Representations in Linguistics and Literature: an Analysis of Ferdinand De Saussure’S and Lewis Carroll’S Construction of the Object Language
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The Representation of Soil in the Western Art: from Genesis to Pedogenesis
The representation of soil in the Western Art: From genesis to pedogenesis Christian FellerA, Lydie Chapuis-LardyA and Fiorenzo UgoliniB AInstitut de Recherche pour le Développement (IRD), UMR 210 Eco&Sols, SUPAGRO, Bâtiment 12, 2 Place Viala, 34060 Montpellier cedex 1, France. BUniversita Degli Studi, Dipartimento di Scienza del Suolo e Nutrizione della Pianta, Piazzale delle Cascine 16, Firenze, Italy. Abstract This communication is a chronological short history of Western art (mainly paintings) from Prehistory to the contemporary period through the word “Soil”. The conclusion is that the vision of Soil (in a scientific meaning), as an independent work of art, is recent. Key Words Soil, landscape, Western art, paintings. The websites allowing one to see the artworks are designated as [x] in the text; the links are provided in the references list. Soil (capitalized) or soil in Art? It is widely accepted that humans always have considered the natural environment a subject of great interest to art. Early pictorial examples include cave paintings done by Cro-Magnon man during the Upper Palaeolithic, about 30,000-40,000 years ago. However the vision of Soil (in a scientific meaning), as an independent work of art, is recent and still extremely rare in the world of painting. For many years, artists have depicted actual or imaginary landscapes from which the trained eye of a pedologist, agronomist or geographer can recognise a schematic view of what is commonly called soil but not Soil (as a Soil profile). This communication will: (i) show representations of Soil or soil in Western Art from the Palaeolithic to the modern era, and (ii) show some recent artworks where the Soil is considered as the main subject, and has as its goal to present Soil in art from Genesis (the Bible) to Pedogenesis (the scientific approach of the Soil formation, from the Greek word Pedon meaning soil) [1, 2]. -
Representation in Painting and Consciousness
KEITH LEHRER REPRESENTATION IN PAINTING AND CONSCIOUSNESS Representation in the arts is a creative process of reconfiguring a subject, real or imagined, to yield some original content or inten- tional object. The first question about representation is – what is the question about representation? Gombrich (1972), Wollheim (1980), Goodman (1968), Walton (1990), and Lopes (1996), have offered us diverse theories of representation in the visual arts. They all contain interesting ideas and insights, but the diversity of theories suggests that they may be asking and answering different questions. Moreover, that should not surprise us at all, for the painter, as well as other artists have diverse goals, and one of those goals is to change our conception of representation, to modify and challenge the conventions and constraints of representation. Lopes (1996), for example, suggests that the fundamental form of representation is depiction, demotic picturing, that would enable one to recognize and identify the object depicted. We are indebted to Lopes for this important proposal, but demotic picturing may be opposed to artistic representation. The artist may start with the external subject as the stimulus to find some meaning, some feeling or emotion, some insight or idea, and so reconfigure and repattern what he or she has seen into something that has some new internal meaning or content. The stimulus for a painting, a model, for example, need not be depicted or be what the painting is about The content of a painting is one thing, and the model is something else. A painter is sometimes indifferent to producing a demotic picture of the model or subject, which has caused difficulties between famous portrait painters and those they portrayed, when what interests the artist is the reconfiguration or the reinterpretation of the model or subject. -
'Langue' and 'Langage
FOURNET, Arnaud. Some comparative and historical considerations about Ferdinand de Saussure's distinction between ‘langue’ and ‘langage’. ReVEL , vol. 8, n. 14, 2010. [www.revel.inf.br/eng]. SOME COMPARATIVE AND HISTORICAL CONSIDERATIONS ABOUT FERDINAND DE SAUSSURE ’S DISTINCTION BETWEEN ‘LANGUE ’ AND ‘LANGAGE ’ Arnaud Fournet 1 [email protected] ABSTRACT : Modern French has two words: langue and langage when English has only one: language , originally a loanword from Old French. The article investigates when and how French gradually used two words to distinguish the concept of a particular language ( langue ) and that of speech ability ( langage ). This split started around 1600 and was permanently established around 1800. KEYWORDS : Language; Structuralism; de Saussure. 1. ABOUT THE ENGLISH WORD ‘LANGUAGE ’ The present article originates in my personal realization that English only has one word: language whereas French has two words: langue and langage to describe linguistic activity, behavior, competence or faculty 2, in spite of the quite obvious historical fact that the English word is a loanword from (Old) French 3. So I set about looking for the reasons why the difference exists and what particular theoretical features it may entail. English somehow misses a word and it is interesting to investigate the causes and some potential consequences of that lexical want. It is worth noting that, following the impulse of Old French, several modern Romance languages display a similar difference between langue 4 and langage 5. The word langue is the 1 PhD from Université René Descartes. 2 Depending on the theoretical preferences of authors. 3 The English word begins to be attested in the time bracket: 1250-1300. -
Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation Victoria Mosher University of Central Florida Part of the Women's Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mosher, Victoria, "Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation" (2008). Electronic Theses and Dissertations, 2004-2019. 3605. https://stars.library.ucf.edu/etd/3605 BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION by VICTORIA MOSHER B.A. University of Central Florida, 2003 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2008 ©2008 Victoria Mosher iii ABSTRACT In 1988, Linda Nicholson and Nancy Fraser published an article entitled “Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism,” arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might help feminist theorists overcome these epistemological impediments. -
Derrida's Views on the Truth in Painting
DOI: https://dx.doi.org/10.21659/rupkatha.v2n1.08 Metaphysics and Representation: Derrida’s Views on the Truth in Painting Chung Chin-Yi National University of Singapore Abstract This paper discusses Derrida’s deconstruction of both representational and post- representational thinking, in pointing out that they both assume a realist or representational paradigm as its assumption. It examines Rosemary Hawker’s contention that Derrida’s argument is one fundamentally concerned about the inseparability of idiom and content, and argues that indeed this was an accurate reading; Heidegger and Shapiro’s fallacy as interpreted by Derrida is precisely the trap of metaphysical and representational thinking in assuming that content is separable from form. It also examines Marcellini and Haber’s arguments that Derrida’s arguments are about the failure of the representational paradigm of thinking as there is always a surplus and excess of meaning because each rendering differs from its origin. Finally it finds out that there is no such thing as pure representation as art always renders its object with a difference, or differance. [Keywords: Truth, Heidegger, Shapiro, Representation, Deconstruction, Marcellini ] In The Truth in Painting, Heidegger’s attempt to ‘go beneath or behind the metaphysical determination of truth (Derrida, 1987:30) remains committed to the anthropological project. While Heidegger sought to break away from representation, Heidegger remained humanist and anthropomorphic. Derrida illustrates this through examining the Heidegger-Shapiro correspondence about Van Gogh’s shoes to explore this theme. Derrida contrasts Shapiro, the city dweller, with Heidegger, the champion of peasant ideology, and illustrates the paradox of the controversy- that both contenders share more common ground that they believe – the trap of representational thinking. -
Firstly, Every System Has a Structure
Study Material Department of English Name of the course: EM 18 LITERARY THEORIES-II NAME OF THE MODULE: STRUCTURALISM LECTURE -1 DR SAUNAK SAMAJDAR KINDLY GO THROUGH THE FOLLOWING CAREFULLY. MORE EXPLANATION AND AUDIO/VIDEO-LEECTURES WOULD FOLLOW . • Structuralism is a 20th Century approach to the human sciences . • It has had a profound effect on linguistics, sociology, anthropology and other fields like critical analysis of literary and artistic texts that attempts to analyze a specific field as a complex system of interrelated parts. • Broadly speaking, Structuralism holds that all human activity and its products, even perception and thought itself, are constructed and not natural, and in particular that everything has meaning because of the language system in which we operate. • It is closely related to Semiotics, the study of signs, symbols and communication, and how meaning is constructedand understood. • There are four main common ideas underlying Structuralism as a general movement • firstly, every system has a structure; • secondly, the structure is what determines the position of each element of a whole; • thirdly, "structural laws" deal with coexistence rather than changes; and • fourthly, structures are the "real things" that lie beneath the surface or the appearance of meaning. \ • Structuralism is widely regarded to have its origins in the work of the Swiss linguis-tic theorist Ferdinand de Saussure(1857 - 1913) in the early 20th Century, but it soon came to be applied to many other fields, including philosophy, anthropology, psychoanalysis, sociology, literary theory and even mathematics. • In the early 20th Century, Saussure developed a science of signs based on linguistics (semiotics or semiology). -
Of Barrels and Pipes: Representation-As in Art and Science
Of Barrels and Pipes: Representation-As in Art and Science Roman Frigg and James Nguyen Forthcoming in Otávio Bueno, Gerorge Darby, Steven French and Dean Rickles (eds.): Thinking about Science, Reflecting on Art. London: Routledge, 2017. 1. Introduction A flame is moving along a fuse. It reaches a tyre, which starts rolling down a slope. It reaches the ground and moves horizontally for a short while before it starts climbing a tilted balance, its speed being just sufficient to pass the midpoint. This tips the balance to the other side and the tyre rolls down again. After having gone up and down another smaller balance it hits a board that is tied to a ladder. The ladder falls, hitting another board, which kicks the tyre in the direction of an oil barrel on top of which there is small trolley with a burning candle. The trolley starts moving and soon gets stuck under a metal grid with sparklers, which catch fire. This lights another fuse, setting off a small firework. A spark of the firework ignites a puddle of oil, and so on. This is the opening sequence of the 1987 film The Way Things Go by Swiss artists Fischli&Weiss. In the 29 minute long film we see a seemingly endless sequence of events involving1 physical objects such as tires, ladders, oil barrels, shoes and soap. The events are carefully arranged and subtly calibrated. They unfold according to exceptionless laws and yet there is an element of surprise in them. The sequence of events fascinates and even creates sense of suspense about what’s next (a reviewer for The Independent enthusiastically reported that watching The Way Things Go was like watching a Hitchcock film). -
Postclassical Hollywood/Postmodern Subjectivity Representation In
Postclassical Hollywood/Postmodern Subjectivity Representation in Some ‘Indie/Alternative’ Indiewood Films Jessica Murrell Thesis submitted for the Degree of Doctor of Philosophy Discipline of English Faculty of Humanities and Social Sciences University of Adelaide August 2010 Contents Abstract .................................................................................................................. iii Declaration ............................................................................................................. iv Acknowledgements.................................................................................................. v Introduction ........................................................................................................... 1 Chapter 1. Critical Concepts/Critical Contexts: Postmodernism, Hollywood, Indiewood, Subjectivity ........................................................................................12 Defining the Postmodern.....................................................................................13 Postmodernism, Cinema, Hollywood. .................................................................22 Defining Indiewood. ...........................................................................................44 Subjectivity and the Classical Hollywood Cinema...............................................52 Chapter 2. Depthlessness in American Psycho and Being John Malkovich.........61 Depthlessness, Hermeneutics, Subjectivity..........................................................63 -
Hispanic Art in Texas Teacher Resource 2
ART, IDENTITY, CULTURE TEJANO CULTURE IN EARLY TEXAS AND CONTEMPORARY ART LESSON ONE ART AND REPRESENTATION BEFORE THE LESSON It is important for students to be able to critically evaluate what they see, particularly as this relates to the representation of culture. Without a critical eye, students may accept stereotypical interpretations and not strive for accurate representations of peoples and cultures. OVERVIEW In this lesson, students identify and discuss how examples of Early Texas Art represent Tejano culture, comparing works for the ways that they construct their subjects. They will consider the social and historical conditions under which the images were made and offer plausible explanations for the paintings' meanings. Finally, they will evaluate what primary sources are necessary to investigate culture appropriately. In doing so, the students identify the tools that they will use in the remaining lessons. OBJECTIVES STUDENTS WILL: Interpret images for their meaning Compare different images for their meanings Employ terms introduced in the unit (Tejano, Anglo, culture, identity, representation, stereotype) Compose a plausible extension for each image Evaluate resources needed for more complete interpretations of the images HISTORICAL INFORMATION These three paintings represent different periods of Texas history. Theodore Gentilz's painting was created in the Republic of Texas (1836-1845). Gentilz was a Frenchman who moved to San Antonio in 1843 and painted the city's diverse cultures as he saw them. The image seen here represents a fandango dance. José Arpa made his image in 1929, just before the Dust Bowl and the Great Depression. Tejanos at this time experienced discrimination and schools were segregated. -
STYLE and the REPRESENTATION of HISTORICAL TIME Selection
STYLE AND THE REPRESENTATION OF HISTORICAL TIME George Kubler Department of the History of Art, Yale IJniuersity, New Haven, Conn. Humans surely are not unique in their capacity for identifying different events as being recurrent. Other animals also project their organic needs under the same guise of identity among successive stimuli. G. A. Brecher showed in 1932 that the snails read space into succession.' As an art historian, I am overly familiar with the notion of style, which is another way of imposing space upon time and of denying duration under the illusion that successive events are similar events. To spatialize time is a faculty shared both by snails and by historians. I This paper has three parts. The first one is about resemblances between the writing of history and the painting of pictures. The second part concerns the nature of duration as historians perceive it. The third part considers whether the idea of style is suitable to studies of duration. The writing of history resembles the painting of pictures, as Thucydides remarked in the Moralia. It depends upon many schemes and conventions of representation. These may tentatively be grouped as (a) conventions in theselection of what to represent from the immense complexity of any portion of duration, and (b) conventions as to the mode of figuration among these selections. Selection 1. Unique cases and general cases form a gradient at whose extremes the possibility of history vanishes. The historian selects a median position on the gradient, in order to resolve the antithesis between a microstructure where no two actions are alike, and a macrostructure where all actions are alike. -
Saussurian Structuralism in Linguistics
Journal of Literature, Languages and Linguistics www.iiste.org ISSN 2422-8435 An International Peer-reviewed Journal Vol.20, 2016 Saussurian Structuralism in Linguistics Tanveer Ahmed Muhammadi MS Scholar, Mehran University Of Engineering and Technology, Jamshoro, Sindh, Pakistan Abstract This research article focuses on the basic assumptions about structuralism as proposed by Ferdinand Saussure through his ideas of structure, language signs, synchronic and diachronic study of language and langue and parole. It also incorporates the criticism on Saussurean thought from different intellectual quarters. The background view of the life of Saussure and his intellectual legacy and attempts have been attempted to explain in simple terms before indulging into the technicalities of the topic. Introduction Structuralism, since its inception has extended itself to the various other fields and disciplines due to its wider applicability. However, this article only covers its relation to the field of Linguistics where it was born. The work undertaken here is aimed at focusing the interpretation of structuralism theory as proposed and discussed by Saussure and his school of thought as well as the emergent new concepts about structuralism. The sign system in language, langue and parole and other related concepts would be taken into consideration. Structuralism owes its origin to Ferdinand Saussure (26 November 1857 – 22 February 1913). He is renowned for his revolutionary ideas about the fields of linguistics and semiology. His founding role in semiology is only compared with the role of Charles Sanders Peirce. Saussure gave a new status to the understanding of language. He believed that language should be approached not from the view of rules and regulations for correct or incorrect expressions rather it should be looked from the angle of how people actually use it. -
Modeling As Scientific Reasoning—The Role of Abductive
education sciences Article Modeling as Scientific Reasoning—The Role of Abductive Reasoning for Modeling Competence Annette Upmeier zu Belzen 1,* , Paul Engelschalt 1 and Dirk Krüger 2 1 Biology Education, Humboldt-Universität zu Berlin, 10099 Berlin, Germany; [email protected] 2 Biology Education, Freie Universität Berlin, 14195 Berlin, Germany; [email protected] * Correspondence: [email protected] Abstract: While the hypothetico-deductive approach, which includes inductive and deductive rea- soning, is largely recognized in scientific reasoning, there is not much focus on abductive reasoning. Abductive reasoning describes the theory-based attempt of explaining a phenomenon by a cause. By integrating abductive reasoning into a framework for modeling competence, we strengthen the idea of modeling being a key practice of science. The framework for modeling competence theoret- ically describes competence levels structuring the modeling process into model construction and model application. The aim of this theoretical paper is to extend the framework for modeling com- petence by including abductive reasoning, with impact on the whole modeling process. Abductive reasoning can be understood as knowledge expanding in the process of model construction. In com- bination with deductive reasoning in model application, such inferences might enrich modeling processes. Abductive reasoning to explain a phenomenon from the best fitting guess is important for model construction and may foster the deduction of hypotheses from the model and further testing them empirically. Recent studies and examples of learners’ performance in modeling processes support abductive reasoning being a part of modeling competence within scientific reasoning. The ex- Citation: Upmeier zu Belzen, A.; tended framework can be used for teaching and learning to foster scientific reasoning competences Engelschalt, P.; Krüger, D.