scholarly journals Linguistica generale czyli o obecności terminologii językoznawczej w opisie dzieł sztuk wizualnych i architektury

2020 ◽  
Vol LXXVI (76) ◽  
pp. 51-69
Author(s):  
Elżbieta Chrzanowska-Kluczewska
Keyword(s):  
Visual Arts ◽  
Ludwig Wittgenstein ◽  
Philosophy Of Language ◽  
Cognitive Linguistics ◽  
Roland Barthes ◽  
Linguistic Terms ◽  
Visual Texts ◽  
The Status ◽  
Roman Jakobson ◽  
Mark Johnson

Współczesne językoznawstwo, choć czerpiące od lat swą terminologię z innych dyscyplin naukowych, w XX wieku stało się dawcą terminów dla opisu dzieł sztuk wizualnych. Ważny impuls dał temu trendowi Benedetto Croce (1902), postulując linguistica generale jako wspólną platformę dla filozofii języka i estetyki. W opinii historyka sztuki Jana Białostockiego (1980/2009) nie tylko traktat Crocego, ale też europejski strukturalizm (Roman Jakobson, Roland Barthes) przyczyniły się do intruzji terminologii językoznawczej na obszar teorii sztuki, prowadząc do „paralingwistycznej wersji” semiologicznych badań nad estetyką. Z kolei Mieczysław Porębski (1986/2009b), krytyk sztuki i semiolog, nazwał to podejście „semiotycznym”, sam uczestnicząc w wieloletniej dyskusji dotyczącej możliwości opisu tekstów wizualnych na sposób „projęzykowy”. Poniższy artykuł przedstawia w zwięzły i bardzo selektywny sposób obóz naukowy zwolenników podejścia semiotycznego (zatem w głównej mierze lingwistycznego) do analizy dzieł sztuk wizualnych i architektury – uczonych reprezentujących różne szkoły i tradycje: a) semiotykę/strukturalizm, b) filozofię sztuki, filozofię języka i logikę formalną, c) podejście retoryczno-figuratywne (z korzeniami m.in. w teoriach Barthesa i Jurija Łotmana), obejmujące również odrębny paradygmat językoznawstwa kognitywnego wraz z tropologią multimodalną, d) skandynawską semiotykę piktorialną (Görana Sonessona), wreszcie e) semiotykę społeczną z jej gramatyką i modalnością wizualności, powiązaną z różnymi teoriami komunikacji. Artykuł stawia następnie pytanie o status zapożyczonych terminów językoznawczych w teorii sztuk i architektury, dzieląc je na trzy klasy: 1) terminy metaforyczne niesystemowe (ekfraza architektoniczna, poetyka architektoniczna Madeline Gins i Arakawy, 2) adaptacje terminologiczne, czyli częściowo metaforyczne terminy systemowe (gramatyka wizualności Gunthera Kressa i Theo van Leeuwena), oraz 3) terminy metaforyczne systemowe (tropologia w wizualnej poetyce kognitywnej i studiach nad multimodalnością; Andrzej Niezabitowski zastosował je do subdyscypliny architektury zwanej architektoniką). Z tym powiązana jest kwestia statusu języka naturalnego jako metajęzyka opisu wszelkich innych systemów semiotycznych (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Łotman, Mark Johnson). Autorka artykułu stoi na stanowisku semiotycznym, upatrując w obecności terminologii językoznawczej w teorii sztuki i architektury dowodu na transmedialność tekstów werbalnych i wizualnych w Łotmanowskiej semiosferze oraz na konieczność opracowania szerokiej platformy metodologicznej do ich wszechstronnego opisu, postulowanej również przez Alinę Kwiatkowską (2013) w obrębie studiów kognitywnych nad percepcją wzrokową i multimodalnością. Linguistica generale: linguistic terminology in the description of visual artworks and architecture. Summary: Contemporary linguistics, for years drawing its terminology from other fields of study, in the 20th century became a donor of its own terms for the purpose of describing the visual arts. An important stimulus for this trend came from Benedetto Croce (1902), who postulated linguistica generale as a common platform for the philosophy of language and aesthetics. In the opinion of art historian Jan Białostocki (1980/2009), it was not only Croce’s treatise but also European structuralism (Roman Jakobson, Roland Barthes) that contributed to the intrusion of linguistic terms into the theory of art, leading to a “paralinguistic version” of semiotic studies in the area of aesthetics. In turn, Mieczysław Porębski (1986/2009), an art critic and semiologist, called it a “semiotic attitude” to art, engaging himself in a prolonged debate on the possibility of approaching visual texts in a “pro-linguistic” manner. The following article gives a concise and very selective presentation of advocates of the semiotic (mainly linguistic) approach to analysing visual artworks and architecture. The researchers listed represent various schools and traditions: a) semiotics/structuralism, b) philosophy of art, philosophy of language and formal logic, c) a rhetorical-figurative approach (with its roots in the theories of Barthes and Jurij Lotman, among others), including also a different paradigm of cognitive linguistics and multimodal tropology in particular, d) the Scandinavian school of pictorial semiotics (Göran Sonesson), and – finally – e) social semiotics with its grammar and modality of visual representations, related to various theories of communication. Next, the article poses the question about the status of terminological borrowings from linguistics and the related fields present in theoretical considerations on the visual arts and architecture, dividing them into three classes: 1) metaphorical non-systematic terms (architectural ekphrasis, architectural poetics of Madeline Gins and Arakawa), 2) terminological adaptations, that is partly metaphorical systematic terms (Gunther Kress and Theo van Leeuwen’s grammar of visual design), and 3) metaphorical systematic terms (tropology in visual cognitive poetics and multimodal studies; Andrzej Niezabitowski on their application to a new subdiscipline of architecture, viz. architectonics). A related issue is the status of natural language as a metalanguage in the description of other semiotic systems (Croce, Heinrich Wölfflin, Ludwig Wittgenstein, Emil Benveniste, Lotman, Mark Johnson). The author of this article assumes a semiotic stance, perceiving the presence of linguistic terms across the theory of art and architecture as a proof of transmediality of verbal and visual texts within the Lotmanian semiosphere This calls for development of a broad methodological platform for their comprehensive study, postulated as well by Alina Kwiatkowska (2013) within cognitive studies on visual perception and multimodality. Keywords: linguistica generale, linguistic terminology, the visual arts, architecture, metaphorical vs. systematic terms, metalanguage, transmediality

scholarly journals Current trends in the Russian translation theory: towards a new methodological standard of translation (book review: Mishkurov, E. N. Hermeneutics of Translation (towards theoretical and methodological standard of translation): monograph

2019 ◽  
Vol 17 (4) ◽  
pp. 108-118
Author(s):  
Anna L. Solomonovskaya
Keyword(s):  
Philosophy Of Language ◽  
Geographic Origin ◽  
Translation Theory ◽  
Controversial Issues ◽  
Rhetorical Device ◽  
Current Trends ◽  
Dionysius The Areopagite ◽  
The Status ◽  
Methodological Standard ◽  
Semantic Differentiation

The article reviews different perspectives concerning the status, origin and functions of double translations in European cultural space throughout the period. The term double translation here refers to the translation of one word with two (rarely more) lexemes connected with a conjunction or another linking word. This technique was universal across medieval translation schools, whatever their geographic origin. However, only particular schools or individual translators have been studied in terms of this technique so far, so the author aims to summarize the findings, delineate some controversial issues in the domain under consideration and place the findings in a common perspective. The controversial issues comprise (but are not limited by) the causes of their emergence in translated texts (from almost accidental fixation of the translator’s hesitation to the conscious decision to apply two different methods of translation based on specific philosophy of language). Another widely discussed question is the status of the words in such a pair – whether they were regarded as synonyms or had another status. One more question that causes discussion is their functions in the text, namely whether they were a rhetorical device or a certain means of semantic differentiation. The author of the article supposes that double translation should be considered dynamically and such chronological consideration makes it possible to argue that double translations first appeared to convey the whole range of meanings of a certain word enabling the reader to make their own choice concerning the exact meaning of the word in each particular context. As for the philosophical or theological background of the technique (be it language philosophy of St. Augustine or the theory of images developed by Pseudo-Dionysius the Areopagite) sometimes assumed to have been intentionally realized by medieval translators, it is hard to verify such claims as the utterances (Prefaces) of the medieval translators themselves hardly mention (with the possible exception of Praefatio Brixiana) either the technique or its presumed theological grounds. Moreover, word pairs (hendyadis) had been used as a rhetorical device both in the literary tradition and the national epic poetry of many European countries. This rhetorical device was widely used for emphasis, so when double translation actually lost its semantic function, it was retained by languages as set phrases or a purely stylistic device.

scholarly journals Hope and equilibrium in the dystopian world of The Hunger Games

2021 ◽  
Vol 85 ◽  
pp. 227-244
Author(s):  
María Sandra Peña-Cervel ◽  
Andreea Rosca
Keyword(s):  
Critical Discourse Analysis ◽  
Cognitive Linguistics ◽  
Social Inequalities ◽  
The Novel ◽  
Hunger Games ◽  
Accurate Picture ◽  
The Social ◽  
The Hunger Games ◽  
The Status ◽  
Selection Of

This paper provides evidence of the fruitfulness of combining analytical categories from Cognitive Linguistics and Critical Discourse Analysis for the analysis of complex literary characterizations. It does so through a detailed study of the “tributes”, i.e. the randomly selected children who have to fight to death in a nationally televised show, in The Hunger Games. The study proves the effectiveness of such categories to provide an analytically accurate picture of the dystopian world depicted in the novel, which is revealed to include a paradoxical element of hope. The type of dehumanization that characterizes the dystopian society of Panem is portrayed through an internally consistent set of ontological metaphors which project negative aspects of lower forms of existence onto people. This selection of metaphors promotes a biased perspective on the poor inhabitants of Panem, while legitimizing the social inequalities the wealthy Capitol works hard to immortalize. However, Katniss undergoes a metamorphosis through her discovery of her own identity, which hints at an emerging female empowerment. This transformation, together with her identification with the Mockingjay, a supernatural being that voices her beliefs and emotions, contributes to disrupting the status quo imposed by the almighty Gamemakers and to purveying a message of optimism.

scholarly journals When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

2021 ◽  
pp. 205-252
Author(s):  
Marta Dynel
Keyword(s):  
Philosophy Of Language ◽  
Television Series ◽  
Fictional World ◽  
Extant Literature ◽  
Multimodal Analysis ◽  
American Television ◽  
Theoretical Account ◽  
The Status ◽  
The One ◽  
Withholding Information

AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

Authorship and Autography

PMLA ◽  
2001 ◽  
Vol 116 (5) ◽  
pp. 1377-1385
Author(s):  
Michael North
Keyword(s):  
Michel Foucault ◽  
Human Subject ◽  
Roland Barthes ◽  
The Status ◽  
Technological Developments ◽  
Historical Phenomenon ◽  
The Dead ◽  
Written Word ◽  
Death Of The Author ◽  
The Way

The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.

The Physics and Metaphysics of Metaphor

2020 ◽  
pp. 29-41
Author(s):  
Gillian Knoll
Keyword(s):  
Cognitive Linguistics ◽  
Measure For Measure ◽  
George Lakoff ◽  
Mark Johnson ◽  
The Relationship ◽  
Metaphorical Structures

This section argues that Lyly’s and Shakespeare’s characters process and experience eros through the primary metaphor of motion. These introductory pages explore the philosophical and conceptual underpinnings of this metaphor through the example of Shakespeare’s Angelo in Measure for Measure. Drawing from the work of cognitive linguistics George Lakoff, Mark Johnson, and Zoltan Kövecses, this section explores the broad metaphorical structures that shape Angelo’s erotic experience as both a passion and an action. Things happen within Angelo well before he ‘acts out’ his sexual pursuit of the novitiate Isabella. The remainder of this section investigates the relationship between erotic potentiality and actuality, or entelechy, in Aristotle’s Physics and Metaphysics. In Aristotle’s writings, as in Shakespeare’s play, the boundary between potency and actuality is fluid rather than fixed. As a result, Angelo’s metaphors dramatize the capacity of erotic potentiality to create drama. For him, as for so many of Lyly’s and Shakespeare’s characters, desire is itself a frenzied action.

Humans Becoming Animals

2019 ◽  
pp. 141-152
Author(s):  
Gertrud Koch
Keyword(s):  
Motion Picture ◽  
Ludwig Wittgenstein ◽  
Jean Paul ◽  
The Status ◽  
The Face ◽  
Nonhuman Species

This chapter attempts to explain the fascination that animals have long exerted upon the motion picture medium. It explores some of the differences among the human gaze, the animal gaze, and the cinematic gaze. Utilizing examples ranging from the philosophies of Ludwig Wittgenstein and Jean-Paul Sartre to films by Edward Dmytryk, Jacques Tourneur, and Paul Schrader, the author explicates affect, identification, and the status of the face in cinematic representations of nonhuman species.

A SAW Mechanism for Investigating the Status of Industrial Robots Under Comprehensive Sustainable Aspects

2019 ◽  
Vol 10 (3) ◽  
pp. 69-84
Author(s):  
Atul Kumar Sahu ◽  
Harendra Kumar Narang ◽  
Mridul Singh Rajput ◽  
Nitin Kumar Sahu
Keyword(s):  
Decision Making ◽  
Fuzzy Sets ◽  
Industrial Robots ◽  
Fuzzy Sets Theory ◽  
Linguistic Terms ◽  
Fuzzy Concept ◽  
Course Of Action ◽  
The Status ◽  
Sets Theory ◽  
Robot Selection

The authors attempt to model a decision-making mechanism; which can fix multiple robot characteristics and can aid in investigating robots status for a particular manufacturing arena. The work exposed a series of applicable robot characteristics; which differentiated their working capacity and defines their value. A simple additive weighting (SAW) mechanism under a fuzzy concept is presented for investigating the status of industrial robots; which incorporates comprehensive aspects for sustainable robot selection. The authors have extended the application field of fuzzy sets theory and illustrated the significant application of linguistic terms in the robot decision-making problem. The work compounds fuzzy sets theory with SAW techniques and thus serves a flavor of fuzzy concept and a SAW technique under single platform. The study reveals the course of action for executing the proposed work by the managers. The work has applied fuzzy linguistic terms for griping the appropriate perceptions of the decision makers and applied the conception of SAW methodology to yield the decision results.

Austin, Grice and Strawson

2007 ◽  
Vol 8 (1) ◽  
pp. 182-193
Author(s):  
Stephen Rainey ◽  
Keyword(s):  
Philosophy Of Language ◽  
John Searle ◽  
The Status

Austin discusses the supposed opposition between performative and constative utterances in a paper delivered to a French audience in 1962 entitled Performative—Constative. It is his aim in this paper in a sense to recant his earlier views that such a distinction was clear. A translation of this paper made by G. J. Warnock appeared in 1972 in a collection of essays on the philosophy of language, edited by John Searle. Alongside this translation were criticisms and comments by P. F. Strawson and H. P. Grice. Taken altogether, I regard these papers as containing several important insights that have informed contemporary notions regarding meaning and communication, particularly as they are thought of by Brandom and Habermas. I follow the course of Austin's discussion in assessing the status of the distinction that gives his paper its name and consider its merits, as well as drawing upon some of Strawson's and Grice's thoughts on the matter. After these discussions, I hope that it shall be clear how indebted to these past thinkers are those important theorists of our time.

Learning about learning

1996 ◽  
Vol 3 (1) ◽  
pp. 95-125 ◽  
Author(s):  
Clare Painter
Keyword(s):  
Information Exchange ◽  
Systemic Functional Linguistics ◽  
General Pattern ◽  
Diary Study ◽  
Data Display ◽  
False Information ◽  
Linguistic Terms ◽  
Starting Point ◽  
The World ◽  
The Status

Systemic-functional linguistics (SFL) is used as a framework within which a child's 'cognitive' development can be seen in linguistic terms as the building of a meaning potential which gains realisation in texts. Data are then presented from a diary study of one child's speech between the ages of two and a half and five years, focussing on the child's use of 'mental' and 'verbal' clauses (such as I think or she said) in order to reveal the child's understandings about information exchange, which constitutes the basis of learning. The naturalistic data display various developments in the child's construals of semiotic exchange, including exploration of 'false' information and the status of perceptual evidence. A general pattern emerges whereby the child moves out from representing and exploring the 'I-you-now' of the ongoing interaction, to a later construal of the world beyond this 'deictic centre', suggesting an intersubjective rather than an 'egocentric' starting point to development.

Augustinus: Der Markt der Geschwätzigkeit und der Sinn des Verstehens

Rhetorik ◽  
2015 ◽  
Vol 34 (1) ◽  
Author(s):  
Johann Kreuzer
Keyword(s):  
Philosophy Of Language ◽  
Intellectual Development ◽  
Ordinary Language ◽  
14Th Century ◽  
De Trinitate ◽  
Starting Point ◽  
The Status ◽  
De Magistro ◽  
History Of ◽  
The Subject

AbstractThe paper discusses the intellectual development of Augustinus by means of his discussion of the status, the sense, the function and his judgement on rhetoric. This discussion let Augustinus be an important station in the history of the philosophy of language. Starting point is the explanation of the dialectics of the topos (or pathos) of the ›ineffabilis‹. Augustinus shows that the antirhetoric meaning of the ineffable leads in selfcontradictions. Therefore he discusses the forms and the conditions of understanding. This begins with the early dialogue De magistro and reaches to De trinitate and one of the central subjects within this theoretical mainwork of Augustinus: the concept of the verbum intimum. With the (at first view) extreme reductionism in the theory of signs, presented in De magistro - a mental ›oracle‹ is claimed as instance and criterion of understanding -, he destructs the naive representation-belief in an 1:1-relation between outer signs and mental contents. The subject of the ›inner word‹ in De trinitate then is the question of understanding signs as signs. It is shown that only the explanation of the inner word as a mental achievement within ordinary language is sufficient to answer the question of understanding. An excursus elucidates that the sermocinalis scientia of Wilhelm v. Ockham in the 14th century continues the discoveries and philosophical innovations, Augustinus made at the end of antiquity. These discoveries are inalienable for present debates concerning the philosophy of language. And they are inalienable for concepts of rhetoric based in the hermeneutics of understanding. The critique of rhetoric as ›fair of talkativeness‹ brings up a purified sight of the art of language: of the art, language ›is‹.

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