Engaging contemporary notions of metaphor and drawing on his past work on the subject, Josef Stern presents a theory of metaphor which is based both on context and semantics. Over the past two decades philosophers of language, linguists, and cognitive scientists have generally believed that metaphor is external to the general conceptions of semantics and grammar. Moreover, metaphor is understood in its pragmatic sense, that is, as having its nature defined by its employment and various uses in language as opposed (...) to the content and character present in the meaning of metaphor. Stern sets as his goal a challenge of such readings of metaphor. Dialoguing with and challenging eminent thinkers on the subject of metaphor, including Donald Davidson and David Kaplan, Stern competently sketches his vision of metaphorical meaning which underlies a speaker-hearer’s capacity to interpret a metaphor by “drawing on a deep analogy between demonstratives, indexicals and metaphors.” His engaging views raise interesting questions and give much food for thought. Issues addressed include: the literal paraphrasability of metaphors vis-à-vis cognition, the roles of exemplification and similarity in metaphorical interpretation, dead metaphors, the pictorial character of metaphors, and the relation between metaphors and the literal. (shrink)

Two points of contact are explored between contemporary philosophy of science and Dialectical Materialism. The first point deals with the interaction view of metaphor as an exemplification of the law of the unity of opposites. The contradiction is then noted between the strategy and tactics of much analytical philosophy and the lesson to be learnt from this account of metaphor. The concern to change category habits into category disciplines rules out the process of conceptual change of the interaction view. (...) G. A. Paul's dismissal of Lenin's theory of reflection is then criticized in the light of the interaction view. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies (...) a property when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key (...) roles in what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

Unlike a great deal of research on expert/non-expert communication, most of which is based on written materials, this article focuses on face-to-face communication. The analysis is based on a large corpus of transcribed recordings of medical seminars in rehabilitation centres and of interviews with chronically ill patients suffering from heart conditions. The focus is on procedures of illustration, which are often combined with reformulation procedures. Four main types are described: metaphors, exemplification, `scenarios', concretization. Whatever the type of illustration used, (...) participants in face-to-face interaction show a marked preference for procedures which relate abstract medical information to everyday life and experience. After a brief outline of the theoretical approach adopted the analysis proceeds in two steps: first, the emphasis is on techniques employed by the `experts', then on those used by `non-experts', i.e. patients. This is followed by an examination of the question how the roles of expert and non-expert are constituted in and by interaction. (shrink)

Nelson Goodman equates expression with metaphorical exemplification. That is, a character C in a symbol system expresses a property P if three conditions are fulfilled: C has P ; C exemplifies P ; and C has P metaphorically. Two points are emphasized. The first point is that a character actually is what it metaphorically is: sad music really is sad, really does express sadness, just as loud music really is loud. The decision to apply to works of art (...) language that is literally applicable only to persons is arbitrary, in that no reason can be given for it other than its felt aptness; but, once the decision to use the terminology has been made, decisions about which terms are applicable to which works are no more arbitrary than any other decisions about the applications of terms. The second point is that there is no intimate connection between the concept of expression as thus defined and the concepts of emotion or feeling. The latter merely furnish one common set of metaphors. (shrink)

In our article, we argue, following Nelson Goodman and Arthur Danto, that in contrast to the essentialist conception of authenticity, it is more fertile to consider authentic patterns not as the inner core of the person, but as a case of metaphorical exemplification. According to our approach, if we accept that authentic style is a metaphorical exemplification, then, based on Richard Rorty’s concepts of language and metaphor, style can be seen as an exaptation or reuse of (...) symbols previously adapted through cultural selection to other specific functions. To support this approach, we proceed as follows. First, using Goodman’s and Danto’s model, we argue that authentic style can best be grasped through metaphorical exemplification. We then show that the metaphorical use of linguistic, pictorial, and other symbols is the result of exaptation. According to our results, the authentic style is the exaptation of symbols previously adapted to culturally selected functions. We then separate authenticity from creativity through the concepts of style and manner—borrowed from Danto—and we point out that whether a particular symbol is authentic or not is not affected by whether creative or mechanical mental processes are responsible for its creation. Finally, we examine the relationship between authenticity and autonomy, and we show that in an environment that promotes autonomous decisions and authentic style, agents that originally generated inauthentic symbols may be able to produce authentic ones. (shrink)

[straipsnis ir santrauka lietuvių kalba; santrauka anglų kalba] Šiame straipsnyje ginama tezė, kad grynoji muzika nereprezentuoja emocijų, bet jas metaforiškai egzemplifikuoja. Tezė grindžiama remiantis N. Goodmano metaforinės emocijų egzemplifikacijos samprata, kurią M. Textoras papildo intencijos kriterijumi (egzemplifikuojama tik tai, ką turima intencija egzemplifikuoti). Straipsnis sudarytas iš dviejų dalių: pirmojoje pateikiama emocijų atpažinimo ir sužadinimo klausantis muzikos analizė. Antrojoje dalyje siekiama pagrįsti, kad emocijų metaforinė egzemplifikacija muzikoje laikytina P. Grice’o nenatūralios prasmės rūšimi, o priėmus šią prielaidą galima apginti metaforinės egzemplifikacijos sampratą (...) nuo pagrindinių kontrargumentų. (shrink)

This paper explores the pervasive use of journey and traveller metaphors in everyday language, and their applications in philosophical discourse. While these metaphors offer rich insights into abstract concepts such as love and philosophy, they also introduce ambiguities that can impede effective communication. By dissecting the nuances of these metaphorical figures, the paper aims to clarify their meanings and enhance their explanatory power. Divided into three main sections, the paper first discusses different types of metaphors and their general structure, (...) providing a foundation for understanding metaphorical language. The second section delves into the specific metaphor of journey and traveller, analyzing its various connotations and implications with insights from scholars such as Dariusz Kubok and Steven Shaviro. Through this analysis, the distinctions between a traveller and a tourist are explored to deepen our understanding of metaphorical frameworks in philosophical discourse. Finally, the paper examines a specific journey strategy, focusing on Object-Oriented Ontology as an exemplification of a philosophical journey. Building upon prior conclusions, this last section elucidates the meaning and implications of this journey strategy, seeking to shed light on the multifaceted nature of philosophical discourse. (shrink)

Cognitive advancement is not always a matter of acquiring new information. It often consists in reconfiguration--in reorganizing a domain so that hitherto overlooked or underemphasized features, patterns, opportunities, and resources come to light. Several modes of reconfiguration prominent in the arts--metaphor, fiction, exemplification, and perspective--play important roles in science as well. They do not perform the same roles as literal, descriptive, perspectiveless scientific truths. But to understand how science advances understanding, we need to appreciate the ineliminable cognitive contributions of (...) non-literal, non-descriptive symbols. (shrink)

Buildings are frequently described as ambiguous and, indeed, they often involve the ambivalence associated with ambiguous symbols. In this paper, I develop a theory of architectural ambiguity within the framework of a Goodmanian symbol theory. Based upon Israel Scheffler’s study of verbal and pictorial ambiguity, I present a theory of denotational ambiguity of buildings which distinguishes four types of ambiguity: elementary ambiguity, interpretation-ambiguity, multiple meaning and metaphor, which proves to be a special case of multiple meaning. Denotationally ambiguous buildings are (...) exceptions, because buildings usually exemplify rather than denote. I therefore add a theory of exemplificational ambiguity. The crucial distinction between mere multiple exemplification and genuine exemplificational ambiguity leads to two versions of each of the first three types of ambiguity. The resulting extension of Goodman’s symbol theory is of interest beyond architecture. (shrink)

To borrow a by now worn out example from Bergmann, take a pair of colored spots in a visual field. Call them and. Suppose that is green while is red. According to Bergmann, we are presented with no less than ten entities in this perceptual occurrence, four of which are existents and six of which are subsistents. The existents break down into two kinds, i.e., simple properties and simple particulars. Green and red make up the properties, while the two things (...) that have these same qualities comprise the bare individuals. The subsistents include: two instances of the "relation" of exemplification, two instances of the "property" of universality, and two instances of the "property" of individuality. The quotes around 'property' and 'relation' indicate that the entities referred to in each case are not ordinary properties or relations. More positively, though perhaps roughly, universality and individuality are formal as opposed to material properties, while exemplification is a formal as opposed to a material relation. Notice just in passing that Bergmann's assay of this perceptual situation accords some kind of ontological status to at least some aspects of the world's form. Taking Wittgenstein's celebrated metaphor "Im Sachverhalt hangen die Gegenstande ineinander, wie die Glieder einer Kette" to mean that the world's form has no ontological status of any sort, Bergmann outspokenly puts himself in opposition to the author of Tractatus. (shrink)

Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in (...) art. Moreover I propose that the recognition of this intention depends on our interpretation of the artwork – an insight Goodman tried to capture with his assertion that our attributions of expressive properties to artworks function metaphorically. The realisation of the context-dependence of our expressive judgements about art and, hence, of the central role interpretation plays in these judgements, I contend, counts in favour of theories of expression like Goodman’s that focus on semantic concerns. (shrink)

Beginning with Nelson Goodman’s notion of exemplification, the possibility of using non-word objects to fulfil the predicative function ordinarily accomplished by words and expressions in language is described. It is shown that there are in fact many kinds of cases in which this function called ‘qualification’ does figure, albeit unnoticed, in dealings with objects. This notion of qualification is intended to be correlative with, and of the same generality as, reference, and with reference it enables a better understanding of (...) the primitive structure that Quine and Strawson call the ‘basic combination’. Aside from its importance to philosophical logic, qualification serves as one of the main ingredients in the account of metaphor. (shrink)

This book offers a new approach to the analysis of the multiple meanings of English modals, conjunctions, conditionals, and perception verbs. Although such ambiguities cannot easily be accounted for by feature-analyses of word meaning, Eve Sweetser's argument shows that they can be analyzed both readily and systematically. Meaning relationships in general cannot be understood independently of human cognitive structure, including the metaphorical and cultural aspects of that structure. Sweetser shows that both lexical polysemy and pragmatic ambiguity are shaped by (...) our metaphorical folk understanding of epistemic processes and of speech interaction. Similar regularities can be shown to structure the contrast among root, epistemic and speech act uses of modal verbs, multiple uses of conjunctions and conditionals, and certain processes of historical change observed in Indo-European languages. Since polysemy is typically the intermediate step in semantic change, the same regularities observable in polysemy can be extended to an analysis of semantic change. (shrink)

According to proponents of the continuity hypothesis, metaphors represent one end of a spectrum of linguistic phenomena, which includes various forms of loosening/broadening, such as category extensions and approximations, as well as hyperbolic interpretations. The continuity hypothesis is used to establish that the inferences derived from the set of linguistic expressions mentioned above result from the same or nearly similar pragmatic processes. In this paper, we want to challenge that particular aspect of the continuity hypothesis. We do so based on (...) considerations and analysis of an understudied linguistic phenomenon that we call the metaphorical uses of proper names (MPNs). We first explain how MPNs represent a unique linguistic class distinguishable from, for example, nicknames. In addition, we offer some remarks on how MPNs can be understood against the background of current debates between referentialists and predicativists about names. Our discussion leads us to conclude that MPNs are categorically different from literal interpretations of proper names. We spell out the consequences that the results of our analysis have for the continuity hypothesis. (shrink)

The overarching argument of Currie’s Rock, Bone, and Ruin is that we should be optimistic rather than pessimistic about what the historical sciences can tell us, even about the deep past. To adopt either of these two positions is to take a stance on how the historical sciences tend to perform—on whether they tend to do well, or poorly, when it comes to informing us about the past.

Studying cartoons about the economic crisis and focusing on a pair of scissors as a symbol, I prove how they first turn into unambiguous metaphor for the economic crisis and then experience an evolution in order to adapt to new communication contexts. Along these processes, they undergo more complex changes such as coadaptation and speciation. This has allowed for the scissors meme as a symbol of economic cutbacks to permeate society, and for its metaphorical use to occupy many disparate (...) communication scenarios, unlike other symbolic elements that were also used, but turned out to be less cognitively efficient and therefore offered fewer evolutionary possibilities. (shrink)

Ghazālī’s The Incoherence of the Philosophers is an unusual philosophical work for a number of reasons, not the least of which is the author’s explicit disavowalof any of the conclusions contained within it. The present essay examines some of the hermeneutical challenges that face readers of the work and offers anexegetical account of the much-neglected Third Discussion, which examines a key point of Neoplatonic metaphysics. The paper argues that Ghazālī’s maintaining of the incompatibility of metaphysical creationism and Neoplatonic emanationism should (...) not be viewed as simply a rhetorical or dialectical argument, but rather is best understood, to use Ghazālī’s words, as a philosophical “proof.” Essential to this proof in the solution to the argument of the Third Discussion is an implicit theory of metaphorical predication that can be pieced together from several of Ghazālī’s remarks as well as a reductio ad absurdum argument about the very possibility of ethical discourse. (shrink)

It is widely accepted that, in the course of interpreting a metaphorical utterance, both literal and metaphorical interpretations of the utterance are available to the interpreter, although there may be disagreement about the order in which these interpretations are accessed. I call this the dual availability assumption. I argue that it does not apply in cases of metaphorical singular reference. These are cases in which proper names, complex demonstratives or definite descriptions are used metaphorically; e.g., ‘That festering (...) sore must go’, referring to a derelict house. We are forced to give up dual availability in these cases because a process of predicate transfer happens in the restriction clauses of such metaphorically used definite phrases, so that a denotation-less definite concept is never constructed. A process of enriched composition yields only a metaphorical referent/denotation. I compare cases of metaphorical reference both to cases of metonymic reference and to uses of epithets of the ‘That N of an N’ form. Reflection on the former is helpful in getting clear about the kind of property transfer involved in referential metaphors. Such transfer happens directly at the level of properties and is not mediated via a correspondence between objects, as is the case with metonymic reference. Reflection on epithets such as ‘that festering sore of a house’ is helpful since these are a sort of intermediate case between cases of literal and metaphorical reference. They provide support for my claim that in cases of metaphorical reference there is only a single referent. Moreover, constraints on the use of these epithets suggest that referential metaphors are similarly constrained. In particular, I argue that referential metaphors can only be used when the implicit category restriction is highly salient, and that the evaluative information conveyed by the metaphor serves primarily to indicate the speaker’s attitude towards the referent rather than being intended to help the hearer identify the referent. (shrink)

But is not the word "metaphor" itself a metaphor, the metaphor of a displacement and therefore of a transfer in a kind of space? What is at stake is precisely the necessity of these spatial metaphors about metaphor included in our talk about "figures" of speech. . . . But in order to understand correctly the work of resemblance in metaphor and to introduce the pictorial or ironic moment at the right place, it is necessary briefly to recall the mutation (...) undergone by the theory of metaphor at the level of semantics by contrast with the tradition of classical rhetoric. In this tradition, metaphor was correctly described in terms of deviance, but this deviance was mistakenly ascribed to denomination only. Instead of giving a thing its usual common name, one designates it by means of a borrowed name, a "foreign" name in Aristotle's terminology. The rationale of this transfer of name was understood as the objective similarity between the things themselves or the subjective similarity between the attitudes linked to the grasping of these things. As concerns the goal of this transfer, it was supposed either to fill up a lexical lacuna, and therefore to serve the principle of economy which rules the endeavor of giving appropriate names to new things, new ideas, or new experiences, or to decorate discourse, and therefore to serve the main purpose of rhetorical discourse, which is to persuade and to please. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. He is editor of Revue de métaphysique et de morale and the author of many influential works on phenomenology, hermeneutics, and the philosophy of language. His most recent work to appear in English is The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language. He has also contributed "Narrative Time" to Critical Inquiry. (shrink)

William Whewell’s 19th century philosophy of science is sometimes glossed over as a footnote to Kant. There is however a key feature of Whewell’s account worth noting. This is his appeal to Aristotle’s form/matter hylomorphism as a metaphor to explain how mind and world merge in successful scientific inquiry. Whewell’s hylomorphism suggests a middle way between rationalism and empiricism reminiscent of experience pragmatists like Steven Levine’s view that mind and world are entwined in experience. I argue however that Levine does (...) not adequately explain exactly how mind and world entwine. He could nonetheless do so if he appealed to Whewell’s hylomorphic metaphor. We may prefer a reductive metaphysical explanation, but I suggest that pragmatists only have recourse to metaphor in this case. Both reductive and metaphorical explanations can enjoy great explanatory power if they exhibit a suitable measure of what I will call sematic distance. Semantic distance measures how close or how far apart explanandum and explanans are from each other in meaning. Metaphorical explanation - as evident in Whewell’s hylomorphism and as detailed via the notion of semantic distance - presents a valuable new explanatory tool to those who hold that mind and world are entwined sans recourse to metaphysics. (shrink)

Where do we recruit novel and unconventional conceptual materials from when we speak, think and act metaphorically, and why? This question has been partially answered in the cognitive linguistic literature but, in my view, a crucial aspect of it has been left out of consideration or not dealt with in the depth it deserves: it is the effect of various kinds of context on metaphorical conceptualization. Of these, I examine the following: (1) the immediate physical setting, (2) what we (...) know about the major entities participating in the discourse, (3) the immediate cultural context, (4) the immediate social setting, and (5) the immediate linguistic context itself. I suggest that we recruit conceptual materials for metaphorical purposes not only from bodily experience but also from all of these various contexts. Since the contexts can be highly variable, the metaphors used will often be variable, novel, and unconventional. The phenomenon can be observed in both everyday forms of language and literary texts. (shrink)

This study examines the metaphoric meanings in English and Chinese and explores the similar patterns and variations. With specific reference to metaphors with human bodies and animals, the study analyzes the cultural conceptions behind the metaphors and discovers that the interpretation of metaphorical meanings lies in the different cultural values and attitudes. The awareness of metaphor usages in different languages may contribute to smooth intercultural communication.

From US Supreme Court Justice Louis Brandeis’s 1933 judgement in Louis K Liggett Co v Lee to Matt Wuerker’s satirical cartoon “Corpenstein”, the use of Frankenstein’s monster as a metaphor for the modern corporation has been a common practice. This paper seeks to unpack and extend explicitly this metaphorical register via a recent filmic and graphic interpretation of Mary Shelley’s Frankenstein myth. Whilst Frankenstein has been read as an allegorical critique of rights—Victor Frankenstein’s creation of a monstrous body, reflecting (...) the figurative construction of a body by rights discourse—the metaphoric notion of reanimating a ‘soulless corpse’ resonates with Edward’s Thurlow’s description of the corporation as having ‘no soul to damn’. By exploring the figurative and optical representations of this process of reanimating the body in Scott Beattie’s film I, Frankenstein and Kevin Grevioux’s companion graphic novel I, Frankenstein: Genesis, I would like to extend this metaphoric register, by examining the theological origin and nature of the corporate form. This theology is explicitly referenced in the film and graphic novel via the battle between Gargoyles and Demons, which dominates the plot and backstory. The role of Frankenstein’s monster—now called Adam—however, is about enabling the reanimation of thousands of corpses without souls for possession by the demon hoard headed by Prince Naberius, who in his alternative persona Charles Wessex, controls the Wessex Institute and Wessex Industries. This ‘corporate baron’ himself has devoted his ‘life’ to enabling the rediscovery of Frankenstein’s ability to reanimate the dead for the purposes of gaining immortality. This mythic framing, however, renders explicitly visible the nature and purpose of the corporate form itself—of capturing and reanimating life in a form of immortality via the mechanisms of perpetual succession. This visual rendering, of a metaphoric framing goes to show the way in which the optical nature of the dominant forms of popular culture—film, television, comic books—provide a means for seeing law’s metaphorical images and for thus unpacking, interrogating and rendering them anew. It argues for a shift from the image of the corporation as a monstrous body to one which involves relations of reciprocity, gratuitousness and gift. (shrink)

This paper aims to provide a fresh historical perspective on the debates on vitalism and holism in Germany by analyzing the work of the zoologist Hans Spemann (1869–1941) in the interwar period. Following up previous historical studies, it takes the controversial question about Spemann’s affinity to vitalistic approaches as a starting point. The focus is on Spemann’s holistic research style, and on the shifting meanings of Spemann’s concept of an organizer. It is argued that the organizer concept unfolded multiple layers (...) of meanings (biological, philosophical, and popular) during the 1920s and early 1930s. A detailed analysis of the metaphorical dynamics in Spemann’s writings sheds light on the subtle vitalistic connotations of his experimental work. How Spemann’s work was received by contemporary scientists and philosophers is analyzed briefly, and Spemann’s holism is explored in the broader historical context of the various issues about reductionism and holism and related methodological questions that were so prominently discussed not only in Germany in the 1920s. (shrink)

The distinction between literal and figurative use is well-known and embedded in ‘folk linguistics’. According to folk linguistics, figurative uses deviate from literal ones. But recent work on lexical modulation and polysemy shows that meaning deviation is ubiquitous, even in cases of literal use. Hence, it has been argued, the literal/figurative distinction has no value for theorising about communication. In this paper, we focus on metaphor and argue that here the literal–figurative distinction has theoretical importance. The distinction between literal and (...) metaphorical needs to be captured by our account of communication because literal uses transmit information in a way that metaphorical ones do not. We argue that there is a way to explain the literal/metaphorical distinction that preserves the core of the folk-linguistic idea and gives the distinction theoretical relevance. We propose that literal uses of a word are made with the intention to conform to an established practice of use, while metaphorical uses do not so conform, but depend on this pre-existing practice. Our account can deal with data that are problematic for other theories. A further advantage is that it extends naturally to other non-literal uses of words, including metonymy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERAL AND METAPHORICAL USES OF DISCOURSE IN THE REPRESENTATION OF GOD IN HIS SEMINAL work on the theory of signs, Charles Morris affirms that human beings are " the dominant sign-using animals" and that" the human mind is inseparable from the functioning of signs-if indeed mentality is not to be identified with such functioning." 1 By means of acculturation we learn to use and interpret signs, both linguistic (...) and non-linguistic; and by virtue of these capacities we can appropriately designate the human animal as homo symbolicus, homo loquens, and homo sapiens. Indeed, all forms of human culture presuppose the ability to use and interpret signs, including that form of human culture which leads us to speak of ourselves as homo religious. Over the years I have come to understand and speak of religion as a community with its cultus. There is the community, be it triba1, national, or universal with its polity or structure and ongoing history; and there is the cultus with its organic system of linguistic and nonlinguistic signs, encompassing ·such elements as stories, creeds, scriptures, doctrines, theologies, confessions, prayers, chants, songs, rites, rituals, sacraments, artifacts, etc. Like any other cultural system, scheme or network of signs one can characterize a religious cultus as an inter -subjective set of signs whose usage is determined by the implicit or explicit rules that govern the relations of signs to each other; the relations of the signs to the objects which the signs designate or denote, or stand for in some way; and the relations of signs to the users or interpreters of these signs and to those who are affected by these signs in some way. 1 Charles W. Morris, FoundatioJi of the Theory of Signs, in International Encyclopedia of Unified Science, Vol. I, No. 2 (Chicago: University of Chicago Press, 1939), p. L 6~7 628 WILLIAM L. POWER: Given this understanding of community and cultus, one can describe a religion as an organized group of socially interdependent human beings which uses or employs ·a system of linguistic and nonlinguistic signs to represent reality in its various modalities and mixtures of good and evil and to affect human ways of life on the basis of that representation. Altering the terminology somewhat, one could say that a religious community uses its cultus to proclaim, enact, and display a comprehensive worldview.and to form and tr:msform the ethospathos of human beings in their solidarity and solitude. Expressed semiotically, there is the system of signs of a particular community, the intended signification of these signs, and the significance of these signs for those who use and are affected by them. What distinguishes a religion from other forms of human culture is that a rel·igious cultuml sy•stem or a religious community with its cultus is primarily concerned with ultimate or supreme reality or with that which is divine, holy, or sacred and that reality's bearing on and relevance for human life and well-being. In short, a religion is a cultural system which functions to map the whole of re.ality and to acculturate in desirable ways or to civilize. If a religion is a cultural system, then one can identify three distinct yet inseparably related dimensions of every religion. There is 1) the cultural dimension consisting of the interrelruted signs, symbols and expressions of a cultus; 2) the reality and value dimension consisting of the ontological and axiological purport of the cultus; and 3) the experiential dimension consisting of the existential import of the cultus. It is this thioo dimension which has led many in the past and in the present to speak of religion as piety, consciousness of things divine, ultimate concern, religiousness, etc. In the tradition of Peircian semiotics, one can speak of these three dimensions as the syntactic, semantic, and praigmatic dimensions of a religion; and they can be analyzed and studied with the aid of syntactics or syntax, semantics, and pr:agmatics, which as a unity LITERAL AND METAPHORICAL USES OF DISCOURSE 629 constitute the discipline of semiotics. As Peirce recognized, modem semiotics is continuous with the Medieval trivium of grammar, logic, and rhetoric-the semiotics of almost a millennium a;go... (shrink)

We distinguish between literal and metaphorical applications of Bayesian models. When intended literally, an isomorphism exists between the elements of representation assumed by the rational analysis and the mechanism that implements the computation. Thus, observation of the implementation can externally validate assumptions underlying the rational analysis. In other applications, no such isomorphism exists, so it is not clear how the assumptions that allow a Bayesian model to fit data can be independently validated.

Gestures’ Contribution to Collective Metaphorical Thinking in a Community of Philosophical Inquiry (CPI). This paper explores an idea expressed by a student discussing where our thoughts come from: to think we have to move our hands. Such sentence echoes the literature on the role of gesture for thinking. This study also focuses on the collective advancement of reasoning in a CPI. The instructor chooses to conclude by asking each student to suggest an analogy of thinking. This closing sequence reveals (...) how the instructor, through metaphorical gestures, fosters collective awareness of new propositions, and their further elaboration. After characterizing the cognitive models so produced, video analysis is used to follow their collective, verbal and gestural construction along the discussion. (shrink)