Co-constructing referential space in multimodal narratives

2014 ◽  
Vol 7 (1) ◽  
pp. 31-59 ◽  
Author(s):  
Kashmiri Stec ◽  
Mike Huiskes

Abstract Meaning-making is a situated, multimodal process. Although most research has focused on conceptualization in individuals, recent work points to the way dynamic processes can affect both conceptualization and expression in multiple individuals (e.g. Özyürek 2002; Fusaroli and Tylén 2012; Narayan 2012). In light of this, we investigate the co-construction of referential space in dyadic multimodal communication. Referential space is the association of a referent with a particular spatial location (McNeill and Pedelty 1995). We focus on the multimodal means by which dyads collaboratively co-construct or co-use referential space, and use it to answer questions related to its use and stability in communication. Whereas previous work has focused on an individual's use of referential space (So et al. 2009), our data suggest that spatial locations are salient to both speakers and addressees: referents assigned to particular spatial locations can be mutually accessible to both participants, as well as stable across longer stretches of discourse.

2018 ◽  
Vol 68 (2) ◽  
pp. 498-516
Author(s):  
Neil O'Sullivan

Of the hundreds of Greek common nouns and adjectives preserved in our MSS of Cicero, about three dozen are found written in the Latin alphabet as well as in the Greek. So we find, alongside συμπάθεια, also sympathia, and ἱστορικός as well as historicus. This sort of variation has been termed alphabet-switching; it has received little attention in connection with Cicero, even though it is relevant to subjects of current interest such as his bilingualism and the role of code-switching and loanwords in his works. Rather than addressing these issues directly, this discussion sets out information about the way in which the words are written in our surviving MSS of Cicero and takes further some recent work on the presentation of Greek words in Latin texts. It argues that, for the most part, coherent patterns and explanations can be found in the alphabetic choices exhibited by them, or at least by the earliest of them when there is conflict in the paradosis, and that this coherence is evidence for a generally reliable transmission of Cicero's original choices. While a lack of coherence might indicate unreliable transmission, or even an indifference on Cicero's part, a consistent pattern can only really be explained as an accurate record of coherent alphabet choice made by Cicero when writing Greek words.


Author(s):  
Kevin Dent

In two experiments participants retained a single color or a set of four spatial locations in memory. During a 5 s retention interval participants viewed either flickering dynamic visual noise or a static matrix pattern. In Experiment 1 memory was assessed using a recognition procedure, in which participants indicated if a particular test stimulus matched the memorized stimulus or not. In Experiment 2 participants attempted to either reproduce the locations or they picked the color from a whole range of possibilities. Both experiments revealed effects of dynamic visual noise (DVN) on memory for colors but not for locations. The implications of the results for theories of working memory and the methodological prospects for DVN as an experimental tool are discussed.


Author(s):  
Daniel Leech-Wilkinson

The concept of shape is widely used by musicians in talking and thinking about performance, yet the mechanisms that afford links between music and shape are little understood. Work on the psychodynamics of everyday life by Daniel Stern and on embodiment by Mark Johnson suggests relationships between the multiple dynamics of musical sound and the dynamics of feeling and motion. Recent work on multisensory and precognitive sensory perception and on the role of bimodal neurons in the sensorimotor system helps to explain how shape, as a percept representing changing quantity in any sensory mode, may be invoked by dynamic processes at many stages of perception and cognition. These processes enable ‘shape’ to do flexible and useful work for musicians needing to describe the quality of musical phenomena that are fundamental to everyday musical practice and yet too complex to calculate during performance.


2004 ◽  
Vol 40 ◽  
pp. 95-105
Author(s):  
Margaret Harvey

It is often forgotten that the medieval Church imposed public penance and reconciliation by law. The discipline was administered by the church courts, among which one of the most important, because it acted at local level, was that of the archdeacon. In the later Middle Ages and certainly by 1435, the priors of Durham were archdeacons in all the churches appropriated to the monastery. The priors had established their rights in Durham County by the early fourteenth century and in Northumberland slightly later. Although the origins of this peculiar jurisdiction were long ago unravelled by Barlow, there is no full account of how it worked in practice. Yet it is not difficult from the Durham archives to elicit a coherent account, with examples, of the way penance and ecclesiastical justice were administered from day to day in the Durham area in this period. The picture that emerges from these documents, though not in itself unusual, is nevertheless valuable and affords an extraordinary degree of detail which is missing from other places, where the evidence no longer exists. This study should complement the recent work by Larry Poos for Lincoln and Wisbech, drawing attention to an institution which would reward further research. It is only possible here to outline what the court did and how and why it was used.


2017 ◽  
Vol 54 (4) ◽  
pp. 475-488
Author(s):  
MATTHEW McKEEVER

AbstractIn this article, I argue that recent work in analytic philosophy on the semantics of names and the metaphysics of persistence supports two theses in Buddhist philosophy, namely the impermanence of objects and a corollary about how referential language works. According to this latter package of views, the various parts of what we call one object (say, King Milinda) possess no unity in and of themselves. Unity comes rather from language, in that we have terms (say, ‘King Milinda’) which stand for all the parts taken together. Objects are mind- (or rather language-)generated fictions. I think this package can be cashed out in terms of two central contemporary views. The first is that there are temporal parts: just as an object is spatially extended by having spatial parts at different spatial locations, so it is temporally extended by having temporal parts at different temporal locations. The second is that names are predicates: rather than standing for any one thing, a name stands for a range of things. The natural language term ‘Milinda’ is not akin to a logical constant, but akin to a predicate.Putting this together, I'll argue that names are predicates with temporal parts in their extension, which parts have no unity apart from falling under the same predicate. ‘Milinda’ is a predicate which has in its extension all Milinda's parts. The result is an interesting and original synthesis of plausible positions in semantics and metaphysics, which makes good sense of a central Buddhist doctrine.


Author(s):  
Stine Liv Johansen

In recent studies on children and electronic media, children are acknowledged as active users, interpreting TV-texts in various meaningful ways, according to their previously constructed knowledge of narratives and relating the texts to their everyday lives. Still, there is a tendency that toddlers' (ages 1 to 3) viewing is neglected, and seen as mere fascinations of patterns, bright colours and movements without focusing on the social uses or uses in which television narratives come to play an important part in small children's experimenting with building identity and self-image. This article focuses on the meaning-making processes that take place when toddlers watch television and DVD, and the way in which they broaden the reception-situation to different arenas, for instance through play and different uses of merchandise connected to the television programs. Also, it studies the context of children's media use, the way both parents, media and market set up the frames of children's reception.


2019 ◽  
Vol 2 (3) ◽  
pp. 94-102
Author(s):  
Lance E Mason

The present sociopolitical environment in the United States is perpetually mediated and beset with information from innumerable sources. This paper argues that Dewey’s conception of communication as a mutual act of meaning-making holds insights for explaining the connections between pervasive mediation and political polarization, in addition to understanding why political discourse has become more degrading in recent years. It also points the way toward viable solutions by arguing for the reorientation of schools toward valuable living experiences that are becoming less pronounced in the broader culture, such as sustained face to face engagement on matters of social import.


1912 ◽  
Vol 39 ◽  
pp. 45-53
Author(s):  
J. A. Fuller-Maitland

There are no fewer than twelve complete works of Sebastian Bach to which the name Toccata is applied, and in nearly all cases the title seems to have come from the composer himself. It is always worth while to trace, if we can, the reasons which led a great man to choose one name rather than another for his creations; and in the case of Bach, I think we are justified in supposing that the names he gave were not purely arbitrary, but were chosen for some good reason. Certain modern composers, notably Brahms, have shown a strange indifference to the effect wrought by a well-chosen name for their music. His later works for pianoforte, often grouped under the heading of “Fantasias,” are divided into “Intermezzi” and “‘Capricci” according to whether they are slow movements or fast. But Bach, with his methodical habits, never showed that kind of almost perverse nonchalance in regard to the names his works were to bear. Remember the “Partitas,” and how each of the six introductory movements had a different designation from all the rest. As a matter of fact, there is not much indication of any inner variety of structure among the six, for all are preludial in general character, and it is evidently only a whim of the composer to give the six different titles. One of these, the sixth by the way, is styled “Toccata,” but has none of the distinguishing marks which, I hope to persuade you, Bach had in his mind when he used the title for independent compositions. Mr. Albert Schweitzer in his exceedingly valuable book on Bach (I am speaking of the recent work in two volumes, translated from the French by Mr. Ernest Newman) says that these Toccatas might just as well have been called Sonatas, or by any other name. Here I cannot agree with him, and the main object of my remarks on the present occasion.is to examine into the structure and style of the pieces, and see if we cannot discern some characteristic common to them all, and not shared by any other compositions of Bach.


2021 ◽  
pp. 095935432110591
Author(s):  
Lucas B. Mazur ◽  
Louisa Richter ◽  
Paulina Manz ◽  
Helena Bartels

Despite widespread awareness of the psychological dimensions of pain, researchers often and easily slip into essentializing understandings that treat pain as a purely physiological experience that can be isolated within experimental research. This drive towards scientific objectivity, while at times of tremendous utility, can also limit our understanding of pain to reductionistic conceptualizations that in effect deny the subjective and even the psychological dimensions of pain. In other words, researchers often attempt to understand pain by means of empirical, scientific explanations, while being simultaneously aware that such an approach cannot grasp the phenomenon in its entirety. This yearning for deeper, ontological understanding in a world that admits of only empirical, scientific explanations has been called Cartesian anxiety. In the current study, it is argued that cultural psychology can help to alleviate this Cartesian anxiety by helping us to appreciate the psychological aspects of pain as dynamic processes of meaning making.


2019 ◽  
pp. 34-54
Author(s):  
Paolo Crivelli

The Philebus presents some arguments for the paradoxical claim that the many are one and the one many. The most serious of these arguments concerns the multiple spatial locations of an attribute. For instance, since the attribute man belongs to many men, it is in them, and it is therefore both one and many (for it is in them either by having different parts of itself contained in them or by being wholly contained in each of them). Plato maintains that this argument goes astray. He appeals to division and collection, the procedures linked with definition and classification. He probably has in mind a mereological model of particulars, whereby perceptible particulars are mixtures whose ingredients are the attributes which they partake of. Among the ingredients of a perceptible particular there are properties that specify its spatial location, so the problem of the multiple spatial location of an attribute evaporates.


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