, the inquiring mind, and a questioning community which, through the process of attack, defense, and dispute, determines what is science. Rhetoric, then, is an essential element in the constitution of science as the practice of persuasive argumentation through which results gain acceptance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Strangeness of AlterityJolanta Saldukaitytė (bio)The problem of strangeness can be approached from different angles: aesthetic, sociological, psychological, cultural, etc. Strangeness can be found as well in the strangeness of experience: I as stranger to myself, or the strange place I find myself, or the strange people who surround me. These would enable us to uncover the uncanny (Freud, Heidegger), or discuss sociological notions of alienation (Marx) or the (...) aesthetic method of ostranienie (Shklovsky, Brecht), just to mention a few additional accounts of strangeness. The goal of the present essay, however, is not to show various forms and aspects of strangeness, horizontally, as it were, but to address the very meaning of strangeness, intensively or vertically. Even more specifically, the present essay discusses the strange as at once that which comes from the outside and as that which addresses me.In the first part, I present a general notion of strangeness, mainly concentrating on strangeness as what is peculiar or weird. Some studies by Bernhard Waldenfels will be considered here. In the second part, the problem of strangeness is examined in the context of Emmanuel Levinas’s philosophy, primarily in terms of his notion of personal otherness and the question of the link between strangeness and such [End Page 95] alterity. For the latter point of view, juxtaposing the difference and relatedness of strangeness and Levinasian alterity, we ask the question of if and of how alterity is strange.Relative StrangenessFirst let us clarify what we usually or generally call strange. No doubt different languages uncover slightly different aspects, but in most cases in searching for the strange we bring up similar images: distant, unseen places — something like the lands of Gulliver’s Travels — with their unusual inhabitants and weird customs or distant times, past and future, with their unfamiliar communities and peculiar customs. We may even conjure aliens from undiscovered galaxies or fantastical creatures and monsters — unicorns, nymphs, vampires, dragons — or unusual and peculiar animals — a platypus, albino cave-dwelling fish, elephants. Perhaps unexplained earth phenomena, like Stonehenge, or seemingly paranormal events that are the inspiration for cults and imagination. We may encounter David Lynch’s Elephant Man or Victor Hugo’s Hunchback of Notre Dame, or conjure the holy fool, madmen, the third little brother fool Ivan from the European fairytale, or even Prince Myshkin of Dostoyevsky. No doubt all these images do not coincide or cohere. They unveil various different aspects of strangeness: on one hand, we see that strangeness belongs to the realm of the imaginary while, on the other hand, it is part of the world; or, one may say, the latter has existence, or a more stable existence, while the former does not. What gives them a commonality, however, is that in each instance there is some disruption of order, of discourse, a shaking of the established conception of the world and knowledge, going beyond what is familiar, ordinary, and normal. In each case, there is something unusual, weird, peculiar. In each case, there is a putting into question of our aesthetical sensibilities, moral norms or practices, and epistemological knowledge. In other words, using Levinas’s vocabulary, this kind of the strange is a rupture in [End Page 96] the discourse of totality. By “totality” here we understand universalizing order, system, a way of thinking that does not allow otherness, exteriority, anomaly, differences, or, in some sense, strangeness. The univocal discourse of totality, of coherence and consistency without exception, is a discourse of violence because it must suppress even the possibility of ruptures in continuity: the other must be reduced to the same. Totality allows nothing discontinuous: everything must have a place, within, a part, not an exception.The strange as the weird and peculiar, however, opens such a closed universe to discontinuity, variety, and heteronomy. According to Waldenfels, who has developed a phenomenology of the alien/strange with careful precision, strange as weird and peculiar applies to the order of things, to various forms of life and to forms of experience.1 Strangeness understood as difference in kind, as the peculiar, according to Waldenfels, might appear in various forms: (1) everyday strangeness that belongs to or occurs within... (shrink)

Dongchundang Songjoongil (1606-1672) was a scholar who represented Gihoyeahak and Sanlim (山林) influencing the society of Chosŏn dynasty since the middle of 17th century. This report focus on its contemporary purport and reconciliation spirit on the Kyoung (敬) of Dongchundang. The Kyoung is the core idea that elucidates Dongchundang's philosophy and its characteristic. Dongchundang tried to continue to live the life of 'according knowledge and action' (知行一致) and dreamed the world of 'harmonization but not same' (和而不同) which indicates the principle (...) of heaven, meaning the harmony never following suit without reflection and a just and great cause, going through with his original idea through the Kyoung. In addition, Dongchundang expanded the Kyoung from personal existential problems to social ethic practical ones in the viewpoint of more reason than vitality, and aimed to build the ethic kingdom that came the harmony andreconciliation of all the communities together, interacting his subjectivity and the universal. The Kyoung and reconciliation spirit of Dongchundang is the orthodoxy of Dohak(道學), and it made him live moral intention and through real life and summarized the manner and spirit pursuing the just and great cause beyond factions. In this sense, Dongchundang's philosophy is the concentration of the Kyoung and philosophical expression of reconciliation spirit. As the peculiarity of Dongchundang's philosophy is based on the Kyoung, it is the everlasting principle of what one should do and practice in human life. (shrink)

This paper reflects on the meanings of ‘post-AIDS’ in the Global North and South. I bring together contemporary arguments to suggest that the notion of ‘post-AIDS’ is, at best, misplaced, not least because its starting point remains a biotechnical one. Drawing on aspects of the sub-Saharan African experience, this essay suggests that, despite significant shifts in access to antiretroviral therapy, HIV continues to be fundamentally shaped by economic determinants and social and cultural practices. In this essay, I question the certainty (...) of the discourse of ‘positive progress’, which underpins the ‘post-AIDS’ narrative, and suggest that living with HIV and AIDS in our contemporary global context is a life lived with ongoing complexity, stigma and chronicity. I suggest that HIV in the Global North shares many characteristics with HIV in the Global South yet differs in significant ways, not least in the fact that a resource-rich context generates an environment where health and social care support is possible, and, mostly, usual. In both contexts, however, the experience of living with a highly stigmatized illness with no cure in both the Global South and North suggests that this is a point of shared experience. (shrink)

The ArgumentThis paper, an attempt at an institutional history of ideas, compares patterns of reproduction of scientific knowledge in Catholic and Protestant educational institutions. Franciscus Eschinardus'Cursus Physico-Mathematicusand Jean-Robert Chouet'sSyntagma Physicumare examined for the strategies which allow for accommodation of new contents and new practices within traditional institutional frameworks. The texts manifest two different styles of inquiry about nature, each adapted to the peculiar constraints implied by its environment. The interpretative drive of Eschinardus and a whole group of “modern astronomers” is (...) here seen as pushing beyond the traditional task of “saving the phenomena,” towards celestial hermeneutics which is thoroughly experimental and mathematical. In spite of the insistence on physical interpretation of celestial phenomena, Eschinardus' astronomical discourse is yet constrained by a complex game of intellectual-political considerations. Commitment to the Thomistic organization of knowledge, which sets a boundary between a science of motion and the “geometry of heavens”, suppresses any impulse to ask about the mechanical causes of celestial appearances. The Copernican cosmology is thus rejected qua an attempt to cross this guarded boundary. Chouet in Geneva, by contrast, frees himself from these constraints on the organization of natural knowledge. By strictly separating philosophy from theology, he can combine physics and astronomy, favor a Copernican cosmology and adopt a Cartesian mechanistic worldview. Moreover, unlike the Jesuit Eschinardus, Chouet seeks toexplainnatural phenomena in terms of causes, rather than justinterpretthem. Yet he does so within a philosophical discourse largely scholastic in nature, which best suits the conservative institutional framework in which he teaches. Whereas the Jesuit Eschinardus employs a new type of discourse without severing his links with the traditional Thomistic worldview, the Calvinist Chouet adopts a new Cartesian worldview and adapts it to a largely traditional type of discourse. (shrink)

Social science research on the anthropomorphisms of computers and robots has been devoted to studying intellectual anthropomorphism, emotional anthropomorphism, bodily anthropomorphism, and the limits of computer and robot anthropomorphism. Although these represent important patterns for studying the anthropomorphisms of computers and robots, there are other important patterns. The limitation of anthropomorphism is one of these patterns. The limitation of anthropomorphism is a discursive practice which places limits on anthropomorphism. Discursive practices are interactional and practical activities for making sense of (...) who and what we encounter. In this article, I analyze the limitation of anthropomorphism as another important activity to investigate. Drawing on an ethnographic study of a robotics research group, I show the importance of the limitation of anthropomorphism by documenting how it contributes to research group identity. In the final section, I describe some implications for future studies of the anthropomorphisms of computers and robots. (shrink)

Recent research in the field of New Institutionalist analysis has developed the view that institutions are grounded not only upon authoritative rules but also upon accepted practices and narratives. In this paper I am interested in the ways in which honorific practices and accounts of identity set out in ancient Greek inscriptions contribute towards the persistence of polis institutions in the Hellenistic period. A diachronic survey of Erythraian inscriptions of the classical and Hellenistic periods gives an impression of the adaptation (...) and proliferation of forms of discourse established in the classical period. It demonstrates the ongoing prominence of the rhetoric of identity in conversations that went on not only between peer polities and within real or imagined kinship groups but also in negotiations between powerful and weak state entities and in inward-facing discourses on euergetism. (shrink)

The range of issues related to the origins of Christianity, the formation of its doctrine, and its existence in the early, pre-Conciliar period has always been of concern not only to Christian scholars, not only to those scholars who were in one or another way involved in these researches, but also to society as a whole. However, in Ukraine, and especially in academic circles, these issues are still not sufficiently studied. The article examines the reasons that led the official Church (...) to change the key provisions of Christian doctrine, including ideological positions about "this world," narratives about war, and the commandments "thou shalt not kill" and "love your enemies." The author argues that the final rejection of the original evangelical pacifism occurred after the conquest of Christianity by Emperor Constantine the Great, when the Church was transformed into an institution of secular power, changing its original status as the "Kingdom of God" to belonging to the "Kingdom of Caesar." Since the reign of Constantine, Christianity has essentially existed divided into two camps. – the first, to which belong all those who profess the church doctrine in its new, "conciliar" and different from the original form and who, in particular, has rejected Jesus' original idea of renunciation of earthly things and, accordingly, the pacifism and anti-militarism he proclaimed; the second camp are those who remained faithful to the apostolic tradition and who continued to practice Christianity according to the original New Testament standard. The latter camp today includes mostly Protestants, including in Ukraine. However, with the onset of Russia's full-scale aggression against Ukraine, their pacifist stance is changing. The solution of urgent socio-political issues and issues directly related to defense are increasingly leading Protestants in Ukraine to rethink their traditional pacifism, which may lead to a complete rejection of it in the future. The results obtained in the course of the study provide grounds to significantly adjust the current perceptions of Protestantism in Ukraine, in particular, its positive attitude to socio-political processes and active involvement in them. (shrink)

Rorty's Neopragmatism and the Imperative of the Discourse of African Epistemology Pragmatism, as a philosophical movement, was a dominant orientation in the Anglo-American philosophical circles in the late nineteenth century and early twentieth century. Pragmatism, as expressed by its classical advocates, namely, Charles Sanders Peirce, William James and John Dewey, emphasized the primacy of practice or action over speculative thought and a priori reasoning. The central thesis of pragmatism (though there exist other variants) is the belief that the (...) meaning of an idea or a proposition lies in its "observable practical consequences", And as a theory of truth, it diverges from the correspondence and coherence theories which see truth in terms of correspondence of a proposition to facts and coherence of propositions to other propositions within the web respectively, but instead contends that "truth is to be found in the process of verification". In other words, pragmatists would emphasize the practical utility or "cash value", as it were, of knowledge and ideas as instruments for understanding reality. Neopragmatism is used to refer to some contemporary thinkers whose views incorporate in a significant way, though with minor differences bordering on methodology and conceptual analysis, the insights of the classical pragmatists. Our intention in this paper is to explore Rorty's neopragmatism, particularly his critique of analytic philosophy and then argue that his views have potential for the establishment of African epistemology as an emerging discourse within the African philosophical tradition. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Criticism of Culture and the Culture of Criticism:At the Intersection of Postcolonialism and Globalization TheoryRevathi Krishnaswamy (bio)Why have culture in general and literature in particular emerged as key terms in critical theory today? Are we witnessing a dissolution of these categories similar to the earlier dissolution of the category of history, or are we witnessing an entirely novel consolidation of these categories? Has materialism essentially changed the semiotic (...) such that culture is now simply another commodity available for consumption on the world market, or has the semiotic radically subsumed the social such that cultural representation has become one with material reality itself? Has the relationship between the cultural and the economic altered in ways yet untheorized? Finally, what exactly does the culturalist turn in critical theory mean for the practice of postcolonial cultural/literary studies? And precisely what does it portend for the ongoing politics of decolonization?1 I shall attempt to engage these questions by focusing on two dominant theoretical discourses that regulate contemporary knowledge production in the humanities and social sciences: postcolonialism and globalization. While the "culturalist turn" in contemporary criticism has infected many disciplines, these two theoretical fields have been most influential in asserting the primacy or the constitutive role of the cultural in history, economics, and politics. Yet there has so far been relatively little explicit or systematic scrutiny of the links between postcolonialism and globalization theory.2The links are at once considerable and complicated. Despite differences in disciplinary origin (globalization theory in the social sciences, particularly sociology, and postcolonial theory in the humanities, particularly literary criticism), both discourses emerge at the intersection of imperialism, capitalism, and modernity. Both are concerned with the effects of unequal power relations between different geopolitical locations on the globe: postcolonial theory focuses primarily on a (Eurocentric) colonial past and studies how subaltern practices and productions in the non-Western peripheries respond to Western domination, while globalization theory concentrates mainly on [End Page 106] an (Americocentric) post/neocolonial present and examines how contemporary Western practices and productions affect the rest of the world. Furthermore, both theoretical paradigms have sought to question the universality attributed to Western modernity in metropolitan developmental theory by drawing attention to premodern, nonmodern, or alternatively modern formations in the margins. This attempt to dislocate Western modernity (from the theoretical center) has typically taken the form of dismantling those categories deemed to be central to the narrative of Western modernity—categories such as "nation," "nation-state," "culture" and so on. Consequently, both postcolonial and globalization studies have frequently focused on various forms of economic, political, social, and cultural flows that exceed the boundaries of the nation-state and operate in a deterritorialized or transnational fashion. Through these accounts, postcolonial theory has emphasized the cultural basis of history (the cultural constructedness of history as well as the archival value of cultural productions)3 while globalization theory, in turn, has highlighted the cultural basis of the economic (the economic value of cultural productions as well as the cultural production of economic value).But "besides their shared cultural grammar," the relationship between globalization and postcolonialism "is not very clear," notes Simon Gikandi in "Globalization and the Claims of Postcoloniality," a provocative essay that represents one of few attempts to explicitly articulate the relationship between the two discourses [628]. It is indeed unclear whether contemporary globalization theory has been made possible by the postcolonial challenge to older Eurocentric forms of globalization premised on the centrality of the nation and narrated in terms of modernization or whether postcoloniality itself is a consequence of a globalization premised on the marginalization of the nation, especially in the domain of the cultural and the imaginary. It is unclear whether the postcolonial and the global are one and the same, whether the postcolonial precedes and provides the foundations for global or transnational cultural studies [Eng and Stratton], or whether globalization created the historical and material conditions that both enabled the production of postcolonial theory and eroded its political purchase through incorporation into the Western academy [Ahmad]. What is clear, however, as Gikandi recognizes, is that the cultural and the literary have risen to new levels of prominence in both theoretical fields.The... (shrink)

Public funding institutions are able to influence what aspects researchers take into account when they consider the future impacts of their research. On the basis of a description of the evaluation systems that public research funding institutes in the Netherlands (STW and SenterNovem) use to estimate the quality of engineering science, this article shows that researchers are now predominantly required to reflect on the intellectual merit of their research and on the usability and marketability of the technology it contributes to. (...) In addition, SenterNovem also mandates reflection on sustainability. Here it is argued that these requirements do not suffice. Funding institutions should also do more to enhance reflection during the research process on the “soft impacts” of technologies, which refer to the alterations that technologies may bring about in the quality of human life. To do this it is suggested that it is helpful to engage a specifically trained ethicist to monitor the research process and create a feedback loop from the ethicist to the funding institution. (shrink)

This dissertation is an analysis of the development of dialectic and argumentation theory in post-classical Islamic intellectual history. The central concerns of the thesis are; treatises on the theoretical understanding of the concept of dialectic and argumentation theory, and how, in practice, the concept of dialectic, as expressed in the Greek classical tradition, was received and used by five communities in the Islamic intellectual camp. It shows how dialectic as an argumentative discourse diffused into five communities (theologicians, poets, (...) grammarians, philosophers and jurists) and how these local dialectics that the individual communities developed fused into a single system to form a general argumentation theory (adab al-bahth) applicable to all fields. I evaluate a treatise by Shams al-Din Samarqandi (d.702/1302), the founder of this general theory, and the treatises that were written after him as a result of his work. I concentrate specifically on work by Adud al-Din al-Iji (d.756/1355), Sayyid Sharif al-Jurjani (d.816/1413), Taşköprüzâde (d.968/1561), Saçaklızâde (d.1150/1737) and Gelenbevî (d.1205/1791) and analyze how each writer (from Samarqandi to Gelenbevî) altered the shape of argumentative discourse and how later intellectuals in the post-classical Islamic world responded to that discourse bequeathed by their predecessors. What is striking about the period that this dissertation investigates (from 1300-1800) is the persistence of what could be called the linguistic turn in argumentation theory. After a centuries-long run, the jadal-based dialectic of the classical period was displaced by a new argumentation theory, which was dominantly linguistic in character. This linguistic turn in argumentation dates from the final quarter of the fourteenth century in Iji's impressively prescient work on 'ilm al-wad'. This idea, which finally surfaced in the post-classical period, that argumentation is about definition and that, therefore, defining is the business of language—even perhaps, that language is the only available medium for understanding and being understood—affected the way that argumentation theory was processed throughout most of the period in question. The argumentative discourse that started with Ibn al-Rawandi in the third/ninth century left a permanent imprint on Islamic intellectual history, which was then full of concepts, terminology and objectives from this discourse up until the late nineteenth century. From this perspective, Islamic intellectual history can be read as the tension between two languages: the "language of dialectic" (jadal) and the "language of demonstration" (burhan), each of which refer not only to a significant feature of that history, but also to a feature that could dramatically alter the interpretation of that history. (shrink)

With the internationalisation of the Chinese market, Confucian ethics began to draw researchers' attention. However, little research has been conducted in the specific application of Confucian ethics in marketing communication. This article fills in the research gap by examining how Confucian ethics underpins the discourse of Chinese Expo invitations. Chinese sales managers' views are incorporated into the analysis as substantiation of findings. Confucian ethics embraces both qing (emotion) and li (reason) and relevant ethical values such as guanxi (connections), qing, (...) and mianzi (face) play an important role for advertising Expos and trade fairs. The study also highlights the complexities of Chinese Expo advertising that is embedded in inviting behaviour. These findings shed light on understanding Confucian ethics in marketing communications in general and have implications for ethical international marketing and advertising practices. (shrink)

In La Métaphore Vive, spatial understandings pervade much of Ricoeur’s discussion of metaphor in terms of proximity and distance, tension, substitution, displacement, change of location, image, the ‘open’ structure of words, closure, transparency and opaqueness. Yet this is usually where space is discussed within metaphor, and as a metaphor itself, rather than as a precondition or prior system of relations to language interacting with language. Based on reinterpretation of an aspect of Lévi-Strauss’ structuralist anthropology, diametric and concentric spaces are argued (...) to be such a prior system of relations to language, actively framing metaphor. This article examines the relevance of this prelinguistic spatial discourse to Ricoeur’s framework of metaphor and interrogation of the copula, influenced centrally by Heidegger. Concentric spatial assumed connection and diametric spatial assumed separation offer a framework for understanding, in Ricoeur’s words, the “conflict between identity and difference” in metaphor and early Heidegger’s existential spatiality. (shrink)

Plagiarism is a pervasive challenge throughout academia perpetuated by the advent of technology, lack of ethical education, and the ambiguity in its definition. Plagiarism in the United States’ higher education settings has gained more attention over the years as international student population has increased. Considering how higher education institutions are growing as international spaces due to globalization, it is crucial to closely examine ethical issues concerning the diverse and multicultural student population. A prevailing view of plagiarism asserts that international students’ (...) plagiarized texts are influenced by their ethical judgment and cultural backgrounds. This invites the question of whether ethical decision-making processes and cross-cultural perspectives are taken into consideration when instructors encounter instances of plagiarism committed by international or multicultural students. This paper intends to expand on the concept of culture in regard to the ethical dilemmas of plagiarism. Extending the discussions of cross-cultural influences surrounding plagiarism and ethical judgments in higher education, we position ourselves as viewing culture through the expanded lenses of macro- and micro-level cultural practices. In response to the internationalization of higher education, we advocate for changes in higher education curricula and instruction towards more cultural responsiveness and inclusivity. Instead of questioning or criminalizing ethics based on cultural background, especially in the cases of plagiarism committed by international students, we suggest approaching culture using the expanded perspectives of macro- and micro-cultural practices. The paper also provides recommendations for higher education instructors when tackling ethical dilemmas while preventing and managing situations of plagiarism. (shrink)

In this chapter, I attempt to provide a richer account of reflective agency than standard theorists do, by focusing on the deep connection between the role of empathic receptivity and that of reflection. In From Enlightenment to Receptivity, Michael Slote innovatively introduces the idea of receptivity as a virtue into the domains of epistemology and ethics, and argues that the virtue of receptivity plays a crucial role in the realization of a good life (2013). In contrast, I incorporate receptivity as (...) a virtue into the domain of philosophy of action, particularly the philosophical analysis of reflective agency, an aspect on which Slote does not place much emphasis. To date, standard theories of reflective agency have concentrated on analyzing its self-governing aspect (e.g., Bratman 2007; Frankfurt 1999; Korsgaard 1996). Such an analysis is undoubtedly important because autonomous agency is a central value in the modern world. However, standard theorists’ strong commitment to individualistic, self-determining agency appears to have hindered them from appreciating the fundamental significance of empathic receptivity toward others’ perspectives in our rational, reflective lives. To remedy this tendency, I demonstrate how empathic receptivity significantly contributes to the development of our reflective activity. In our temporally extended lives, empathic receptivity is not only associated with an event at a single moment but also with a dynamic process unfolding over time. In my view, such diachronic receptivity helps us to deepen our understanding of others’ perspectives, and in so doing, to reflectively examine our own ways of thinking and acting from different angles that we have not previously recognized. Given that our agency unfolds temporally, practical rationality appears to be partly a matter of how we can develop our reflective capacity conducive to continuous learning from others. My receptivity-based account aims to capture such interpersonal and learning aspects of reflection and thus overcome the individualistic, introspective model of reflection that has long dominated the mainstream philosophy of action. The discussion proceeds as follows. In Section 1, I begin by arguing for receptivity’s centrality in empathy and then briefly sketch how the virtue of empathic receptivity functions in our temporally unfolding lives. In Section 2, I attempt to offer a realistic, dynamic account of the relationship between empathic receptivity and reflection. Particularly, I discuss how a receptively virtuous person can appropriately confront anxiety caused by encountering another’s serious challenge. In the last section, I clarify the strength of my receptivity-based model of reflection by comparing it with Michael Bratman’s policy-based model of reflection. (shrink)

This is a philosophical book about the idea of human freedom in the context of Chinese philosophy on truth, the good, and beauty. The book shows that there is a coherent and sophisticated philosophical discourse on human freedom throughout the history of Chinese Philosophy in aesthetics, ethics, and epistemology. Feng Qi discusses the development of freedom in light of the Marxist theory of practice. In the history of philosophy, the relation between thought and existence, which is fundamental to (...) philosophy, has stimulated many debates. These debates, though they have assumed diverse forms in Chinese and Western philosophy, have eventually concentrated on three inquiries: the natural world (the objective material world); the human mind; and the concepts, categories, and laws that are representative forms of nature in the human mind and in knowledge. In Chinese philosophy, the three inquiries are summarized using three notions: qi (气 breath, spirit), xin (心 heart), dao (道 the Way). What relationship do the three notions have with each other? This book explores the way to human freedom through the divergent paths in Chinese philosophy. This book’s investigation of human activities brings the typical Chinese philosophical discourse from the cosmological realm into the realm of human beings as individuals. In this regard, the three inquiries can be described as being about real life, ideals, and individuals. (shrink)

This chapter contains sections titled: Introduction Foucault and the Discourse of Sex‐Desire Power and Pleasure Reading Foucault on Pleasures Foucault's Use of Pleasure The Turn to Ancient Greco‐Roman Ethics Why Embrace an Ethics of Pleasures? References.

Intellectual experiences of Russian philosophers of the 19th and first half of the 20th centuries devoted to Russia demonstrate the intensive work of national self – knowledge. The concentration of thinkers on a certain range of topics, such as freedom and revolution, the state and society, culture and politics, religion and ideology, indicates a high density and polemical intensity of discussion. The thematic focus of Russian thought on national and cultural issues creates an end-to-end narrative with an open structure, (...) where texts are dialogically intertwined with each other. These statements often indicate a value and ideological conflict between various actors in the social history of Russia. This historiosophical narrative can be interpreted as a meta-text of Russian social and religious-philosophical thought, which in many senses is the practice of self-description of the national intelligentsia. It testifies to her spiritual and ideological quest, the struggle for a social ideal – about the moral choice of thinking Russian people, which encourages criticism of the historical experience of Russia. The main problem of this pre-revolutionary and post-revolutionary discourse is the question of the moral and political responsibility of the educated class for the historical choice of Russia and its fate. The most important from a historical and philosophical point of view texts are the works of Russian Silver Age thinkers. Their arguments about Russia include both a reaction to the events of the three Russian revolutions and the Great War, which traumatized the consciousness of the intelligentsia, and a painful post-traumatic reception of their own intellectual tradition and the moral deformation of ideals that took place in it. Those ideals based on the idea of freedom and philosophical honesty in achieving the truth. (shrink)

In the last two centuries, our world would have been a safer place if philosophers such as Rousseau, Marx, and Nietzsche had not given intellectual encouragement to the radical ideologies of Jacobins, Stalinists, and fascists. Maybe the world would have been better off, from the standpoint of sound practice, if philosophers had engaged in only modest, decent theory, as did John Stuart Mill. Yet, as Ronald Beiner contends, the point of theory is not to think safe thoughts; the point (...) is to open intellectual horizons. In Philosophy in a Time of Lost Spirit, Beiner reflects on the dualism of theory and practice. The purpose of the theorist is not to offer sensible guidance on the conduct of social life but to test the boundaries of our vision of social order. Whereas the liberal citizen should embody the practical virtues of prudence and moderation, the theorist should be radical, probing, and immoderate. Looking back at the liberal-communitarian debate of the 1980s, Beiner recognizes that the antidote to our spiritless times lies neither in the embrace of community over individualism nor of individualism over community: both individual and community need to be submitted to radical questioning. It is by exposing ourselves to the challenge of fearless thinking encountered at the philosophical extremities that we are most likely to understand our own world at a deeper level. In this collection of essays and reviews, Ronald Beiner helps us to think critically about the thought-worlds of our foremost contemporary thinkers, including Hannah Arendt, Allan Bloom, Michel Foucault, Hans-Georg Gadamer, J¦rgen Habermas, Will Kymlicka, Christopher Lasch, Richard Rorty, Judith Shklar, Leo Strauss, Charles Taylor, and Michael Walzer. (shrink)

The author discusses the rational argumentation of the values from a proposal defended by the legal philosopher Robert Alexy. The paper shows that discourse for Alexy is essentially a regulated activity. A model of certain rules ensure the rationality and correctness of practical discourse oriented towards resolving conflicts of value. Firstly, the types of rules responsible for the rationality of practical argumentation are described. Secondly, some open problems relating to the claim to correctness of reasoned practical discourse (...) are posed, namely problems derived from the idea of consensus and that of a single correct answer to certain practical issues that include conflicts of values and raise basic disagreements. (shrink)

This paper reports on the findings of a study that considered how anxiety might function to organise nurses’ practice. With reference to psychoanalytic theory this paper analyses field notes taken during a series of nursing change‐of‐shift handovers. The handover practices analysed met all the criteria for a ritual, as understood in psychoanalytic theory, and functioned to alleviate anxiety in the short term while symbolically expressing a forbidden and unknown knowledge. We argue that the handover ritual contained certain prohibitions, yet (...) allowed some expression of the prohibited knowledge in a disguised way. The prohibition concerned how the patient affected the nurse, that is, moved the nurse to love and hate the patient. We argue that this prohibition is expressed, in disguise, via the displacement of affection for the patient onto other nurses and through negative stereotyping of some patients. We also argue that these prohibitions of the handover mirror broader prohibitions within nursing, and thus the rituals of the handover become an expression of how professional prohibitions are enacted in practice. We conclude that the important implicit function of the handover ritual is to keep anxiety at bay, thereby enabling the nurse to commence practice rather than being immobilised by the effect of potentially overwhelming anxiety. (shrink)

The nurses’ relationship to knowledge has been theorised in a variety of different ways, not the least being in relation to medical dominance. In this study, the authors report on one of the findings of a case study into nurses’ anxiety informed by psychoanalytic theory. They argue that the nurse’s subjection to the knowledge of the other health professional, inclusive of the doctor, can be a transference arising in the context of anxiety for the nurse. Grasped by anxiety, the nurse (...) finds their own knowledge insufficient and in this moment can operate a transference to their non‐nursing colleague, who obligingly, responds. This transference is not present in the change‐of‐shift handover report though, when the other’s knowledge is suspect, even open to derision. Thus, this reference to the knowledge of the other is not consistently present in nursing and can be seen to be just one way that nurses organise themselves in relation to anxiety. Therefore, those wanting to break down the medical dominance of the nursing profession might consider other ways nurses might organise themselves in relation to anxiety, so that the political dominance of the other is not reinforced via transference to that other. (shrink)

This book represents part of an ongoing effort to understand the rules, practices, agencies and agents which shape and change the social construction of pedagogic discourse. It draws together and re-examines the findings of the author's earlier work.

In order for the philosophy of history to be a really necessary methodological science in relation to theoretical and epistemological problems of history, it is quite necessary to get away from the practice of general discourse and from attempts to find universal solutions suitable for all times. On the contrary, it is desirable to focus on a search for principles and for methods of applying them to the problems of different levels, which, by no means predetermining the results (...) of concrete research, would play the role of a convenient and capacious form of concentration of materials; an effective tool of cognition; and a "compass" preserving a scientists efforts in search of a true solution. For this it is necessary while building up theories, first, to try to combine distinct partially true approaches; secondly, to define clearly the boundaries of applicability of arguments; and thirdly, to formulate laws not in the form of absolute conclusions but according to the rules admitted in other sciences. The possibility of realizing these goals is illustrated by the example of the present theme, "on the role of personality in history," wherein the author introduces the notion of a "factor of a situation," which makes it possible to unify various points correlating personality roles and diverse states of society, and gives the typology of "roles," personalities, etc. (shrink)

In order for the philosophy of history to be a really necessary methodological science in relation to theoretical and epistemological problems of history, it is quite necessary to get away from the practice of general discourse and from attempts to find universal solutions suitable for all times. On the contrary, it is desirable to focus on a search for principles and for methods of applying them to the problems of different levels, which, by no means predetermining the results (...) of concrete research, would play the role of (a) a convenient and capacious form of concentration of materials; (b) an effective tool of cognition; and (c) a "compass" preserving a scientists efforts in search of a true solution. For this it is necessary while building up theories, first, to try to combine distinct partially true approaches; secondly, to define clearly the boundaries of applicability of arguments; and thirdly, to formulate laws not in the form of absolute conclusions but according to the rules admitted in other sciences. The possibility of realizing these goals is illustrated by the example of the present theme, "on the role of personality in history," wherein the author introduces the notion of a "factor of a situation," which makes it possible to unify various points correlating personality roles and diverse states of society, and gives the typology of "roles," personalities, etc. (shrink)

Basic concepts in Habermas's theory of communicative action -- Habermas's "reconstruction" of modern law -- Discourse theory and the theory and practice of adjudication -- System, lifeworld, and Habermas's "communication theory of society" -- After between facts and norms : religion in the public square, multiculturalism, and the "postnational constellation".

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Two nurses diagnosed with opioid addiction launched legal action after being found guilty of unprofessional conduct due to addiction‐related behaviors. When covered by the media, their cases sparked both public and legal controversies. We are curious about the broader discursive framings that led to these strong reactions, and analyze the underlying structures of knowledge and power that shape the issue of opioid addiction in the profession of nursing through a critical discourse analysis of popular media, legal blogs and hearing (...) tribunals. We argue that addiction in nursing is framed as personal choice, as a failure in the moral character of the nurses, as decontextualized from addiction as disease arguments, and as an individualized issue devoid of contextual factors leading to addiction. Our investigation offers a critical case study of a nursing regulatory body that upheld popular assumptions of addiction as an autonomous, rational choice replete with individual‐based consequences – a framing that is inconsistent with evidence‐based practice in health‐care. We put forth this critical interrogation to open up possibilities for counterdiscourses that may promote more nuanced and effective responses to the issue of addiction in nursing. (shrink)

Combining the frameworks of multi-dimensional analysis and rhetorical structure theory, this study examines the linguistic co-occurrence patterns in the discourse of corporate annual reports and interprets their underlying functional dimensions. Our corpus consists of texts of corporate 10K reports from firms listed on New York Stock Exchange. Five functional dimensions are quantitatively extracted and qualitatively interpreted: expression of direct persuasion; expression of impersonal stance; subjective versus objective positioning; integrative expression of stance versus fragmented expression; and expression of reliability. All (...) these dimensions contribute to the communicative function of persuasion. The analysis of the rhetorical structures of excerpts with high concentrations of co-occurring linguistic features on each dimension further indicates the communicative strategy of persuasion. The proposed MD model is then applied to analyze the effect of firm performance on the linguistic variation in CAR discourse. We found that firm performance can significantly affect the linguistic variation in CAR discourse. CAR discourse from firms with good performance is more reliable. The result reveals managements’ use of concealment strategy in impression management. This study has implications for MD analysis, business discourse analysis, language pedagogy and accounting research. (shrink)

This paper looks at discourses related to animal farming in a popular South African farming magazine. The paper analyzes four ar ticles using a form of Critical Discourse Analysis . Despite varying widely in content and style, all articles draw from the discourses of production and science; two also show a minor discourse of achievement. With further work, it is possible to discern a fourth, deeply embedded discourse: that of enslavement. This also was present in all the (...) articles. These discourses objectify nonhuman animals and support a world-view of teleological anthropocentrism that fits well with present capitalist practices. (shrink)

Existing studies have extensively explored audience engagement in TV news, but not enough attention has been paid to the discursive presentation of this phenomenon in the discourse of TV news kernels. Based on a pool of news items collected from BBC News at Ten, this article aims to investigate how the discourse of news kernels is constructed and presented to engage the audience. The analysis shows that news values and journalist–audience interaction are two main ways employed by the (...) journalists to achieve audience engagement in presenting TV news kernels. On one hand, a news kernel tends to cover the most newsworthy information of the news story, and the news text; on the other hand, it is often styled as newsworthy, too. In the meanwhile, the presentation of the news kernel tends to create a sense of interaction between the journalist and the audience by practices such as pre-opening remarks, introducing the reporter and alerting the audience, among others. The findings reflect quite different journalistic practice of TV news kernels from that of print news leads. (shrink)

In the 18th century, the concept of ‘affinity’, ‘principle’ and ‘element’ dominated chemical discourse, both inside and outside the laboratory. Although much work has been done on these terms and the methodological commitments which guided their usage, most studies over the past two centuries have concentrated on their application as relevant to Lavoisier's oxygen theory and the new nomenclature. Kim's affinity challenges this historiographical trajectory by looking at several French chemists in the light of their private thoughts, public disputations (...) and communal networks. In doing so, she tells a complex story which points to the methodological and practical importance of industrial and medical chemistry. The following review highlights the advantages and snares of such an approach and makes a few historiographical points along the way. (shrink)

This is a work of critical theory in the deconstructionist tradition. It investigates the impact and role of visual art practice in cultural dispensation. Its central argument is that conceptions of 'leadership' and of 'being a subject' (or subjugation) play a formative role in the manner with which cultural ideas are appropriated and spread out in organic interactions within the community. The arguments advanced in this work demonstrate that leadership conceptions are disseminated as 'signs' (a conceptual term for how (...) ideas and their significance are understood in the context of cultural dispensation) and that signs have historical roots and connotations. Using deconstructionist techniques like différance, this work concretises the critical in the discourse which states that 'signs' in the cultural dispensation are in constant interaction with each other in terms of defining their historic, epistemic and contemporary 'meaning'. The Discourse of Acknowledgements and Distinctions introduces three concepts that account for themselves through the infinite propensities of social contexts and the 'signs' that anchor them for referral. These are the notions of Cerebrinity, Hysteridence and Remembrance. The use of psychoanalysis - and of the perspectives of Kristeva, Jung and Freud - distinguishes this book from other works of critical theory that deal with art and art movements. The book aims to illuminate on the propensity of the community to participate in its own subjugation in the context of Modernity. It is concise and incorporates critical theory perspectives by writers like Baudrillard, Lyotard, Kristeva and Spivak. It can be appreciated by art students interested in the intersection between visual art, critical theory and psychoanalysis -- page 4 of cover. (shrink)