"(In)distinct Languages": Revisiting the Dualism of Literal and Literary Meaning in Roman Jakobson and Donald Davidson

(In)distinct Languages: Revisiting the Dualism of Literal and Literary Meaning in Roman Jakobson and Donald Davidson The paper traces the relationship between the literal and literary language that is found in structuralism and analytic philosophy. The paper’s gist provides a comparative account of Roman Jakobson’s and Donald Davidson’s notions of poetic language and their relation to the general idea of language as it is given in their work. In reconsidering Jakobson’s and Davidson’s arguments, I propose abandoning the dualistic hypotheses of the oppositions between literal and non-literal language, and between literal and literary language. I contend that the notions of first and literal meanings are necessary for other types of interpretation. The dualistic hypothesis requires the cascade model, which displays a bottom-top transition across hierarchically arranged levels of meanings. Instead, I outline the multilayered structure of language with two thresholds: mimetic and semiotic. Therefore, the cascade model should be replaced with the palimpsest model of concurring, merging, and blending layers of meanings. Języki (nie)odrębne. Jeszcze raz o dualizmie znaczeń, dosłownego i literackiego, u Romana Jakobsona i Donalda DavidsonaW artykule poddano analizie relacje między językiem dosłownym a językiem literackim, występujące w strukturalizmie i filozofii analitycznej. W rozważaniach istotna była konfrontacja koncepcji języka poetyckiego Romana Jakobsona i Donalda Davidsona oraz ich związku z ogólną ideą języka, jaką można znaleźć w ich pracach. Rozważając ponownie argumenty Jakobsona i Davidsona, autor proponuje porzucić dualistyczne hipotezy, zasadzające się na opozycji między językiem dosłownym a językiem niedosłownym oraz między językiem dosłownym a językiem literackim. Twierdzi, że pojęcia znaczenia pierwszego i dosłownego są niezbędne w innych typach interpretacji. Hipoteza dualistyczna wymaga modelu kaskadowego, który ukazuje przejście od dołu do góry przez hierarchicznie ułożone poziomy znaczeń. Zamiast tego autor zarysowuje wielowarstwową strukturę języka z dwoma poziomami: mimetycznym i semiotycznym i wskazuje na konieczność zastąpienia modelu kaskadowego palimpsestowym modelem współbieżności, łączenia i mieszania warstw znaczeniowych.

THE ROLE OF DIFFERENT MEDIA FOR THE URDHVA PATANA OF PARADA

In our ancient literature of Rasashastra, Parada or Rasa is considered the supreme Dravya out of all Rasoparasa’s, Dhatu’s etc1and described to be of divine origin. The importance of Parada is highlighted mainly for Rasachikitsa. Mercury always comes with natural impurities i.e., “Naisargika dosha”, when mercury is put to trade and commercial use it is adulterated with cheaper metals like Naga and Vanga for more commercial gains. As a result, mercury in the market is often available with this kind of adulterants, which are considered as “Yougi- ka Dosha”. Consumption of impure mercury is considered highly toxic and hazardous. It can be made into medi- cine by adopting proper Shodhana procedures. In Rasashastra process of Shodhana is having greater im- portance. Hence a wide range of purification methods is described for each metal and mineral including Parada. The literary meaning of Shodhana is purification, but in Rasashastra Shodana is a Samskara which essentially improves the potency along with detoxifying the metal or mineral. In our classics, various methods have been told for Shodhana of Parada, in which Patana plays a very important role2. All the different classical references of Urdhva Patana Samskaras are compiled and critically analysed to know their role in Shodhana of Parada. Various media told are Tamra churna, Sarja Kshara, Yava Kshara, Hingu, Panchalavana and Kaashtoaushadis such as Kumari, Nisha churna etc. An attempt is made to analyse the role of various media for the Urdhva Patana of Parada. Keywords: Parada, Shodhana, Urdhva Patana, Mercury

The Beauty of Evil” – On the Uniqueness of Arson in Literary Works

Fire is of great significance in the process of human civilization, carrying multiple functions such as hunting, sacrifice, cooking, and punishment. Arson, as one of the means of destroying objects, often appears in literary and artistic works. Why arson has become a means of evil favored by creators, and occasionally presents a strong sense of beauty in the text. This article will start with Bertha Mason’s arson in "Jane Eyre", linking classic texts with arson as an important plot, such as "Burn the Warehouse" and "Golden Pavilion", and explore the unique literary meaning of the dialectic of the beauty and evil of arson in combination with archetypal criticism.

The Regime of Nothing

In the last fiction, David is now ten and falls ill with a serious disease, a form of neuropathy, must be hospitalized, and he eventually dies. The many conversations in the book about dying and death, and whether David has a “message,” confront the reader with issues of redemption, consolation, and despair, and are treated here as reflections on literary meaning, the status of art in the modern world, and finitude. Special attention is given to Simón’s view that if there is nothing to be said about death, then there is nothing for philosophy to say at all (except that there is nothing to be said about anything that matters, nothing philosophical (or rational) anyway). Philosophy’s goal would be to destroy the illusion that there could be traditional, or rationalist philosophy.

CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY

The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.

The Role of Pragmatics in Literary Analysis: Approaching Literary Meaning from a Linguistic Perspective

The present paper aims to produce a detailed account of the term ‘pragmatics’ and explore, by presenting and reviewing different models, its role in literature as it appears to be evident in different linguistic approaches to the study and analysis of literary genres. It is a fact that various pragmatic approaches such as speech act theory, conversational implicature, politeness theory, and relevance theory are developed mainly in relation to spoken interaction, yet, as some studies suggest, they offer invaluable insights to the study of literary texts. Consequently, the paper also strives to shed some light on the relationship these two terms – literature and pragmatics – enjoy so that their commonalities can be unmasked. It also tries to explore how pragmatics may help find out the ‘context’ and ‘meaning’ of literary discourse.

REPRESENTATION OF SOCIAL CLASSS IN PARASTE MOVIE

Film works can be created from various perspectives and production methods by teams in the film industry. Parasite is a South Korean movie present as a production-based film and it raises a big theme of lifestyle differences between social classes. Parasite Movie portrays a new perspective with an astonishing story and plot-twist in the context of film with the issue of social inequality in the modern era. Various awards were obtained by Parasite films on a national and international scale for its beautiful story. The data is collected from the scenes in the movie which later the data is connected with some theories. This study also aims to find out the literary meaning of the movie Parasite, specifically the representation of social class through some literary research.

Dream and Fiction

Dream and fiction are treated through a prism of creativity and creative capacity. The attempt is made to compare Freud’s method of dream’s analysis and different meth-ods of fiction analysis. The following topics are discussed: possible worlds of dreams and of fiction; correlations between literary meaning and depth meaning; between dreamer and teller in fiction; psychic processes in dreams and their correlates in literary fiction; expressive means of dreams and means in fiction; suggestive processes and language creativity.

Lilie unter Dornen

The echoes of the Song of Songs in Hartmann’s ›Erec‹ culminate in the famous comparison of Enite with a lily among thorns. Against the background of the exegetical tradition, in which the lily stands for an exceptional love competence, it is shown that this comparison is much more important to an appropriate understanding of ›Erec‹ than has been commonly assumed. This example illustrates, moreover, how precisely vernacular-language authors make usage of sacred contents and how autonomously they create processes of literary meaning-making.

Literary meaning as character conceptualization: Re-orienting the cognitive stylistic analysis of character discourse and Free Indirect Thought

This article establishes the theoretical bases for a more direct and detailed exploration of fictional minds in cognitive stylistics. This discipline usually analyzes narrative discourse in terms of how readers process language and conceptualize narrative meaning, treating literary language more or less explicitly as a window into readers’ mental experiences. However, it is also possible to treat literary language as a window into characters’ minds, which, in spite of their obvious fictionality, could enhance the potential for cognitive linguistic analysis to inform our understanding of the human mind and consciousness more generally. This article explores the nature of linguistic meaning in different speech and thought presentation techniques primarily through the lens of Langacker’s Cognitive Grammar, ultimately prioritizing the representational semantics of Free Indirect Thought. It proposes a more precise understanding of the concept of ‘conceptualizer’ which would validate a type of mind style analysis that is more narrowly focused on illuminating the underlying mental activity of fictional characters instead of readers. It demonstrates this type of focus with a brief analysis of a passage from Charles Jackson’s The Lost Weekend.