scholarly journals On the biological concept of subjective significance: A link between the semiotics of nature and the semiotics of culture

2001 ◽  
Vol 29 (1) ◽  
pp. 83-106
Author(s):  
Zdzisław Wąsik

A logical-philosophical approach to the meaning-carriers or meaning-processes is juxtaposed with the anthropological-biological concepts of subjective significance uniting both for the semiotics of culture and the semiotics of nature. It is assumed that certain objects, which are identifiable in the universe of man and in the world surrounding all living organisms as significant from the perspective of meaning-receivers, meaning-creators and meaning-utilizers, can be determined as signs when they represent other objects, perform certain tasks or satisfy certain needs of subjects. Hence, the meaning of signifying objects may be found in the relation between the expression of a signifier and (1) a signified content, or (2) a signified function, or (3) a signified value of the cultural and natural objects subsumed by the interpreting subjects under the semiotic ones.

2021 ◽  
pp. 1-10
Author(s):  
J. Arvid Ågren

There really is something special about biology. The French biochemist and Nobel Prize winner Jacques Monod described its position among the sciences as simultaneously marginal and central (Monod 1970, p. xi). It is marginal, because its object of study—living organisms—are but a special case of chemistry and physics, contributing to only a minuscule part of the universe. Biology will never be the source of natural laws in the way physics is. At the same time, if, as Monod believed, the whole point of science is to understand humanity’s place in the world, then biology is the most central of them all. No other field of study deals so directly with the question of who we are and how we got here in the first place....


2020 ◽  
Vol 10 (2) ◽  
pp. 59
Author(s):  
Lucas Carneiro dos Santos ◽  
Alessandra Alexandre Freixo

O desenho se apresenta como uma das mais antigas formas que o ser humano desenvolveu para expressar sensações e contar histórias do cotidiano. As imagens possuem um importante papel na construção das ideias, por se tratar de uma forma de linguagem que lida com os sentidos tanto do autor como do observador, permitindo inúmeras relações e diferentes possibilidades de compreensão. Da mesma forma, a ilustração científica auxilia a comunicação de estudos e descobertas científicas graças à possibilidade em evidenciar características especificas e construir modelos explicativos para diversos conceitos e fenômenos biológicos. O presente trabalho apresenta os resultados de uma pesquisa que envolve uma oficina de ilustração cientifica desenvolvida com alunos do 8ª ano de uma Escola Família Agrícola inserida no semiárido baiano. Investigamos como a produção de desenhos contribuiu para o desenvolvimento de habilidades e conteúdos científicos e artísticos. No decorrer de seis encontros foi realizado um diagnóstico dos saberes dos alunos sobre as plantas presentes no espaço escolar e desenvolvida uma oficina de ilustração científica. Nesta oficina, os estudantes se lançaram a uma aventura através da arte da ilustração, suas técnicas e suas nuanças. Com a pesquisa os alunos puderam desenvolver um olhar diferenciado sobre o universo das plantas, passando a vê-las também como um objeto de estudo científico. Nesse sentido, a prática do desenho se mostrou uma ferramenta para o ensino de ciências, possibilitando uma aprendizagem significativa de temas relativos ao ensino de Botânica.Palavras-chave: Escola Família Agrícola; Ilustração científica; Ensino de Botânica. ABSTRACT: Drawing is presented as one of the oldest ways that human beings developed to express feelings and telling everyday stories. Images play an important role in the construction of ideas, because it is a form of language that deals with the senses of the author and the observer, allowing numerous relationships and different possibilities of understanding what is around us. Similarly, scientific illustration allows the communication of scientific studies and discoveries through the possibility of highlighting specific characteristics and constructing explanatory models for various biological concepts and phenomena. This paper presents the results of a research that involved a workshop of scientific illustration developed with students of the 8th grade of an Family Farm School inserted in the semiarid of Bahia, Brazil. We investigated how drawing production contributed to the development of scietific and artistic skills. A diagnosis test was realized to comprehend the students’ knowledge on plants in school. A workshop was also held as an opportunity to engage students in the world of illustration techniques. During six weeks, the students developed a different view at the universe of plants, providing opportunities to see them also as an object of scientific study. Thus, the practice of drawing proved to be a tool for science teaching, enabling a meaningful learning of topics related to the teaching of botany.Keywords: Family Farm School; Scientific illustration; Teaching of Botany.


2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.


2017 ◽  
Vol 9 (3) ◽  
pp. 17-30
Author(s):  
Kelly James Clark

In Branden Thornhill-Miller and Peter Millican’s challenging and provocative essay, we hear a considerably longer, more scholarly and less melodic rendition of John Lennon’s catchy tune—without religion, or at least without first-order supernaturalisms (the kinds of religion we find in the world), there’d be significantly less intra-group violence. First-order supernaturalist beliefs, as defined by Thornhill-Miller and Peter Millican (hereafter M&M), are “beliefs that claim unique authority for some particular religious tradition in preference to all others” (3). According to M&M, first-order supernaturalist beliefs are exclusivist, dogmatic, empirically unsupported, and irrational. Moreover, again according to M&M, we have perfectly natural explanations of the causes that underlie such beliefs (they seem to conceive of such natural explanations as debunking explanations). They then make a case for second-order supernaturalism, “which maintains that the universe in general, and the religious sensitivities of humanity in particular, have been formed by supernatural powers working through natural processes” (3). Second-order supernaturalism is a kind of theism, more closely akin to deism than, say, Christianity or Buddhism. It is, as such, universal (according to contemporary psychology of religion), empirically supported (according to philosophy in the form of the Fine-Tuning Argument), and beneficial (and so justified pragmatically). With respect to its pragmatic value, second-order supernaturalism, according to M&M, gets the good(s) of religion (cooperation, trust, etc) without its bad(s) (conflict and violence). Second-order supernaturalism is thus rational (and possibly true) and inconducive to violence. In this paper, I will examine just one small but important part of M&M’s argument: the claim that (first-order) religion is a primary motivator of violence and that its elimination would eliminate or curtail a great deal of violence in the world. Imagine, they say, no religion, too.Janusz Salamon offers a friendly extension or clarification of M&M’s second-order theism, one that I think, with emendations, has promise. He argues that the core of first-order religions, the belief that Ultimate Reality is the Ultimate Good (agatheism), is rational (agreeing that their particular claims are not) and, if widely conceded and endorsed by adherents of first-order religions, would reduce conflict in the world.While I favor the virtue of intellectual humility endorsed in both papers, I will argue contra M&M that (a) belief in first-order religion is not a primary motivator of conflict and violence (and so eliminating first-order religion won’t reduce violence). Second, partly contra Salamon, who I think is half right (but not half wrong), I will argue that (b) the religious resources for compassion can and should come from within both the particular (often exclusivist) and the universal (agatheistic) aspects of religious beliefs. Finally, I will argue that (c) both are guilty, as I am, of the philosopher’s obsession with belief. 


2020 ◽  
Vol 6 (3) ◽  
pp. 40-50
Author(s):  
Mukhammadjon Holbekov ◽  

The great Uzbek poet Alisher Navoi(1441-1501), during his lifetime, was widely known not only in his homeland, but also far beyond its borders. A contemporary and biographer of Navoi, the famous historian Hondemir, of course, not without some hyperbole, wrote: "He (Navoi -M.Kh.) in a short time took the cane of primacy from his peers; the fame of his talents spread to all ends of the world, and the stories of the firmness of his noble mind from mouth to mouth were innumerable.The pearls of his poetry adorned the leaves of the Book of Fates, the precious stones of his poetry filled the shells of the universe with pearls of beauty


2020 ◽  
Vol 3 (1) ◽  
pp. 156-160
Author(s):  
Khurshida Salimovna Safarova ◽  
Shakhnoza Islomovna Vosiyeva

Every great fiction book is a book that portrays the uniqueness of the universe and man, the difficulty of breaking that bond, or the weakening of its bond and the increase in human. The creation of such a book is beyond the reach of all creators, and not all works can illuminate the cultural, spiritual and moral status of any nation in the world by unraveling the underlying foundations of humanity. With the birth of Hoja Ahmad Yassawi's “Devoni Hikmat”, the Turkic nations were recognized as a nation with its own book of teaching, literally, the encyclopedia of enlightenment, truth and spirituality.


1993 ◽  
Vol 10 (2) ◽  
pp. 165-177
Author(s):  
Karen Harding

Ate appearances deceiving? Do objects behave the way they do becauseGod wills it? Ate objects impetmanent and do they only exist becausethey ate continuously created by God? According to a1 Ghazlli, theanswers to all of these questions ate yes. Objects that appear to bepermanent are not. Those relationships commonly tefemed to as causalare a result of God’s habits rather than because one event inevitably leadsto another. God creates everything in the universe continuously; if Heceased to create it, it would no longer exist.These ideas seem oddly naive and unscientific to people living in thetwentieth century. They seem at odds with the common conception of thephysical world. Common sense says that the universe is made of tealobjects that persist in time. Furthermore, the behavior of these objects isreasonable, logical, and predictable. The belief that the univetse is understandablevia logic and reason harkens back to Newton’s mechanical viewof the universe and has provided one of the basic underpinnings ofscience for centuries. Although most people believe that the world is accutatelydescribed by this sort of mechanical model, the appropriatenessof such a model has been called into question by recent scientificadvances, and in particular, by quantum theory. This theory implies thatthe physical world is actually very different from what a mechanicalmodel would predit.Quantum theory seeks to explain the nature of physical entities andthe way that they interact. It atose in the early part of the twentieth centuryin response to new scientific data that could not be incorporated successfullyinto the ptevailing mechanical view of the universe. Due largely ...


Author(s):  
N. A. Ilyushina ◽  
Yu. A. Revazova

In order to overcome resistance to individual pesticides and improve their effectiveness, formulations containing two or more active substances are constantly being developed and put on the market over recent years. Mixtures of residual amounts of pesticides can be present in water and food and enter the human and animal bodies. However, the combined effect of pesticides on living organisms, including genetic structures in cells, has not been studied enough and it is not yet possible to predict the genotoxic effects of their mixtures based on available data. The purpose of this review was to collect and summarize literature information on the genotoxicity of pesticide combinations obtained at different objects. The results of studies conducted in different countries of the world are discussed, examples of detected synergistic, additive and antagonistic effects are given, indicating the need for testing the genotoxicity of preparative forms of pesticides containing several active substances, as well as mixtures of jointly used pesticides in order to ensure the safe use of pesticides for public health.


Author(s):  
Simon Nicholls ◽  
Michael Pushkin ◽  
Vladimir Ashkenazy

An introduction by Boris de Schloezer gives the genesis of the final text in the section, the Preliminary Action, and explains its relation to Skryabin’s projected life-work, the Mystery. Section I: an effusion of Orthodox religious feeling from teenage years. Sections II-VII: Around 1900, an expression of rejection of God in the face of disillusion is followed by the text of the choral finale of the First Symphony, declaring faith in the power of art. An unfinished opera libretto, symbolic in narrative, expressing belief in Art’s power to seduce and persuade. Three notebooks develop a world view in which the world is the result of the self’s creative activity. The creation of art and of the universe are identical. There is a higher self, identical with divinity. Forgetfulness of individuality leads to freedom and universal consciousness. Section VIII: The literary poem written during the composition of the symphonic Poem of Ecstasy summarises the scenario developed in the notebooks. Life starts with the desire to create, delight in creative play meets opposition, the creative goal is achieved and disappointment sets in. The process is repeated until it is realized that the struggle is itself joyful and self-affirmation is achieved. Section IX: The text of the Preliminary Action is symbolic in structure. Primal Male and Female Principles emerge; the Female is identified with Death. Life arises from the union of energies. Struggle and bloodshed follow. The conclusion is an impulse towards unification, the synthesis of experience and dematerialisation. Both the complete first draft and the incomplete revision are included.


In his later work, Heidegger argued that Western history involved a sequence of distinct understandings of being and correspondingly distinct worlds. Dreyfus illustrates several distinct world styles by contrasting Greek, industrial, and technological practices for using equipment. By reading Being and Time in the light of Heidegger’s later concerns with the history of being, Dreyfus shows how Heidegger’s own account of equipment in Being and Time helped set the stage for technology by encouraging an understanding of being that leaves equipment and natural objects open to a technological reorganization of the world into a standing reserve of resources. Seen in the light of the relation of nature and technology revealed by later Heidegger, Being and Time appears in the history of the being of equipment not just as a transition but as the decisive step toward technology.


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