In this paper we document the developmental trajectory of the complementizer system (CP-system) in Italian by looking at the earliest spontaneous production of eleven young children, whose transcriptions are available on CHILDES. We conducted a novel corpus analysis, tracking down a number of constructions in which the clausal left-periphery is activated. First, we considered the appearance of the different complementizer particles in the CP-system, which overtly realize the three distinct functional projections ForceP, IntP, and FinP. The analysis revealed that (...) children acquiring Italian correctly use these complementizer particles already in the third year of life. Second, we looked for the simultaneous activation of different functional projections within the CP-system. We went through our corpus searching for complex sentences in which more than one constituent was moved to the left periphery. This option is allowed by the adult grammar of Italian and, as our search revealed, it is also attested in the grammar of young children. Soon after their second birthday, sequences in which a left-dislocated Topic and a Wh- element co-occur are attested, directly supporting the existence of a (high) Topic position above FocusP. Moreover, movement in general conforms to the constraints of the adult grammar, with no attested violation of obligatory inversion (a consequence of the Q-Criterion). Importantly, “why-questions” did not require inversion, much as in the adult grammar of Italian. Taken together, children's use of complementizer particles and their activation of multiple landing sites for movement show that 2-year-olds already possess a richly articulated functional structure of the CP-system, aligned to the layered adult structure. In concluding the paper, we also discuss some temporal differences between constructions activating high and low portions of the CP-system. In particular, we detect a temporal precedence for wh-questions over why-questions. Since the former activate a lower projection, this is consistent with the recently proposedGrowing Treeshypothesis, according to which the development of the CP-system proceeds stepwise. (shrink)

Alors que toutes les langues romanes connaissent les deux types de topicalisation à gauche : le topique suspendu (HT, dans les propositions principales) et la dislocation gauche (LD, dans les propositions principales et les subordonnées), quelques dialectes occitans (et peut-être quelques dialectes italiens) se distinguent en présentant aussi un topique suspendu enchâssé. Cet article met en évidence les difficultés soulevées par les analyses antérieures, notamment celle de Sauzet (1989) qui suppose qu’un rôle prédicatif spécifique légitime ce type de topique (...) et celle de Lahne (2005) qui postule que le topique n’est pas enchâssé. Nous montrons que, en Occitan, la tête fonctionnelle la plus à gauche (FORCE° de Rizzi 1997) porte un trait (déclaratif) fort qui attire le DP topicalisé dans la périphérie gauche de la proposition. La force de ce trait est ainsi paramétrée, ce qui permet de faire des prédictions typologiques intéressantes. (shrink)

We bring out syntactic and semantic similarities of two types of conditionals with fronted antecedents [normal indicative conditionals and biscuit conditionals ] and two types of left dislocation constructions in German, which mark two types of topicality. On the basis of these similarities we argue that NCs and BCs are aboutness topics and relevance topics, respectively. Our analysis extends the approach to aboutness topicality of Endriss to relevance topics to derive the semantic and pragmatic contribution of left-dislocated (...) DPs and applies it to an analysis of conditionals as pluralities of possible worlds. We show how this uniform approach to the interpretation of topicality accounts for the nominal left dislocation constructions as well as for the semantic and pragmatic effects observed in connection with the two types of conditionals. We furthermore discuss the potential of our proposal to deal with subjunctive biscuit conditionals, if-clauses modifying speech acts different from assertions, conditionals with right-dislocated if-clauses, and nested conditionals. (shrink)

Plural pronouns create the possibility of overlapping reference, which does not not fit naturally into the classical GB theory of anaphora, where each NP has a single integer as its referential index. Thus, one must either complicate the indexing system used in syntax or complicate the semantic interpretation of indices. This paper argues for the former approach based on the properties of a particular comitative-like construction found in Mohawk and certain other languages. This construction is analyzed as a type of (...) Left Dislocation where the dislocated NP forms a syntactic chain with a pronoun that it overlaps in reference with. Several unusual characteristics of such chains can be accounted for if plural pronouns have sets of integers as their indices—characteristics involving bound anaphora, ellipsis interpretation, and connectivity effects. Certain implications for the theory of chains are also discussed. (shrink)

We should now be able to come to some general conclusions about the main lines of Cuvier's development as a naturalist after his departure from Normandy. We have seen that Cuvier arrived in Paris aware of the importance of physiology in classification, yet without a fully worked out idea of how such an approach could organize a whole natural order. He was freshly receptive to the ideas of the new physiology developed by Xavier Bichat.Cuvier arrived in a Paris also torn (...) by many overlapping debates on the nature of classification, and in particular that between the natural and artificial systems. The very validity of the enterprise of classification was questioned in many quarters. Cuvier's achievement on his entry into the Parisian world of science was not simply to establish himself as a highly competent anatomist: far more important, he also began to use ideas from many different specialties to change completely the notion of what was involved in natural history.124 At the same time that he himself swung away from the guiding image of the field naturalist as the ideal of the specialty, he took ideas from the new physiology to answer questions about the order of the animal world, and from comparative anatomy to resurrect extinct creation — and to come to conclusions from that creation about the history of the forms of life and the manner of their succession. He showed himself able to alter the relationships between natural history and many other fields of study in a way that implied, rightly or wrongly, his own complete mastery over such a movement. Partly he was able to do this because the ideas he borrowed were not themselves logically articulated and thus could be easily adapted and refocused for many different specific purposes. The value of the heuristic possibilities inherent in the idea of life, for example, far outweighed its inability to generate full systems of classification. Cuvier also consistently refused to consider in science matters relating to the first causes of events. Freed from the consideration of first-order phenomena, he was able to use second-order explanations across a far wider field of applicability. Personal doubts about the validity of a theology that had used science in order to bolster its own claims were combined here with the strong influence of the Kantian critique of the limits of human reason.125Cuvier's characteristic mode of procedure was that of intellectual appropriation and a bold capacity for altering the relationships between different fields of knowledge, rather than, with the exception of taxonomy, the technique of expanding their subject matter. His claims to originality came, first, from this reappropriation and reorientation and, second, from the sheer scope of his work, which aimed at nothing less than the cataloging and classification of all animate objects.126 They rested also on his acute use of his assertion of a certain relationship with the past of his subject. Very often he would present this history in such a way as to obscure his own intellectual genealogy, and often too he would give differing accounts of the priority of use of an idea in order to distract attention from the questionable exactitude of his own claims to originality. Cuvier came to Paris at precisely the time when society and institutions were most profitably malleable for a newcomer; it was also a time when many scientific disciplines had reached a stage advanced in terms of their factual content, yet relatively inadequate in conceptual organization. They were ripe for takeover by large-scale organizing ideas such as the animal economy and the subordination of characteristics. Paleontology is a particularly good example of a specialty in this particular form of underdevelopment in 1795.Cuvier paid a high price for his initial success. His electic applications of large-scale organizing ideas tended to mean that little of his own work had complete coherence at all levels. Ideas, as we have seen, that proved capable of providing a complete reform of the larger groups of the animal kingdom were incapable of producing its detailed working-out in the taxonomy of smaller groups, which had to be supplied from observed analogical correlations. Further, his physiological approach to classification involved the breakdown of strict correspondence between organs and functions, which left the way open for workers such as Geoffroy St. Hilaire gradually to tilt the balance away from the study of the correlations of hierarchies of functions, and toward morphology as the basis of the order of nature. Cuvier's brilliant appropriations from physiology from the beginning, therefore, contained the seeds of conflict with Geoffroy.Cuvier's eclectic approach made it very nearly impossible for him to present a clear idea of the ways in which the life sciences could be said to be lawful. In spite of his efforts to assimilate them to the position of the physical sciences in this respect, he was forced in the end to accord only an ambiguous status as “laws” to observational correlations. From this area of failure came much of the attempt to give his own two laws — the correlation of parts and the subordination of characteristics — predictive qualities, particularly in relation to paleontological research.It is not surprising that Cuvier's title as the “legislator” of natural history should represent more a claim than a reality. How, then, was he able to emerge as the leading French naturalist of his day? First of all must be adduced the sheer scale of his undertakings. Then comes his expertise as a practical anatomist, and the range of different topics toward which he turned his interest. His collaborators cannot be given credit for his output nor, as we have seen, for slavish adherence to his ideas. Cuvier was able to successfully claim to have dominated the underdeveloped specialties, such as paleontology, and turned them into a major heuristic input into both geology and comparative anatomy; but in other fields, such as physiology, he appropriated concepts and encouraged research but made little impact on the field himself. His attempts in 1812 to head off, or neutralize and absorb the growth of morphological studies landed him in a dangerously rigid position, which despite his encouragement of the new physiological research under the Restoration made further elaboration of his own conceptual underpinnings almost impossible.Cuvier's authority in the scientific world would in any case have been great because of his substantive achievement in taxonomy, but the rest of his work had enough ambiguities and dislocations for it to need the support of his political and social power. Cuvier's detractors seized on a vital fragment of the truth when they accused him of finding the political dimension all-important: it obscured the disjunctions in his theories and at the same time gave him the authority to make new claims for the status of the observational sciences - and for their relations of power with their surrounding specialties. Cuvier's science both thrived on and was halted by the power games of intellectual appropriation, manipulation of the past to confirm the present, and continual claims for hegemony. (shrink)

This thesis maintains that Friedrich Holderlin's poetic thought is a key element not only in the development of Martin Heidegger's philosophical thought from 1929/30 to 1933 but also in his decision to become politically involved with National Socialism. Although Heidegger was familiar with Holderlin's poetry prior to 1929, he did not perceive the significance of the poet's thought and language until he was able to overcome the position of transcendental subjectivity which haunts Being and Time. Heidegger did so in 1929/30 (...) by shattering the unity of Dasein's temporal horizon--a unity which still preserved the assumption of being as permanent presence. This enabled Heidegger to think through the turn or Kehre to the occurrence of being as difference as the originary event which gave rise not only to Greek philosophy but the Western tradition as a whole. ;It is precisely at this juncture that Holderlin's poetic thought and language became significant for Heidegger. The turn from the unity of Dasein's temporality to the occurrence of being as time implies not only a revolution in thinking but also a revolution in language. Heidegger's attempt to set this revolution in motion by setting the originary sense of the Greek logos to work linguistically in his own work is the philosophical counterpart of what Norbert von Hellingrath first described as Holderlin's harte Fugung or hard style. ;The pre-logical grammar and syntax Heidegger employed, I have called the language of revolution. Its purpose is to dislocate thinking out of metaphysics toward a hidden Greek origin in the past which shows itself in the future as what is left unthought of the Greek beginning and what still remains to be thought. This back-and-forth movement of questioning is the philosophical counterpart to Holderlin's poetic andenken. In dislocating political and ideological thought from its metaphysical foundations, Heidegger intended to shift the political revolution, especially in the universities, toward a second, deeper revolution which would confront the hidden origin of the Western tradition itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:February 19, 2011 (11:48 am) E:\CPBR\RUSSJOUR\TYPE3002\russell 30,2 040 red.wpd Reviews 179 THE EARLY “IRON CURTAIN” Michael D. Stevenson Schulich School of Business, York U. / Russell Research Centre, McMaster U. Toronto, on m3j 1p3 / Hamilton, on l8s 4l6, Canada [email protected] Patrick Wright. Iron Curtain: from Stage to Cold War. Oxford: Oxford U. P., 2007. Pp. xvii, 488. isbn 978-0-19-923150-8. £18.99 (hb); £12.99 (pb). In his famous Westminster College (...) address on 5 March 1946 in Fulton, Missouri, Winston Churchill Wred one of the opening salvos of the Cold War by proclaiming that from “Stettin in the Baltic to Trieste in the Adriatic an iron curtain” had been lowered across Europe. Patrick Wright’s intriguing and provocative book does not examine the phrase “iron curtain” in its popular Cold War context. Instead, he maintains that many characteristics of this metaphor, “including the pronounced sense of theatricality it would bring to international politics, were inherited from the period before the Second World War” (p. 18). Wright divides Iron Curtain into two primary chronological sections, the Wrst covering the period from 1914 to 1920. An iron curtain originally referred to the steel safety screen that descended in English theatres, beginning in the lateeighteenth century, to separate the audience from the often catastrophic Wres that broke out on the stage. The phrase entered the lexicon of international relations in January 1915 when British author and paciWst Violet Page (writing under the pseudonym Vernon Lee) published an article lamenting that “War’s cruelties and recriminations, War’s monstrous iron curtain” (p. 80) had alienated European nations such as England and Germany sharing a common cultural heritage. But the barrier quickly moved east in the aftermath of the 1917 Russian Revolution and “took the form not just of exaggerated political rhetoric, but of an economic blockade enforced by naval power” (p. 171), as the Allies sought to contain the infection of Bolshevism. Wright devotes most attention in this section to documenting the 1920 visit to Russia by the British delegation jointly sponsored by the Trades Union Congress and the Labour Party, which sought to penetrate the dense fog of Allied anti-Bolshevik propaganda and validate the delegation members’ own preconceived views about the nascent socialist utopia in Russia. British delegates witnessed images both of progress carefully stagemanaged by their hosts and of terrible economic dislocation and poverty caused by the Allied blockade and the civil war, which allowed the majority of them to return home to lavish praise on the Soviet experiment that would, in their minds, inevitably fulWl its potential once the Bolshevik government became stable. February 19, 2011 (11:48 am) E:\CPBR\RUSSJOUR\TYPE3002\russell 30,2 040 red.wpd 180 Reviews 1 “The Future of Europe”, European AVairsz 1, no. 1 (April 1949): 3. The second section of Wright’s book examines Western reports of life behind the iron curtain between 1920 and 1939. Here, the author focuses heavily on the theatrical nature of Soviet attempts to create modern-day Potemkin villages that werez—zwith a limited number of exceptionsz—zaccepted as reality by an endless parade of left-wing visitors. A second British Trades Union Congress delegation in 1924, for example, received a dramatically embellished picture of Soviet economic progress that included a train journey past a long-abandoned factory belching smoke created by burning wet straw frantically provided by Russian peasants; the resulting report of the delegation “repeatedly collapsed into the most abject conformity with the Soviet view of reality” (p. 245). The most tragic examples of Western visitors’ blindness to the truth occurred during the 1930s famine deliberately induced by Stalin, and Wright exposes a wide cast of characters who adopted a blinkered view of conditions in the ussr. Among intellectuals, Wright documents the 1931 visit of George Bernard Shaw, who cavalierly dismissed reports of widespread food shortages while dining sumptuously in Moscow’s Hotel Metropole. Among journalists, Wright develops the case of Walter Duranty, the New York Timesz correspondent who knuckled under to demands of Soviet censors to produce sanitized accounts denying or ignoring the famine in order to protect his privileged place in that... (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks (...) make the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

In his study Modernity and the Holocaust, Zygmunt Bauman contrasts the hopes and expectations of the modernising world of the nineteenth century with the real outcomes of the twentieth century, where the very conditions of modernity have led to the mass destruction of humanity and of those early hopes for the betterment of humankind. This volume explores the possibilities left to those once modernising societies, not only in terms of the worlds they have constructed but also in discerning the (...) novel conditions which the closure of modernity entails. That closure, in part the completion of industrialisation and the social order that went with it, and in part the dislocation of the kinds of social knowledge used to understand it, has raised profound and disturbing questions about the character of this brave new world and the ways in which its governance and the goal of the good society can be understood. This volume explores some of the current vicissitudes of modernity, especially in relation to the crises of the political, and the political consequences of new technologies. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

“There is a long tradition in Latin American debates that is not well known in Europe and the United States…” (p. 89). This sentence, almost read in passing in the middle of the book in relation to two different conceptions of the nation, can be said to summarize the main spirit behind Biglieri and Cadahia’s populist actualization of Mariátegui’s classic, Seven Interpretative Essays on Peruvian Reality (1928). In this case, the book we have in our hands is difficult to define (...) or classify. Clearly, it is not a purely “academic” enterprise –as the very authors disclaim in the first lines of their Introduction (p. xxii). It has no full presumption of “objectivity” or “neutrality” because it takes a self-reflected partisan point of view. Conversely, it is not a “manifesto” either, since it engages deeply in theoretical debates after rigorously reviewing the existing literature. Perhaps the best way to define these Essays on Populism is finding rescue in Althusser’s notion of “theoretical intervention”, and Biglieri and Cadahia develop a total of seven placing “populism” in relation to different conjunctures: its own methodology (empirical or ontological), the Left/Right imaginary, neoliberal fascism, (plebeian) Republicanism, (inter)nationalism and feminism. However, the result is not a concatenation of isolated “papers”, but a constellation illuminated by a similar light, which I take it to be no other than the laudable attempt to bring to the fore a series of militant experiences, philosophical theses and heated debates with Latin American autonomists and Spanish republicans which are not always well known in the English-speaking literature, despite they have the power to dislocate the question around populism. (shrink)

This book contains a collection of important recent writing on left-liberalism, a political philosophy that recognizes both strong liberty rights and strong ...

Left-libertarian theories of justice hold that agents are full self-owners and that natural resources are owned in some egalitarian manner. Unlike most versions of egalitarianism, leftlibertarianism endorses full self-ownership, and thus places specific limits on what others may do to one’s person without one’s permission. Unlike the more familiar right-libertarianism (which also endorses full self-ownership), it holds that natural resources—resources which are not the results of anyone's choices and which are necessary for any form of activity—may be privately appropriated (...) only with the permission of, or with a significant payment to, the members of society. Like right-libertarianism, left-libertarianism holds that the basic rights of individuals are ownership rights. Such rights can endow agents—as liberalism requires—with spheres of personal liberty where they may each pursue their conceptions of “the good life”. Left-libertarianism is promising because it coherently underwrites both some demands of material equality and some limits on the permissible means of promoting this equality. It is promising, that is, because it is a form of liberal egalitarianism. Left-libertarian theories have been propounded for over two centuries. Early exponents of some form of self-ownership combined with some form of egalitarian ownership of natural resources include: Hugo Grotius (1625), Samuel Pufendorf (1672), John Locke (1690), William Ogilvie (1781), Thomas Spence (1793), Thomas Paine (1795), Hippolyte de Colins (1835), François Huet (1853), Patrick E. Dove (1850, 1854), Herbert Spencer (1851), Henry George (1879, 1892), and Léon Walras (1896).1 It is striking how much of the current debate about equality, liberty, and responsibility has already been addressed by these authors. (shrink)

_Dislocating Cultures_ takes aim at the related notions of nation, identity, and tradition to show how Western and Third World scholars have misrepresented Third World cultures and feminist agendas. Drawing attention to the political forces that have spawned, shaped, and perpetuated these misrepresentations since colonial times, Uma Narayan inspects the underlying problems which "culture" poses for the respect of difference and cross-cultural understanding. Questioning the problematic roles assigned to Third World subjects within multiculturalism, Narayan examines ways in which the flow (...) of information across national contexts affects our understanding of issues. _Dislocating Cultures_ contributes a philosophical perspective on areas of ongoing interest such as nationalism, post-colonial studies, and the cultural politics of debates over tradition and "westernization" in Third World contexts. (shrink)

_Dislocating Cultures_ takes aim at the related notions of nation, identity, and tradition to show how Western and Third World scholars have misrepresented Third World cultures and feminist agendas. Drawing attention to the political forces that have spawned, shaped, and perpetuated these misrepresentations since colonial times, Uma Narayan inspects the underlying problems which "culture" poses for the respect of difference and cross-cultural understanding. Questioning the problematic roles assigned to Third World subjects within multiculturalism, Narayan examines ways in which the flow (...) of information across national contexts affects our understanding of issues. _Dislocating Cultures_ contributes a philosophical perspective on areas of ongoing interest such as nationalism, post-colonial studies, and the cultural politics of debates over tradition and "westernization" in Third World contexts. (shrink)

Anthropology continues to develop both in terms of theory and in relation to the ways in which fieldwork is conducted. Dislocating Anthropology? seeks to capture and represent these developments through a collection of ethnographic essays that are cutting edge, but which do not represent a complete break with what has gone before. In recent years anthropologists have increasingly come to accept that fieldwork in bounded and discrete places is no longer tenable. People can no longer be represented in these static, (...) parochial terms. At the start of the 21st century, and with the possibility of internet connections almost anywhere, we have the potential to move even when we are stationary. Each of the contributors to this collection have identified and attempted to understand sets of relationships that are both temporally and spatially dynamic, that appear to flow into and out of 'the field.' Together, the chapters shed light on a number of methodological conundrums, or dislocations, relating, for example, to locality, identity, fieldwork, and reflexivity. The book is concerned with dislocation as both practice and process, and as such extends a theme that has arguably been central to Anthropology since Malinowski's Trobriand ethnography. (shrink)

L’article propose d’étudier la dislocation en italien, structure productive tant dans la dimension orale qu’écrite de la langue. A partir des caractéristiques communément attribuées à cette structure, le travail consiste, sur la base d’un corpus écrit, à analyser les occurrences de dislocation aux niveaux formel et communicatif, afin de montrer que cette construction syntaxique n’est pas un objet unique mais pluriel.

L’article propose d’étudier la dislocation en italien, structure productive tant dans la dimension orale qu’écrite de la langue. A partir des caractéristiques communément attribuées à cette structure, le travail consiste, sur la base d’un corpus écrit, à analyser les occurrences de dislocation aux niveaux formel et communicatif, afin de montrer que cette construction syntaxique n’est pas un objet unique mais pluriel.

If you're woke, you're left. If you're left, you're woke. We blur the terms, assuming that if you're one you must be the other. That, Susan Neiman argues, is a dangerous mistake. The intellectual roots and resources of wokeism conflict with ideas that have guided the left for more than 200 years: a commitment to universalism, a firm distinction between justice and power, and a belief in the possibility of progress. Without these ideas, Neiman argues, they will (...) continue to undermine their own goals and drift, inexorably and unintentionally, towards the right. In the long run, they risk becoming what they despise. One of the world's leading philosophical voices, Neiman makes this case by tracing the malign influence of two titans of twentieth-century thought, Michel Foucault and Carl Schmitt, whose work undermined ideas of justice and progress and portrayed social life as an eternal struggle of us against them. A generation schooled with these voices in their heads, raised in a broader culture shaped by the ruthless ideas of neoliberalism and evolutionary psychology, has set about changing the world. It's time they thought again. (shrink)

Many analyses of belief in the soul ignore the soul in the words. Dislocations of concepts occur when words are divorced from their normal implications. The 'soul' is sometimes the dislocated utterer of such words. Pictures, including pictures of the soul leaving the body, may mislead us by suggesting applications which they, in fact, do not have. But pictures of the soul may enter people's lives as desires for a temporal eternity. Contrasting conceptions of immortality and eternal life depend on (...) a willingness to say farewell to life. Atheistic denials of temporal eternities, do not appreciate these other possibilities. (shrink)

Common sense suggests that visual consciousness is essential to skilled motor action, but Andy Clark—inspired by Milner and Goodale's dual visual systems theory—has appealed to a wide range of experimental dissociations to argue that such an assumption is false. Critics of Clark's argument contend that the content driving motor action is actually within subjects' experience, just not easily discovered. In this article, I argue that even if such content exists, it cannot be guiding motor action, since a review of current (...) visual neuroscience indicates that the visual brain areas producing conscious representations are distinct from those driving motor action. (shrink)

Dislocating Cultures takes aim at the related notions of nation, identity, and tradition to show how Western and Third World scholars have misrepresented Third World cultures and feminist agendas.

Social and political concepts are indispensable yet historically and culturally variable in a way that poses a challenge: how can we reconcile confident commitment to them with awareness of their contingency? In this article, we argue that available responses to this problem—Foundationalism, Ironism, and Right Wittgensteinianism—are unsatisfactory. Instead, we draw on the work of Bernard Williams to tease out and develop a Left Wittgensteinian response. In present-day pluralistic and historically self-conscious societies, mere confidence in our concepts is not enough. (...) For modern individuals who are ineluctably aware of conceptual change, engaged concept-use requires reasonable confidence, and in the absence of rational foundations, the possibility of reasonable confidence is tied to the possibility of critically discriminating between conceptual practices worth endorsing and those worth rejecting. We show that Left Wittgensteinianism offers such a basis for critical discrimination through point-based explanations of conceptual practices which relate them to the needs of concept-users. We end by considering how Left Wittgensteinianism guides our understanding of how conceptual practices can be revised in the face of new needs. (shrink)

A mechanism for the generation of the morphological left‐right asymmetry in higher organisms is proposed, based on the idea that chirality at the molecular level is the primordial source for macroscopic asymmetry. This mechanism accounts for a variety of experimental results on artificial production of situs inversus and fits well with mutations in mice causing visceral transposition.

We report a scanning tunnelling microscopy investigation of the emission of dislocations around nanoindentations in the form of dislocation arrangements previously called hillocks , consisting of two pairs of Shockley partial dislocations, each encompassing a stacking fault. The spatial arrangement and size distribution of hillocks around the nanoindentation traces are studied. We show that standard dislocation theory for an isotropic continuum can be used to describe the stability of the hillocks, their size and spatial distribution and the broadening (...) of the corresponding extended dislocations near the surface. A model is proposed in which hillocks originate from the split into dislocations partials of primary perfect dislocation loops punched into the crystal by the scanning tunnelling microscope tip. This model implies the operation of a novel dislocation mechanism involving long-range transport of matter across the surface. (shrink)

Many analyses of belief in the soul ignore the soul in the words. Dislocations of concepts occur when words are divorced from their normal implications. The ‘soul’ is sometimes the dislocated utterer of such words. Pictures, including pictures of the soul leaving the body, may mislead us by suggesting applications which they, in fact, do not have. But pictures of the soul may enter people's lives as desires for a temporal eternity. Contrasting conceptions of immortality and eternal life depend on (...) a willingness to say farewell to life. Atheistic denials of temporal eternities, do not appreciate these other possibilities. (shrink)

This paper uses themes from Catholic social teaching to challenge Church and society to prioritize a group that is left behind by social injustice: people with intellectual disabilities. It provides background information on intellectual disability, summarizes moral principles of Catholic social doctrine, describes sociological facts about how people with intellectual disabilities are left behind by social factors, and prescribes actionable solutions for treating them as equal members of society. The goal is to identify how to shape a society (...) at all socio-ecological levels in ways that better protect the dignity, solidarity, and participation of people with intellectual disabilities. Although the analysis references the US and is limited to intellectual disabilities, its lessons apply to other countries and disabilities as well. (shrink)