'O men, serve your Lord who created you and those before you, so that you may guard against evil. Deals with Allah, Prophet Muhammad PBUH, Hazrat Mirza Ghulam Ahmad Sahib -- What are the signs of the appearance of the promised messiah? and do these signs appear in the being of Hazrat Mirza Sahib?

Making the case, Stay on Message explores the poetics of political speeches in Australia, the USA, and elsewhere with examples of both the good and the delightfully appalling.

The article discusses mechanisms of manipulative influence on a theoretical basis of suggestion and on the actual material of Bulgarian press. The author supposes that adequate research requires integrated approach with symbiosis of techniques of cognitive science, linguistic pragmatics, psycholinguistics and the theory of speech activity. Manipulative action takes place not only through language (explicit and implicit), but also non-verbal instruments that have different range, different pragmatic potential, etc. The necessity of a comprehensive analysis of the hidden manipulative influence on (...) psyche which is implemented through a flexible system of complex-integrated manipulative pragmatic acts is stated. This system is projected to complete, hierarchically organized and fast changing communication technology which has the following form: cognitive and psychological basis of audience → intention of the adresser → communication strategy → verbal tactics → instruments → perlocutionary effect. Herewith the form of speech is one of the pragmatic factors having great value for actualizing manipulative potential. Communication in form of direct dialog, typical only for oral speech, has a significant resources to counter planned suggestion. Furthermore the author compares the usage of the same suggestive influence patterns in oral and written speech. So the monologue tactic is supposed to be optimal for planning and control of communicative intention, which may include the use of instruments and mechanisms with manipulative potential. Addresser has sufficient time for careful selection of communication strategies and tactics of speech, as well as for creative combination and skillful concealing of manipulativeness manifestations. The author concludes that the regularity, according to which one monologue makes manipulativeness ''tolerant'' and dialogue ''discredit'' it, reflects differently in different monologue and dialogue tactics that are relevant to different types of communicative interaction. (shrink)

This volume presents some discourses (or. 54, 55, 70, 71 and 72) written by the orator and philosopher Dio of Prusa (about 40 - after 111 AD), who was also called Chrysostomos ("Golden Mouth"). Of these texts there have never been detailed commentaries up to now. They draw an image of the philosopher not as an abstract thinker but as a new Odysseus, Heracles, but also as a new Socrates or Diogenes, who purposely interferes in people's affairs and by his (...) mere appearance and demeanour provokes them and prompts them to rethink and change their lives. They also outline an ideal of practical ethics to which Dio himself felt obliged; this ideal can still have an effect far beyond Dio’s times and the diverse society of the Roman Empire. (shrink)

"Gagarin demonstrates persuasively that Antiphon the logographer is identical with the Antiphon who made intellectual contributions on more abstract topics." —Mervin R. Dilts, Professor of Classics, New York University Antiphon was a fifth-century Athenian intellectual (ca. 480-411 BCE) who created the profession of speechwriting while serving as an influential and highly sought-out adviser to litigants in the Athenian courts. Three of his speeches are preserved, together with three sets of Tetralogies (four hypothetical paired speeches), whose authenticity is sometimes doubted. Fragments (...) also survive of intellectual treatises on subjects including justice, law, and nature (physis), which are often attributed to a separate Antiphon the Sophist. Were these two Antiphons really one and the same individual, endowed with a wide-ranging mind ready to tackle most of the diverse intellectual interests of his day? Through an analysis of all these writings, this book convincingly argues that they were composed by a single individual, Antiphon the Athenian. Michael Gagarin sets close readings of individual works within a wider discussion of the fifth-century Athenian intellectual climate and the philosophical ferment known as the sophistic movement. This enables him to demonstrate the overall coherence of Antiphon's interests and writings and to show how he was a pivotal figure between the sophists and the Attic orators of the fourth century. In addition, Gagarin's argument allows us to reassess the work of the sophists as a whole, so that they can now be seen as primarily interested in logos (speech, argument) and as precursors of fourth-century rhetoric, rather than in their usual role as foils for Plato. (shrink)

Speeches of Bhumibol Adulyadej on Buddhism and moral values.

Rhetoric and philosophy both constituted the main elements of literary education in the Greco-Roman world of the second century A.D. The present study deals with the relationship between both disciplines in Second Sophistic literature: Did ...

This volume presents eleven new assessments by an international team of experts who for the first time study Dio's politics alongside his philosophy and writing ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Powers of Expression, Expressions of Power: Speech Presentation and Latin LiteratureEllen OliensisAndrew Laird. Powers of Expression, Expressions of Power: Speech Presentation and Latin Literature. Oxford Classical Monographs. Oxford: Oxford University Press, 1999. xx + 358 pp. Cloth, $85.Prospective readers should not be put off by the title of this ambitious book. Though "speech presentation" (the use of direct discourse [DD], free indirect discourse [FID], etc.) may seem a (...) rather narrow and technical topic, Laird makes a persuasive case for its manifold significance. And while he foregrounds "Latin literature," Laird ranges freely across centuries and genres, drawing on texts as diverse as the Hittite SongofUllikummi, Sannazaro's DepartuVirginis, and a 1994 story in the DailyTelegraph. The result is a thoughtful and engaging study from which readers of very different interests and stripes will be able to profit. Three chapters on the theory of narrative representation and speech presentation are followed by another three exploring representational strategies in (mostly Latin) historiography, epic, and the novel; a final chapter treats the speeches of divine messengers in epic as "allegories of representation." The book is framed by a brief introduction and conclusion, the latter capped by a suggestive coda pointing to the multiple lines of research, across various disciplines, which might be opened up by a more scrupulous consideration of speech presentation.In the introduction, Laird outlines the benefits, practical and theoretical, of focusing on speech presentation: "First, [speech presentation] can throw light on the themes and stylistic features of particular texts. Second, functions of speech [End Page 596] presentation bear on broader concerns including form and content, representation, genre, ideology, and intertextuality" (xv). These claims are amply justified in the ensuing chapters. Laird's theoretical orientation generates an abundance of local insights. He suggests that Tacitus' contrasting introductions to the speeches of Calgacus and Agricola--the distancing locutusfertur versus the confident itadisseruit (Agr. 29.4, 33.1)--help differentiate barbarian from Roman by implying "that Agricola's oration possesses a greater ontological stature than Calgacus'" (126); that Encolpius' exploitation of what Laird dubs "angled narration of dialogue" (reserving DD for his interlocutors' speech and ID for his own) produces the effect of narratorial transparency in the Cena (217-20); that the use of direct discourse for Mercury's message and indirect for Fama's in Aeneid 4 "enhances the essential contrast between the nature of the two messengers" (272). In one of his boldest discussions (192-205), Laird reviews the unanswered speeches in the Aeneid and concludes that Virgil's epic is far more rigid than previous epics in associating speech with authority and dutiful silence with subordination (Laird interestingly contrasts Homeric epic, which proclaims this hierarchy but doesn't practice it with anything like Virgil's consistency); Laird goes on to speculate that this strong linkage of speech with authority also applies to Virgil's own epic discourse, which (like Aeneas' narration in books 2 and 3) is delivered to readers who are silent or even silenced.Occasionally, the marriage of theory and interpretation founders. For example, Laird's account of the multiple literary echoes in Encolpius's seaside soliloquy (Satyricon 81.1-82.1, discussed at 221-24) shows little trace of the theoretical self-consciousness displayed in his earlier remarks on the ideological character of intertextuality and its proximity to speech presentation. And the argument that the opening sequence of the Aeneid is designed to entice the reader into Virgil's "realist" fiction (157-64) rests on some unconvincing claims (e.g., that Aeneas' first speech "begins with a prayer" addressed to "the gods, or even the poem's audience" [162], and that Juno's first soliloquy has "the poem's audience or readers" as "her first addressees" [164]). Elsewhere, Laird suggests that Aeneas' parenthetical eloquaransileam? (Aen. 3.39) "could be FID conveying his own doubt and hesitation at the time of the incident he is describing" (182-83); but surely the question makes sense only if it is attached, not to the narrated past (where the relevant question would be "shall I keep pulling on this uncanny tree?") but to the present of narration.Although Laird, an astute reader, has much to teach us about... (shrink)

In terms of classical tafsir literature, it is possible that the speeches made to a person or group in the Qurʾān carry messages for other individuals or groups. According to some approaches that emerged in the modern period, when the speech was made and to whom it was directed not only determine the meaning, but also limits it. This dilemma has to be based on the theoretical dimension. The most obvious example of the transition of the speech from direct counterpart (...) to the other is the transition of the speeches made to the unbelievers to the believers. Therefore, in this study, the possibility of the transcendence of the speech in the Qurʾān will be handled in the context of the messages for believers in the speeches directed to the unbelievers. One aspect of the issue of the transcendence of the speech in the Qurʾān can be explained by the style that the Qurʾān follows. However, the subject should also be based on linguistic aspects. As a matter of fact, the expansion of the speech can sometimes be related to the meanings of words and sometimes with the possibilities and literary aspects of language, and sometimes with an analytical effort. In this study, the related examples will be analyzed and it will be revealed that the transition between the speeches in the Qurʾān is possible in terms of the style of the Qurʾān. In the study, the methodological findings related to the linguistic aspects of the issue will also be studied.Summary: The discourse that the Qurʾān is an address by God makes different associations in terms of classical literature and some modern methods of understanding. In the works of classical method and rhetoric, a theoretical framework is drawn around the nature, arbitrariness, conditions and types of the book. In this context, the varieties, indications and scopes of the addresses in the Qurʾān are discussed. While it is emphasized that the Qurʾān is an address in modernist contextualist approaches, it is stated that understanding the address requires having contextual information, therefore reading the address as a book evaporates meaning. Because, according to these approaches, the meaning is sought in the text with the transformation of address to book (verbal culture to written culture), thus the Qurʾān is converted from a literal meaning into a system. Knowing what the Qurʾān tells and why it tells that, depends on the comprehension of all the contextual elements of the Qurʾān, which was sent as an address. In fact, knowledge of when, where and when the Qurʾān was sent about what events and to whom it is addressed, is the data that is primarily considered in the comprehension of the verses, as emphasized by the classical interpretation literature. However, the perception of the classical interpretation evaluates these data in different categories in terms of the integrity of religion, judgment and experience. For example, the narrations on the reason of sending and the Makki-Madani information are only examples of the meanings of the verses. They sometimes serve as elements that contribute to the comprehension of the verses, while sometimes with the help of other chapters they can narrow the meanings of the verses. The realist-methodological basis of the method science provides the emergence of this holistic-categorical perspective.It is difficult to justify the claim that there is an absolute relationship between the address and the addressee in terms of the classical literature. In the classical literature, the expressions, which come in the form of an address and have a mandatory relationship with addressees, are dealt with the concept of direct address. Direct addresses are binding for the first addressees. Because when an address is mentioned, it is mandatory to have an addressee. It can be assumed that this discourse has the same position with the context theories considering its premises. However, it is not possible to compare these theories with each other in terms of the scope of the address. Classical theories of reasoning consider that direct addresses cover indirect addressees by methods, such as shar’i (legal) necessity or analogy (qiyas), while contextualists and historians can convert the text beyond the virtual level by identifying what a command means within the context of the address-addressee relationship. When the Qurʾān is completely considered as an address, or when direct addresses are taken into consideration, it is very difficult for the modern period's comprehension methods that the verses, which mention or address the disbelievers-polytheists, can also address Muslims. In fact, the dialectic of the address-addressee requires this. Moreover, the addressees (polytheists-Muslims) who are spoken within the context of the verses have two different beliefs that cannot be dealt with at the same time and mentioned in the same verse. Therefore, it is not possible to direct the messages given to the polytheists to the believers and to attribute the qualities in these verses to Muslims.However, the classical literature did not even consider as a problem to address Muslims with the verses that directly addressing unbelievers-polytheists. It is because both linguistics and facts requires this. The method practitioners and interpreters discussed this issue in a very wide range. They examined the transitivity of the book between parties, such as people of the book-Muslims, Muslims-unbelievers, Prophet-ummah. In the context of the interpretation literature and the perception of modern-day interpretation, the possibility of the transitivity of the book can be clarified in the context of the inclusiveness of a verse that speaks of polytheists-disbelievers to include Muslims, or the conversion of an address to polytheists-unbelievers to Muslims. Classical literature explains this point sometimes with the literal indication (circularization) and the circumstance of literary use of language (rhetoric) and sometimes with the possibility of the address (stylistic features).In verses and hadiths, belief bases categorical classes, such as believers, unbelievers, polytheists, hypocrites, people of the book are mentioned, as well as descriptions of the characteristic-practical dimensions of these classes. In this context, commands sometimes refer to the practices that need to be performed in order to be a believer, sometimes works that must not be performed by the believer, and sometimes matters that might put the believer's faith-practice integrity at risk when it is done. In the Qurʾān, in some of the addresses to the believers, it is apparent that they are prohibited from being like unbelievers or having unbeliever-like qualities. Moreover, sometimes negative results that may arise for Muslims when they act like unbelievers are cited in the verses. Sometimes at the end of the verses that address and mention Muslims, information is included on situations involving unbelievers and the torment they will encounter. In addition, in cases where adjectives belonging to opposing belief profiles are mentioned, the address to non-Muslims expresses warning, evaluation, gratitude and perseverance in faith for Muslims, while the address to Muslims contains elements of incentive and opportunity for non-Muslim groups. It is possible to justify this matter with the style of the Qurʾān. However, it can be said that the transitivity of the address in the Qurʾān takes place in two theoretical aspects. The first of these is related to linguistic-rhetoric premises and it is used in antithesis, allusion, metaphor etc. The second one is the similitude-comparison. Here, the comparison is a phenomenon that occurs in the mind without the need for propositions. Because when the mind hears these statements, it can instantly reach a stronger meaning than the literal wording. In this study, it is discussed whether it is possible to transition from direct addresses to indirect addressees, with reference to the problems of the modern period. In this context, the study primarily focuses on the fact that the Qurʾān sometimes transmits its messages and teachings to addressees through opposing belief systems. Thus, the manner adopted by the Qurʾān while directing certain commands and negations, not directly but through the opposing side, has been presented. In this study, the possibility of the verses that only mentions polytheists-unbelievers to also addressing Muslims was analyzed and these verses were compared with addresses to Muslims on the same matters. In the last part of the study, a theoretical framework was drawn on the subject and the method of interdisciplinary transitivity was determined. (shrink)

In this essay I explore efforts at regulating race-related speech on publicly funded colleges and universities. In the first section, I present the scope of the current debate about the topic: what speech is, contexts in which it is found, etc. In the second section, I present the case for unrestricted speech on campuses for the advancement of knowledge and social progress. The third section addresses standard problem cases for free speech like the non-scientific nature of racist epithets, existential threats (...) to the university, and involuntary exposure to racist speech. The fourth section explores arguments for regulating speech coming from critical race theorists and those who question the cultural narrative surrounding speech these days. In the fifth section, I lay bare the irreconcilable incompatibilities of free speech proponents and advocates of speech restrictions in several areas. The conclusion points the way forward toward by calling attention to the lingering questions about the values of knowledge and social progress. (shrink)

Der Band präsentiert bisher noch nie im Detail kommentierte Vortragstexte des Redners und Philosophen Dion von Prusa (um 40 - nach 111 n. Chr.), die ein Bild des Philosophen nicht als eines abstrakten Denkers, sondern als eines praktischen Ethikers zeichnen, der durch sein Auftreten die Menschen zum Überdenken und Korrigieren ihres Lebens anregt.

Seckendorff's »Teutsche Reden« of 1691 and the outline of his ideas on natural law published with them are a uniquely eloquent testimony of German Baroque culture. Seckendorff was the only 17th century aristocratic practitioner of courtly and political life to publish a number of his speeches in book form during his own lifetime and to supplement them with a theoretical superstructure substantiating his practical convictions. The text is centrally concerned with the connection between civilization and language culture and the dependence (...) of public speaking on the nature of the state. Seckendorff's unfinished outline of natural law betokens the critical engagement with the rise of secular natural law by a genuinely significant theoretician on the essential issues posed by government and administration. (shrink)

In der Buchreihe Deutsche Neudrucke werden Texte der Barockliteratur in originalgetreuen Nachdrucken zeitgenössischer Ausgaben wieder zugänglich gemacht. Den einzelnen Bänden sind jeweils Register, Bibliographien und ein Nachwort zur Überlieferung und geistesgeschichtlichen Stellung der Texte beigegeben.

Volume 39 of the Tanner Lectures on Human Values includes lectures initially scheduled during the academic year 2019-2020. Owing to the global coronavirus pandemic, some were delivered at a later date. The Tanner Lectures are published in an annual volume. In addition to permanent lectures at nine universities, the Tanner Lectures on Human Values funds special one-time lectures at selected higher educational institutions in the United States and around the world.

本套《人文通识讲演录》饱含着中国当代人文学界第一流学者们的深情,具有极高的学术价值和社会意义,是中国学术史和教育史上的珍贵见证.

The paper addresses the question how descriptive language is used to express legal norms. Sentences we find in legislative acts, i.e. statutes, constitutions and regulations, express legal norms. Linguistically speaking, there are various grammatical and lexical ways of expressing norms, such as imperative mood, modal verbs, deontic verbs, etc. However, norms may also be expressed by descriptive sentences, namely sentences in present or future tense and indicative (declarative) mood (i.e. _The minister determines the tax rate_). In many civil law countries (...) (including Poland), this is a very common, if not the default, form of expressing norms in legislative texts. Often presented as a legal peculiarity, this phenomenon has yet to draw much academic attention. The normative meaning of descriptive sentences is usually attributed to purely pragmatic factors stemming from our shared assumptions about the legal system. However, a closer look reveals that similar grammatical constructions are ubiquitous in everyday communication and in different languages. We tend to utter various sorts of directives using descriptive sentences (_Now we add a spoon of salt to the sauce_; _credit cards are not accepted_). This suggests the possibility for a linguistic (as opposed to exclusively legal) explanation. This paper aims to offer such an explanation. Rather than resorting to formal semantics, so prevalent in legal theory, it borrows from Cognitive Linguistics to reveal the cognitive underpinnings of our surprising tendency to express normativity in descriptive terms. This involves four different, yet complementary, theories. Firstly, the theory of conceptual metaphor by George Lakoff and Mark Johnson which explains the phenomenon in question in terms of the metaphor “ ought is is ”; with “ ought ” as the more abstract target domain and “ is ” as the more concrete, cognitively simpler source domain. Secondly, the theory of speech act metonymy by Panther and Thornburg which presents descriptive legal sentences as referring to various components of the underlying cognitive scenario of obligation. Thirdly, Ronald Langacker’s notion of the virtuality of language as the explanation for non-present, including future, perpetual and directive, uses of the present tense. Fourtly, the notion of normative generics which points to the nominal, as opposed to verbal, structure of descriptive legal sentences as the source of their normativity. (shrink)

It is often assumed that Paul Grice, in one way or another, has made an important contribution to the theory of speech acts} Grice, as far as I can see, never expressly addresses Austin’s theory in his published work. He hardly ever uses the speech act terminology of "illocution", "perlocution", etc.2 So what does the more or less implicit Gricean contribution to the theory of speech acts consist in'? There is more than one good answer to this question. I shall (...) concentrate on a particularly influential one, which goes back to Strawson (1964). It says that Austin, in his account of the nature of illocutionary acts, over-emphasized the role of conventions; that Austin went wrong in characterizing illocutionary acts as acts which are essentially conventional. The Gricean contribution to speech act theory, according to the envisaged answer, is twofold, both diagnostic and therapeutic. First, it helps us see where and why Austin went wrong in taking illocutionary acts to be essentially conventional. Second, it suggests an essentially intentional — instead of an essentially conventional- element in illocutionary acts. In his 1964 paper Strawson tried to bring out, as regards the interplay of convention and intention in illocutionary acts, both what can be conceded to Austin and what must be learnt from Grice. Austin (1962: 115) had said that "the performance of an illocutionaiy act involves the securing of uptake". Strawson (1964: 158 ff) interprets Austin as meani_ng to say that the performance of an illocutionary act involves understanding of illocutionary force. Understanding of illocutionary force involves, according to Strawson, grasping a "compleX [speaker’s] intention" (ib.: 160), and it is here, of course, where he brings Gricean ideas into _Austin’s scheme of what the essence of illocution is. He says. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Evidence, Authority, and Interpretation: A Response to Jason HelmsCarol PosterAs someone with a long-standing interest in Heraclitus, I am delighted that Philosophy and Rhetoric is providing a forum for an ongoing discussion of his work.1 Although Jason Helms and I do disagree on specific matters concerning Heraclitean interpretation, we are, I think, in full agreement concerning the importance of Heraclitus for both rhetorical and philosophical studies and intend these (...) essays as contributions to what, it is hoped, will be a fruitful ongoing discussion of Heraclitus within the interdisciplinary tradition of this journal. Rather than address many minor points of disagreement superficially, I will concentrate below on close analysis of a few specific issues that I consider paradigmatic of differences in method rather than merely in conclusions.Panta Rhei (All Things Flow)That Heraclitus was interested in establishing any sense of orthoepia plays down his insistence on the panta rhei (everything flows). To suggest any final rightness of words would suggest that everything flows but the Logos.(Helms, this issue)Actually, I do not use the phrase “final rightness of words” but, rather, describe Heraclitus as “focus[ing] on the problem of correctness of names” and as [End Page 288] “consider[ing] the possibility that one can learn something about the nature of things by examining the non-literal sense of their names” (2006, 15).2 Name is an English equivalent of the Greek onoma (Latin nomen, substantive as opposed to verb or particle), not rhêma (word, verb, phrase) or logos (word, account, speech, saying, story, ratio, reason, etc.). The phrase “correctness of names” alludes to an ongoing discussion among scholars in classics and philosophy about a specific problem in early Greek thought (normally discussed in relation to Heraclitus, Protagoras, Prodicus, Plato’s Cratylus, and Aristotle’s Categories and On Interpretation).More importantly, Helms seems to think it impossible a priori that Heraclitus might have considered some sort of doctrine of flux compatible with a belief in correctness of names. Ancient evidence, however, suggests that Heraclitus did, in fact, consider stability of logos, correctness of names, and sensible flux compatible in some manner.For logos as unchanging, dk22b1 begins, “Of the logos that exists always [eontos aiei] uncomprehending are men.”3 Although the syntax is ambiguous, eontos aiei suggests some stability of logos. Sextus Empiricus states that Heraclitus considered the “divine logos” stable and eternal and human reason grounded in its participation therein (Adv. Math. 7.126–33).4 The “commonality” of logos in dk22b2 also suggests some interpretive stability, in the sense of logos not varying with respect to the perception of the individual.The phrase panta rhei, although solidly entrenched in the reception history of Heraclitus, often as part of a “doctrine of flux,” is not actually a well-attested Heraclitean saying (included in the dk “b” fragments) but, rather, derived from early testimonia. Whether the phrase is a paraphrase, indirect quotation, or Platonic/Aristotelian recasting of Heraclitus is uncertain. The earliest sources are Platonic:Therefore you [Theaetetus] were quite right in saying that knowledge is nothing else than perception, and there is complete identity between the doctrine of Homer and Heraclitus and all their followers— that all things are in motion like streams [hoion rheumata kineisthai ta panta]—the doctrine of the great sophist Protagoras that man is the measure of all things—and the doctrine of Theaetetus that, since these things are true, perception is knowledge.(Theaet. 160d) [End Page 289]Those... would agree well enough with Heraclitus that all things move and nothing remains still [panta menein ouden].(Crat. 401d)Heraclitus says that all things move and nothing remains still [hoti panta chorei kai ouden menei], and he likens the universe to the current of a river, saying that you cannot step twice in the same stream.(Crat. 402a)Nor will he condemn himself and all things and say that there is no health in them, but that all things are flowing like leaky pots [panta hôsper keramia rhei], or believe that all things are just like people afflicted with catarrh, flowing and running all the time [rheumatos te kai katarrou panta ta chrêmata].(Crat. 440c–d... (shrink)

The main purpose of the paper is to find illuminating and fruitful definitions of ?standard use?, ?misuse?, ?misleading use?, etc., as applied to our speech. The author first sets up two fundamental conditions for successful standard use of language: (1) that the statement should be given in the right circumstances, including the speaker's having a status such that he can make a statement of the kind in question; (2) that the speaker should mean what he says, in the sense that (...) what he says is an unfeigned, genuine expression of his mind. If either of these conditions is not satisfied, the statement is to be classified as non?standard in some sense. But depending on whether or not the person addressed is aware of the fact that the condition is not satisfied, the statement will be classified in different ways. Thus, if condition 1 is not satisfied and the person addressed is aware of it, he should call it simply ?odd? use, sometimes ?nonsense?. However, if the person addressed is unaware of this fact, we should talk about ?misleading? use (e.g. if someone who is not in command gives a command; if someone who was not there tells about the event as if he were present). If condition 2 is not satisfied and the person addressed is aware of it, we get ?secondary? use (e.g. jokes, irony, quotation, politeness, flattery as an accepted part of the social game). However, if the person addressed is not aware of this fact, we get ?misuse? or ?parasitic? use (e.g. lying, boasting, bluffing, cajoling). (shrink)

There is a widespread assumption in Construction Grammar (but also before and elsewhere) that the meanings of verbs correlate with or even determine their complementation forms and patterns. There is much less research on noun complementation, however, although this category is even more interesting for a number of reasons such as the potential for valency reduction, nominal topicalization constructions, and additional complementation options, e.g.of-PPs and existential constructions.In this paper we focus on the class of nouns reporting commissive illocutionary acts (promise, (...) offer, pledge, refusal, bet, threat, etc.), and address the question of whether there is a correlation (i) between the meaning of these nouns and their preferred complementation patterns, and (ii) between their semantic similarity and their similarity in the distribution of complementation patterns.We report the results of a study of a set of 17 commissive nouns chosen from a wider collection of illocutionary nouns. Two types of analysis were carried out in order to compare the semantic and grammatical characteristics of these nouns. The semantic analysis was based on insights from speech act theory and the philosophy of language. We developed a framework for a systematic comparative description of the nouns in our word field. The results were tallied with a corpus-based grammatical analysis. Two hundred tokens of each noun type were randomly sampled from the Corpus of Contemporary American English. Using these data, the 17 nouns were subjected to an analysis of the relative frequencies of their complementation patterns.Results indicate a general match between noun meanings and complementation patterns. More specifically, however, they indicate that the closeness of this match depends on the prototypicality of nouns as members of the class of commissives.The study, then, contributes to our understanding of the relation between lexis and syntax. At the same time, it confirms the need for a close semantic analysis to account for the great extent to which item-specific information, i.e. properties of individual nouns, have to be taken into consideration at the expense of large-scale generalizations. (shrink)

The argument from retraction (the speech act of “taking back” a previous speech act) has been one of the favorite arguments used by relativists about a variety of natural language expressions (predicates of taste, epistemic modals, moral and aesthetic claims etc.) in support of their view. The main consideration offered is that relativism can, while rival views cannot, account for this phenomenon. For some of those leading the charge, retraction is, in fact, mandatory: a norm of retraction makes it obligatory (...) for an agent to retract a previously unretracted assertion whenever what has been asserted is shown to be currently false. This norm, it is contended, distinguishes (radical) relativism from other views on the market. Recently, several considerations—both from the armchair and based on empirical studies—have been offered to undercut the support retraction has been taken to provide for relativism. In this paper, I engage with both types of considerations and lay out two strategies the radical relativist can follow: weakening the force of the retraction norm and restricting it to certain conditions. I explore how much of the recalcitrant data can be accounted for by each strategy, and show that the best route for the relativist is to adopt a flexible version of the view. Finally, I address the objection from ad-hocness in relation to the flexibility envisaged and put forward a principle based on the notion of the importance of the context of the assertor in a given context of assessment that underlies flexibility. (shrink)

Although political discourse is essentially expected to be fact-based and objective, both practice and research show that literal language in political discourse is very often compounded with figurative language. The paper at hand tackles figurative language use in political interviews. For the purposes of this research, we conducted a critical discourse analysis of a corpus of political interviews given by a former Macedonian female politician – Radmila Shekerinska. The corpus consists of six interviews (with a total duration of about 3 (...) h) in which she answers questions about the political climate and the challenges of North Macedonia in the last couple of decades. The selected interviews are all conducted in English as they are aimed at international audiences and they all fit into the time frame from 2017 to 2021, which practically overlaps with the final years of Shekerinska’s long-standing political career. This study uses a descriptive qualitative research design and focuses, first, on ascertaining the presence of different types of figures of speech in her answers (e.g. metaphors, simile, metonymy, synecdoche, personification, rhetorical questions, idiomatic expressions, proverbs, etc.); then, on identifying the pragmatic functions they perform in the context in which they are used, and finally, on establishing an interface between the figurative language use and the political ideology propagated by this politician. The results point to an extraordinarily resourceful use of a wide spectrum of figurative devices, skillfully intertwined with fact-based political discourse, primarily for addressing highly sensitive political issues, but also for driving important political points home; also, for gaining support from both the domestic and international community regarding the political ideology of this political figure as well as for enhancing the criticism addressed to political adversaries with an additional layer of creative flourish. (shrink)

It has long been known (cf. Frege 1918, Castañeda 1968, Anscombe 1975 , Perry 1977, 1979, Lewis 1981) that de se attitudes, that is beliefs, desires, hopes etc. that one has about oneself as oneself,1 are interestingly different fromthe attitudes that one holds in a third-personal mode about some individual, who might or might not turn out to be them. Frege suggested that Dr. Lauben’s belief that he has been wounded is a belief that only Dr. Lauben himself can entertain. (...) Another person’s belief that Dr. Lauben has been wounded would be a different belief, one that would motivate action in a completely different way. This led Frege to the following puzzle.When Dr. Lauben says “I have been wounded”, he cannot be plausibly taken to express his own first-personal belief that he has been wounded, since nobody else can come to have that same belief. So what is, then, the content that he does express, in order to communicate to others that he has been wounded? Different solutions to the puzzle have been proposed, and my chapter may be seen as yet another attempt at addressing this question. I shall show that not only de se attitudes but also de se speech is interestingly different from third-personal attitudes/speech. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Buddhism and the Modern World Need Each Other:A Buddhist PerspectiveDavid R. LoyThe mercy of the West has been social revolution. The mercy of the East has been individual insight into the basic self/void. We need both.—Gary Snyder1Another way to make Snyder’s point would be: The highest ideal of the Western tradition has been the concern to restructure our societies so that they are more socially just. The most (...) important goal for Buddhism is to awaken and (to use the Zen phrase) realize one’s true nature, which puts an end to dukkha—especially that associated with the delusion of a separate self. Today it has become more obvious that we need both, not just because these ideals complement each other, but because each project needs the other.As far as I have been able to determine, the Western conception of justice largely originates with the Abrahamic traditions, particularly the Hebrew prophets, who fulminated against oppressive rulers for afflicting the poor and powerless. Describing Old Testament prophecy, Walter Kaufmann writes that “no other sacred scripture contains books that speak out against social injustice as eloquently, unequivocally, and sensitively as the books of Moses and some of the prophets.”2 Is there a Buddhist equivalent? The doctrine of karma understands something like justice as an impersonal moral law built into the fabric of the cosmos, but historically karma has functioned differently. Combined with the doctrine of rebirth (a necessary corollary, since evil people sometimes prosper in this life) and the belief that each of us is now experiencing the consequences of actions in previous lifetimes, the implication seems to be that we do not need to be concerned about pursuing justice, because sooner or later everyone gets what they deserve. In practice, this has often encouraged passivity and acceptance of one’s situation, rather than a commitment to promote social justice.Does the Buddhist emphasis on dukkha (suffering in the broad sense) provide a better parallel with the Western conception of justice? Dukkha is arguably its most important concept: According to the Pali Canon, Sakyamuni Buddha said that what [End Page 39] he had to teach was dukkha and how to end it. Historically, Asian Buddhism has focused on individual dukkha and personal karma, a limitation that may have been necessary in autocratic polities that could and sometimes did repress Buddhist institutions. Today, however, the globalization of democracy, human rights, and freedom of speech opens the door to new ways of responding to social and institutional causes of dukkha.On the other side, the Abrahamic emphasis on justice, in combination with the Greek realization that society can be restructured, has resulted in our modern concern to pursue social justice by reforming political and economic institutions. This has involved, most obviously, various human rights movements (the abolition of slavery, the civil rights movement, feminism, LGBT liberation, etc.), which have not been an important concern of traditional Asian Buddhism. As valuable as these reforms have been, the limitations of such a institutional approach, by itself, are becoming evident. Even the best possible economic and political system cannot be expected to function well if the people within that system are motivated by greed, aggression, and delusion—the “three fires” or “three poisons” that Buddhism identifies as unwholesome motivations that need to be transformed into their more positive counterparts: generosity, loving-kindness, and wisdom.Today, in our globalizing world, the traditional Western focus on social transformation encounters the traditional Buddhist focus on individual awakening. This essay addresses why they need each other in order to actualize their own ideals and uses the example of our present economic situation to explore some of the implications of this interdependence.good versus evilThe difference in focus can be traced back to different paradigms. One way to draw the contrast between the Abrahamic and Buddhist traditions is to consider their dissimilar attitudes toward morality. The Abrahamic religions are (the primary) examples of “ethical monotheism” because they emphasize most of all ethical behavior. God’s main way of relating to us, his creatures, is instructing us how to live by giving us moral commandments. To be a good Jew, Christian, or... (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

Cochlear implants (CI) support the development of oral language in hearing-impaired children. However, even with CI, speech recognition in noise (SRiN) is limited. This raised the question, whether these restrictions are related to the quality of life (QoL) of children and adolescents with CI and how SRiN and QoL are related to each other. As a result of a systematic literature research only three studies were found, indicating positive moderating effects between SRiN and QoL of young CI users. Thirty studies (...) addressed the quality of life of children and adolescents with CI. Following the criteria of the World Health Organization (WHO) for pediatric HRQoL (1994) only a minority used validated child centered and age appropriate QoL instruments. Moreover, despite the consensus that usually children and adolescents are the most prominent informants of their own QoL (parent- reports complement the information of the children) only a minority of investigators used self-reports. Restricted SRiN may be a burden for the QoL of children and adolescents with CI. Up to now the CI community does not seem to be aware of a possible impairment of QoL in young CI users. Further studies addressing this topic are urgently needed, which is also relevant for parents, clinicians, therapists, teachers, and politicians. Additionally investigators should use valid pediatric QoL instruments. They should be aware, that most of the young CI users are able to inform about their quality of life also themselves (additionally to parents). (shrink)

This study analyzes the cognitive and discursive process through which the issue of learning from the West is addressed in four of People's Republic of China founder Mao Zedong's political speeches – On New Democracy (1940), On Coalition Government (1945), On the Ten Major Relationships (1956), and Conversation with Musicians (1956). The study adopts a critical discourse analysis (CDA) perspective and utilizes blending theory to investigate the metaphorical conceptualizations Mao uses to cope with the cultural dilemma of learning from the (...) West. The study finds that the focus in Mao's conceptualizations is not on a ‘positive Us’ vs. ‘negative Them’ dichotomy between Chinese and Western cultures, but on a good vs. bad dichotomy inside Western culture, implying that only certain parts of Western culture should be (selectively) emulated. While the natural compatibility between Western culture and Chinese society is constructed as out of the question, the possibility of compatibility after human effort is not rejected: the selected part of Western culture should be transformed to serve a new socialist culture in China. In this process, the agency and rational thinking of the Chinese are emphasized. (shrink)

This collection of inaugural and ascension speeches facilitates comparison of presidential themes, leadership styles, personal philosophies, and evolutionary communication strategies in Nigerian nation building. Each chapter opens with biographical notes on the speaker, followed by an introduction to the prevalent political climate; each chapter ends with the leader's unabridged speech.

Is speech special? This paper evaluates the evidence that speech perception is distinctive when compared with non-linguistic auditory perception. It addresses the phenomenology, contents, objects, and mechanisms involved in the perception of spoken language. According to the account it proposes, the capacity to perceive speech in a manner that enables understanding is an acquired perceptual skill. It involves learning to hear language-specific types of ethologically significant sounds. According to this account, the contents of perceptual experience when listening to familiar speech (...) are of a variety that is distinctive to hearing spoken utterances. However, perceiving speech involves neither novel perceptual objects nor a unique perceptual modality. Much of what makes speech special stems from our interest in it. (shrink)

There has been a longstanding bias in the study of spoken language towards using writing to analyse speech. This approach is problematic in that it assumes language to be derived from an autonomous mental capacity to assemble words into sentences, while failing to acknowledge culture-specific ideas linked to writing. Words and sentences are writing constructs that hardly capture the sound-making actions involved in spoken language. This book brings to light research that has long revealed structures present in all languages but (...) which do not match the writing-induced concepts of traditional linguistic analysis. It demonstrates that language processes are not physiologically autonomous, and that speech structures are structures of spoken language. It then illustrates how speech acts can be studied using instrumental records, and how multisensory experiences in semantic memory couple to these acts, offering a biologically-grounded understanding of how spoken language conveys meaning and why it develops only in humans. (shrink)

This chapter explores the nature of dehumanizing speech. It begins by considering the nature of dehumanization simpliciter, building on the work of David Livingstone Smith. It argues that dehumanization can take multiple forms; it can be demonizing, enfeebling, mechanizing, or objectifying. It then argues, contra Smith, that dehumanization is not always a way of conceiving of someone. Instead, dehumanization can also be a linguistic phenomenon, whereby one asserts, implicates, or presupposes dehumanizing propositions or attitudes. The chapter then explores how one (...) might assert dehumanizing propositions, and suggests that one can do this with both literal and figurative language. It also explains why some uses of animalistic figurative language are dehumanizing and some are not. The chapter concludes by identifying a uniquely linguistic version of the paradox of dehumanization: dehumanizing speakers who directly address their targets often assert that these targets are subhuman, while, through the mechanism of second-personal address, presupposing that they are human after all. (shrink)

In this paper a dialogue game for critical discussion is developed. The dialogue game is a formalisation of the ideal discussion model that is central to the pragma-dialectical theory of argumentation. The formalisation is intended as a preparatory step to facilitate the development of computational tools to support the pragma-dialectical study of argumentation. An important dimension of the pragma-dialectical discussion model is the role played by speech acts. The central issue addressed in this paper is how the speech act perspective (...) can be accommodated in the formalisation as a dialogue game. The starting point is an existing ‘basic’ dialogue game for critical discussion, in which speech acts are not addressed. The speech act perspective is introduced into the dialogue game by changing the rules that govern the moves that can be made and the commitments that these result in, while the rules for the beginning, for the end, and for the structure of the dialogue game remain unchanged. The revision of the move rules is based on the distribution of speech acts in the pragma-dialectical discussion model. The revision of the commitment rules is based on the felicity conditions that are associated with those speech acts. (shrink)

Is speech special? This paper evaluates the evidence that speech perception is distinctive when compared with non-linguistic auditory perception. It addresses the phenomenology, contents, objects, and mechanisms involved in the perception of spoken language. According to the account it proposes, the capacity to perceive speech in a manner that enables understanding is an acquired perceptual skill. It involves learning to hear language-specific types of ethologically significant sounds. According to this account, the contents of perceptual experience when listening to familiar speech (...) are of a variety that is distinctive to hearing spoken utterances. However, perceiving speech involves neither novel perceptual objects nor a unique perceptual modality. Much of what makes speech special stems from our interest in it. (shrink)