Is Cognitive Linguistics deadly sinful? On the pros and cons of Cognitive Linguistics and its development

Cognitive Linguistics started from the 1980s, and it has become a mainstream since the end of the last century and the beginning of this century, which has got widespread attention, with a nickname as the third revolution in linguistic circles after the Saussurean Revolution and the Chomskyean Revolution. According to the dialectical principle of “negation of negation”, theoretical research is always advancing, thus the linguists are beginning to think of the shortcomings of Cognitive Linguistics and new developments in the future. For instance, Dabrowska (2016) pointed out the seven deadly sins of Cognitive Linguistics, which, we think, are overstated and too radical. Cognitive Linguistics has its own historical significance and makes great contributions to the criticism of Saussurean “Linguistic Apriorism” and Chomskyean “Linguistic Nativism”, but Cognitive Linguistics also has its own weaknesses, which are to be exposed in brief in this paper. We have also tried to propose “Embodied-Cognitive Linguistics as a revision in order to emphasize the philosophical views of “materialism” and “humanism” as a basic start in linguistic research.

Competitions of performing skills in the conditions of distance carrying out (experience 2020 - the beginning of 2021)

The purpose of the article is to identify the specifics of remote art events, including competitions of performing skills. The research methodology includes the use of methods of comparative analysis and synthesis, the basis of the study is the dialectical principle of cognition, systemic, socio-cultural approaches. General scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison and formalization. The scientific novelty lies in an attempt to identify the main types of remote forms of art activities, identification of the main requirements for distance competitions, and determining their professionalism vector and the possibilities of using distance learning technology in further artistic practice is in the contest performance skills. Conclusions. The main forms of art projects are highlighted in some examples of the Institute of Arts of Borys Hrinchenko Kyiv University. It was found that the elements of the use of information (remote technologies) have been used as a method of selectivity in some international competitions. It is determined that at present clear rules for recording have been formed, which promote professionalization and create conditions for the development of chamber music in the performing arts. It is emphasized that the new conditions of functioning of performing arts allow asserting the remote space of concert-competitive activity and is a place of creation of new artistic values and a carrier of original ideas and concepts.

The Death of Moran's Bees: Beckett and Adorno on the Dialectic of Subject and Object

In this article I argue that Adorno's dialectical principle that reason and nature co-constitute each other is evidenced in Beckett's novel Molloy. Adorno argues that reason regresses to myth – that is, it becomes irrational and reified – in modernity; and that, conversely, myth shows itself to be rational – that is, myth reveals that it has already inhabited enlightenment. In Molloy, Moran relies on dubious positive metaphysical principles in an attempt to spiritualise his bees; however, such spiritualisation leads directly to their death, because his experience of the bees is undialectical and static. Thus instead of the uncritical reproduction of conventional metaphysical principles, metaphysics must show itself to be damaged by historical events.

LT - contradiction matrix

Altschuller's Contradiction Matrix and Bartini-Kuznetsov's LT - Table represent two different tools for solving inventive problems based on the same dialectical principle. It starts from the premise that there are contradictions at the root of every problem. Although both tools are designed to make it easier to come up with the Ideal Final Solution (IFS), in practice they often come up with optimal rather than ideal solutions. One of the reasons for this phenomenon can be attributed to the subjectivity of the innovator arising from the logical-descriptive Theory of Inventive Problem Solving (TIPS / rus. TRIZ). The second reason is related to the existence of unidentified laws of nature shown in the LT table of physical quantities. The integration of these two tools yields an effective LT contradiction matrix as a new inventology tool, which does not have the disadvantages of the individual tools from which it arose.

Conclusion

Now the Lord said unto Abram, Get thee out of thy country. —Genesis 12:1 In a 1978 lecture on the occasion of Gershom Scholem’s eightieth birthday, Jürgen Habermas offered a summary of his friend’s understanding of secularization. The lecture bears witness to the enduring friendship between two of the most consequential intellectuals of the modern era, and it testifies to the postwar reality of a “German-Jewish dialogue” whose existence in pre-Holocaust Europe Scholem himself had dismissed as little more than a myth. Of greater relevance here, however, is Habermas’s sympathetic attempt to reconstruct a theoretical justification for the persistence of religious concepts in profane life. Scholem, claims Habermas, grasped the dialectical principle that secular society might still need religion: “Only those who can bring essential elements of their religious tradition, which points beyond the merely ...

The Many Faces of Transcendental Realism: Willaschek on Kant’s Dialectic

After providing a brief overview of Marcus Willaschek's Kant on the Sources of Metaphysics, I critically reconstruct his account of ‘transcendental realism’ and the role that it plays in the dramatic narrative of the Critique of Pure Reason. I then lay out in detail how Willaschek generates and evaluates various versions of transcendental realism and raise some concerns about each. Next, I look at precisely how Willaschek's Kant thinks we can avoid applying the ‘supreme’ dialectical principle (for every conditioned there is a totality of conditions which is unconditioned) to the domain of appearances. Finally, I call into question Willaschek's efforts to appropriate the lessons of the Transcendental Dialectic without following Kant into transcendental idealism.

Ascending from the Abstract to the Concrete as a Principle of Expansive Learning

The article examines the potential of the dialectical principle of ascending from the abstract to the concrete for transforming practices of learning. It is shown that V.V. Davydov’s work has created a foundation for such transformation. The theory of expansive learning builds on Davydov’s legacy and brings the principle of ascending from the abstract to the concrete into learning and concept formation outside schools, “in the wild.” Three studies investigating different scales of expansive learning are discussed, focusing on the internally contradictory germ cells discovered and used in those studies. The article concludes by emphasizing the need to integrate Davydov’s revolutionary pedagogy and the broader agenda of school transformation as part of societal transformation.

Defining Nature in Medieval Cosmological Literature

The medieval Latin West has a long tradition of cosmological writings that stress the difficulty of conceptualizing nature as a single totality. “Nature” is subject to multiple definitions, torn between the sensory and the intelligible. “Nature” involves the universe and its immutable laws, but also the metaphysical principles of living beings, the totality of corruptible things, and creatures from the domain of physis. Engaging with the idea of nature as plastic and multifaceted in its richness, this article shows that contradiction is a dialectical principle necessary to the definition of nature. Whether understood as a broad, vague, and elusive notion, or, on the contrary, as a strong ordering principle, nature supports life and the world. Sometimes it is described as the simple element of matter, sometimes as an entity rivaling God himself. Nature inevitably conjures up the supernatural and therefore also its own supersession.

Author’s Comments in the Conceptual Space of Musical Text: to the Methodology of Research of Musician Teacher

This article presents the problem of the relationship between two landmark subsystems in the conceptual space of the musical composition text: notation and author’s instructions, comments of various types and functions. The author contrasts the text formal division (it is used in performing and pedagogical practice, non-binding “notes” and instructions by the composer of minor importance) and views of musicians who see in the traditional dichotomy “musical text – comments on it” a theoretical problem. The differences in approaches to it are analyzed in the works by S. E. Feinberg, E. Ya. Liberman; it is proposed to consider the position of the author of the article, treating the first of these subsystems as a base, the second as a superstructure in a united conceptual space of a musical text. The author develops the theme and carries out historical-style excursions and reveals the evolution of the composer’s comments in the music in 17th – early 20th centuries due to aesthetic, artistic, technological and other factors. In the historical-style sections of the article, the author relies on the concept by S. S. Skrebkov, that is in the book “The Artistic Principles of Musical Styles”. In particular, the author uses the principle of centralizing unity postulated by the scientist as a methodological guide, and interpreted broadly in the article as a general dialectical principle of musical logic. This allows to differ stylistically and at the same time to study dialectically the practice of composer commentary in musical works of the Baroque, classical and romantic eras. The main conclusion of the article is the reference to the need for performers and teachers to deepen into essential, substantial relations in a united conceptual space of a musical text of two main plans: notated, reflecting introverted, immanently musical meaning, and composer comments, where denotation is carried out, symbolization of the deep structures of music.