How is it that speakers can get to know the meaning of any of indefinitely many sentences they have never encountered before? - the 'problem of linguistic creativity' posed by this question is a core problem of both philosophy of language and theoretical linguistics, and has sparked off a considerable amount of work in the philosophy of mind. The book establishes the failure of the familiar - compositional - approach to this problem, and then takes a radically new (...) start: It develops core elements of the later Wittgenstein's conception of philosophy, and puts them to work to 'dissolve' the problem to prove it ill-framed by clarifying the questions posing it and breaking the spell of mistaken analogies informing it. This sharply focused monograph thus copes with a crucial problem that turns out to be a lot tougher than generally thought, and presents a precise and rigorous demonstration of an unfamiliar and exciting philosophical approach. (shrink)

Summary This paper investigates the nature of creativity in language and linguistics. Following Sampson (2016), it distinguishes between F-creativity (which roughly equals linguistic productivity) and E-creativity (which leads to new and unexpected innovations). These two notions of creativity are discussed on the basis of examples from three different domains: snow cloning, mismatch/coercion, and aberration. It is shown that pure E-creativity may only be found in the case of aberration. Both snow cloning and mismatch/coercion are (...) examples for F-creativity, but to varying degrees. As a consequence, it is suggested that in practice, F- and E-creativity actually form a cline, rather than a dichotomy. (shrink)

In this article, I develop the so‐called ‘problem of linguistic creativity’ for two object‐languages, one finite, the other infinite. I then employ an approach first outlined by Ludwig Wittgenstein’s collaborator Friedrich Waismann, to ‘dissolve’ that problem, in a sense made precise by working through the example. This is to unsettle the computational picture of linguistic understanding as turning on the generation of semantic information about sentences on the basis of semantic information about their constituent parts, and to (...) provide a reasonably clear conception of to what such ‘philosophical dissolution’ of a problem amounts. (shrink)

Examples of successful linguistic communication give rise to two important insights: (1) it should be understood most fundamentally in terms of the pragmatic success of each individual utterance, and (2) linguistic conventions need to be understood as on a par with the non-linguistic regularities that competent language users rely upon to refer. Syntax and semantics are part of what Barwise and Perry call the context of the utterance, contributing to the pragmatics of the utterance. This full and (...) distributed multichannel context determines meaning if anything does. On the standard account of context, context disambiguates the meaning of language, but it is at least as apt in many situations to say that language disambiguates context. In practice, the two work together, sometimes with more emphasis on one than the other. Reference should be understood in pragmatic terms (it is an act) and, since success is often achieved in non-standard, creative ways, any formalisation of pragmatics can only be partial. The need for such an inventive approach to referring traces back to the need for language to be highly efficient, with expressions underdetermining their interpretation. Next, the shared semantic and syntactic regularities, which might seem to be independent of the context of an utterance, should be understood as also being part of that context. Past usage underdetermines how terms can be used since it allows for multiple projections. Successful reference with novel uses that are disambiguated by context can become the ground for new conventions. (shrink)

Linguistic creativity is the ability to understand indefinitely many previously unencountered sentences. In this paper, I compare Chomsky’s and Ricœur’s contrasting conceptions of this ability, in particular, their divergent views of nonsense. With nonsense, it seems as if syntax is outrunning semantics. Chomsky took this to show that syntax is autonomous of semantics. I propose a reading of Ricœur’s work on metaphor whereby Chomsky’s thesis is modified so that syntax and semantics are declared to be ultimately co-extensive notions.

In the main bulk of this chapter, I offer a Wittgensteinian take on infinity and deduce from this some Wittgensteinian criticisms of Chomsky on ‘creativity’, treating this as one among many examples of how metaphors, following the understanding of Lakoff and Johnson, following Wittgenstein, can delude one into metaphysics. As per my title, ‘metaphysics’ turns out to be, really, nothing other than metaphorics in disguise. Our aim in philosophy, then, is to turn latent metaphors into patent metaphors. When we (...) do this, the charm of metaphysics evaporates. Or again, its charm, if still felt, is properly contextualised: ‘metaphysics’ becomes at best a kind of accidental or un-self-aware poetry, rather than something like a super- or supra-science. (shrink)

The creative aspect of language use provides a set of phenomena that a science of language must explain. It is the “central fact to which any signi- ficant linguistic theory must address itself” and thus “a theory of language that neglects this ‘creative’ aspect is of only marginal interest” (Chomsky 1964: 7–8). Therefore, the form and explanatory depth of linguistic science is restricted in accordance with this aspect of language. In this paper, the implications of the creative aspect (...) of language use for a scientific theory of language will be discussed, noting the possible further implications for a science of the mind. It will be argued that a corollary of the creative aspect of language use is that a science of language can study the mechanisms that make language use possible, but that such a science cannot explain how these mechanisms enter into human action in the form of language use. (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)

Linguistic Modelling of Scenarios proposes a paradigm change from the 'systemic VIEW' to 'systems SCIENCE', so as to extend the methodology of conventional science of physics into the domains hitherto beyond the reach of this kind of treatment. The book: I. Identifies the problematic issues in current approaches to the 'systemic or structural view' of parts of the world as opposed to the 'quantitative/qualitative views' of conventional science of physics and the arts whereby introducing the 'third culture'. II. Locates (...) the position of the structural view in the context of 'human intellectual endeavour'. III. Discusses the fundamental questions raised by modelling aspects of human behaviour. IV. Introduces the basic ideas and the symbolism of linguistic modelling which are then applied to turning descriptions of scenarios as a story or narrative into reasoning schemes. V. Describes a methodology of 'problem solving' of which design thinking and the operation of purposive systems are seen as essential ingredients. Problem solving is a universal activity of living in particular human beings through innovation, invention and creativity. Lack of this activity leads to death! Problem solving is regarded as pivotal point which may propel the spread of the modified structural view into social, technical, cultural and educational awareness. VI. Shows the location of aspects of conventional science within the scheme of systems science whereby achieving a 'continuity of the scientific endeavour'. VII. Outlines a teaching scheme for 'linguistic modelling'. Janos Korn explains how a view can be converted into a science which can lead to a possibility of 'organised speculation' or simulation of behaviour, exploring the effects of variation of parameters on performance, and the occurrence of outcomes of operations, beneficial or not, of dynamic structures. Static and dynamic structures are expressed in more rigorous and computable terms so that the results of analysis and design of human activity scenarios could be exposed to at least thought experiments. Linguistic Modelling of Scenarios is an informative read for any professionals, teachers and students of engineering, social science, management, business and production. (shrink)

Providing a unique interpretation of Kant's theory of judgement as integral to his overall project, Claudia Brodsky explores his continued relevance to contemporary theoretical concerns. The Linguistic Condition traces how Kant combined sensus communis, or common sense with the communicative nature of judgement to reveal that, for him, acts of judgement are dependent on their linguistic articulation, so that in Kantian philosophy language and judgement are inextricably linked. In this first in-depth analysis of language in the Critique of (...) Judgement, Brodsky forms creative connections between literature and philosophy. (shrink)

Philosophers of language and linguists tend to think of the interpreter as an essentially non-creative participant in the communicative process. There’s no room, in traditional theories, for the view that correctness of interpretation depends in some essential way on the interpreter. As a result, there’s no room for the possibility that while P is the correct interpretation of an utterance, u, for one interpreter, P* is the correct interpretation of that utterance for another interpreter. Recently, a number of theorists have, (...) for separate reasons, argued in favour of a radically different view of communication – a view in which the interpreter and her context play what should be thought of as a content-creating role. According to such views, natural languages contain what I’ll call interpretation sensitive terms: terms the correct interpretation of which varies across interpreters (or, more generally, contexts of interpretation).3 An interpretation sensitive sentence can have one content relative to one interpreter and another content relative to another interpreter. This paper is a development and (partial) defence of the view that interpretation sensitivity is ubiquitous in natural language. I call the view that there are interpretation sensitive terms content relativism. Before starting the discussion of content relativism, it is worth pointing out that recent attempts to develop semantically motivated versions of truth relativism should be seen as part of this trend of giving the interpreter a more active role. (shrink)

Speakers routinely rely on a vast store of fixed and semi-fixed institutionalized utterances. In our mother tongue, we know how to combine pre-patterned phrases, complete semi-fixed expressions, and produce deviant versions for humorous effect. There are analogies with the way traditional folk musicians embellish tunes with a largely fixed structure, and the way jazz musicians improvise, and also with oral traditions in which poets composed or improvised tales during performance by using fixed formulas and formulaic phrases (though without the metrical (...) requirements of Homeric poetry). In written literature, the use of ready-made language was long disparaged as the opposite of creativity, but Barthes describes both speech and literature in general as consisting entirely of transformations of words that have already been set in order, and describes individual style as essentially a citational process, and the transformation of earlier formulae. Formulaic language can be shown to underlie much linguistic creativity. (shrink)

The paper considers a version of the problem of linguistic creativity obtained by interpreting attributions of ordinary semantic knowledge as attributions of practical competencies with expressions. The paper explains how to cope with this version of the problem without invoking either compositional theories of meaning or the notion of `tacit knowledge' (of such theories) that has led to unnecessary puzzlement. The central idea is to show that the core assumption used to raise the problem is false. To render (...) precise argument possible, the paper first identifies and removes some relevant semantic indeterminacy in philosophical talk of `semantic knowledge' and `information'. This yields rules for attributing the two to human speakers and information-processors, respectively. The paper then shows, first, that ordinary speakers qualify as possessing all along an other than finite and definite stock of semantic knowledge and, second, that a very simple information-processor running a procedural semantics qualifies as possessing an analogous stock of semantic information. The second result is used to bring out that the first is neither unduly impressive nor particularly puzzling. (shrink)

In scientific communications, journal articles, and philosophical aesthetic debates the words “art”, “creativity”, and “machine” are put together more and more frequently. Since some machines are designed to, or happens to, imitate human artistic creativity, it seems natural to use the same words to talk about human artists and machines which imitate them. However, the evolution of language in light of technology may conceal specific features of the phenomena it is supposed to describe. This makes it difficult to (...) understand what machine creativity actually is and how it is connected to human creativity. The aim of the paper is to investigate why, and in what sense, the functioning of some machines may be described in terms of artistic creativity and what is the relation between machine creativity and its human archetype. I start (§1) by introducing some general ideas concerning how language evolves alongside new technologies and focusing on the case of machine creativity. In §2 I review how some creative machines have been presented to the public, thus showing that a linguistic habit which connects machines to artistic creativity has already formed. In §3 I survey the debate on machine aesthetics and I highlight the main traits of the issue. In §4 I submit a primary scheme of machine creativity which draws on the concept of functional autonomy. Finally (§5), I argue that machine creativity cannot be mistaken for a substitute of the human kind, despite the fact that the word is the same. Creative machines are technological mediums by which new forms of human aesthetic experience can be explored. The kind of creativity machines enjoy displays a functional nature. (shrink)

Figurative communication provides economy of expression, clarity, persuasiveness, politeness, evaluation, and communication of emotions. However, it also increases the potential for misunderstanding in situations when people lack shared background knowledge. This book combines theoretical frameworks with empirical studies that measure the effectiveness of different approaches to the use of figurative language in advertisements, to show how to maximise the benefits of creative metaphor and metonymy in global advertising. It highlights how subtle differences in colour, layout, and combinations of different kinds (...) of figurative language affect the reception and appreciation of creative advertising, shedding new light on the nature of figurative communication itself. With a balance between theory, experiments and practical case studies, this book is accessible for academics in linguistics and communication studies, as well as advertising and marketing professionals. (shrink)

Taboo terms offer a playground for linguistic creativity in language after language, and sign languages form no exception. The present paper offers the first investigation of taboo terms in sign languages from a cognitive linguistic perspective. We analyze the linguistic mechanisms that introduce offense, focusing on the combined effects of cognitive metonymy and iconicity. Using the Think Aloud Protocol, we elicited offensive or crass signs and dysphemisms from nine signers. We find that German Sign Language uses (...) a variety of linguistic means to introduce and enhance offense, many of which rely on iconic properties of the taboo sign. In conjunction with cross-linguistically common metonymic word-formation strategies, the degree of visual explicitness of a sign increases its potential to offend. Semantically similar taboo signs based on the same metonymic anchor but differing in their degree of iconicity also differ in offensiveness. This allows for creating dysphemisms and euphemisms via phonological changes to a sign. We further show that embodiment creates modality-enhanced ‘vicarious embarrassment’ in the viewer that results in the respective signs being judged obscene or offensive. Further, lexical blending and non-manual enhancement play a role in the creation of dysphemisms in DGS. Lastly, we propose that iconicity as a cognitive structuring principle of linguistic expressions constrains the possible semantic extensions of iconic taboo terms. (shrink)

For several hundred thousand years, the genus homo deployed a characteristic technical creativity, communicating and transmitting its outcomes, together with its operative protocols, without the available recourse to articulated language. The thesis proposed here is that the aforementioned functions should be attributed to a complex intertwining of embodied abilities, which can in turn be ascribed to the classic philosophical concept of imagination. It is through imagination that the human becomes involved in material engagement, by virtue of which its extended (...) mind takes part in the processes of producing artifacts and is in turn shaped by them. The main issue of this article consists in investigating how this involvement occurs and the part that articulated language plays in it, following the invention of the latter. The latter’s emergence can indeed be traced back to the transformation and specialization of a recursive element, already present in the pre-linguistic work of imagination, whose ability to implement a denotative semantics is discussed in particular. (shrink)

The paper argues that machines cannot duplicate human linguistic creativity because linguistic meaning is context dependent in a way that eludes any machine.

For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists in. (...) Minimally, it is more demanding than simply repeating an already formulated expression. On the other hand, it cannot start from nothing – we must begin within an existing tradition, with its acquired expressions, that we somehow take up and transform. A recurrent image of creative expression comes from Malraux, who claimed that it is a “coherent deformation” of what is given in the world. In this paper, I will use Saussure’s principle of analogy to throw light upon the notion of coherent deformation and of creativity. Although Merleau-Ponty merely mentions this principle in passing, I argue that it can clarify the productivity of language that he saw as crucial also for Saussure’s linguistics. (shrink)

Transdisciplinary analogies and metaphors are potential useful tools for thinking and creativity. The exploration of other conceptual philosophies and fields can be rewarding and can contribute to produce new useful ideas to be applied on different problems and parts of reality. The development of the so-called 'sustainability' approach allows us to explore the possibility of translate and adapt some of its main ideas to the organisation of human language diversity. The concept of 'sustainability' clearly comes from the tradition of (...) thinking that criticises the perspective of economic development that overlooks almost totally the natural environment -the precise context where this development takes place -and which thus leads it to a final end devoid of resources and clearly harmful for the life of human beings. Against this economicist view, which is blind to its very important side effects, some academic and activist enclaves have proposed the perspective of 'sustainable development' or 'lasting development'. In other words, they have theorised, constructed, and begun to practice an economic and urbanistic development respectful of, integrated into, and in keeping with the dynamics of nature. Such perspective provides a way of improving the material aspects of human life while at the same time not damaging other environmental aspects still more necessary and fundamental for the quality —and even for the simple possibility- of human existence. In fact, the view is a synthesis of possible opposed patterns. It does not renounce material and economic improvement, but nor does it exclude a fully healthy environment that is appropriate for the continuation of the species. If we now try to transfer and to apply this way of thinking to the linguodiversity reality, are there useful analogies and metaphors to be made? We believe there are, and ones that can be used to good advantage, and linked, moreover, to the traditions of thought that have always been present but perhaps even more so these last years with the drive to develop the thinking we are calling ‘eco-linguistic’. From the outset, we would underscore the will to connect apparent ‘opposites’ in an integrative conceptualisation, such as the very syntagm ‘sustainable development’. On the sociolinguistic plane, our debate should probably be about our ‘opposites’, which could be on the one hand the expansion of the dominant languages and, on the other hand, the maintenance and development of human linguistic diversity. (shrink)

When somebody speaks metaphorically, the primary meanings of their words cannot get semantically connected. Still metaphorical uses succeed in conveying the message of the speaker, since lakṣaṇā, a meaning-generating faculty of language, yields the suitable secondary meanings. Gaṅgeśa claims that lakṣaṇā is a faculty of words themselves. One may argue: “Words have no such faculty. In these cases, the hearer uses observation-based inference. They have observed that sometimes competent speakers use the word w in order to mean s, when p, (...) the primary meaning of w does not make any semantic sense. In all such cases, s is actually related to p. After having observed this, when the hearer hears the utterance of w, and realizes that w’s primary meaning p is semantically unfit for the sentence-meaning, they infer on the basis of their prior observation that ‘the competent speaker must mean s by uttering w’. Thus lakṣaṇā becomes a success.” This apparently well-argued reduction does not stand the critical examination; neither in Gaṅgeśa’s framework, nor even in the general theory of language. For one can compose and interpret potentially infinite novel sentences based on lakṣaṇā while the observational inferences one can make are finite. Gaṅgeśa says very clearly that as far as the secondary meaning is concerned, no prior observation is required. This paper will argue that not only does language yield secondary meanings through lakṣaṇā, but it also restricts the use of secondary meanings; for one cannot mean just anything by saying something. Lakṣaṇā is a creative function with infinite potential within the limits set up by the language faculty. (shrink)

This paper proposes a concept of creativity that stems from a semiotic and linguistic theoretical perspective, in which the formal frame of reference for variation and linguistic change considers and evaluates both the process of general interaction and the contact of languages as a global phenomenon. This method proposes an analysis of creativity that ranges from reflections of ancient philosophy to a contemporary linguistic perspective, incorporates international ideologies, and identifies, within the dimensions of use and (...) social sharing, the principle capable of guiding potentially unlimited forms of linguistic creativity that are self-expressive and communicative, far beyond the grammatical patterns of regularity and norm. Interpreting the paradigm of creativity according to this model means placing the semiotic property in a position of prima inter pares, entrusted not only with the “role” of forming signs (words, sentences, texts), but the function of arbitraire, as a phenomenon of language creation. The following reading references the semiotic contribution of Tullio De Mauro, an Italian linguist who has contributed to the systematization of creativity, overcoming and synthesizing both Saussurian structuralism and Chomskyan generativism. (shrink)

The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the analysis (...) draws an analogy between the deconstructive reading of texts and jazz improvisation to show the relevance that creativity has for both. This is followed by an examination of the similarities between Derrida's notion of différance and the musical figure of syncopation. The analysis is completed by an argument that the jazz event of the jam session is an encounter and creative 'dialogue', with features similar to Derrida's conception of hospitality. Chapter 2 focuses on deconstruction and photography. First, the discussion explores the correlation between truth and photography. It will be argued that deconstruction challenges the logocentric organisation of photographs based on the prominence of what is immediately visible in images and fosters a more creative interpretation, which is based on the play between concealment and unconcealment within photographs. Second, it investigates the implications of Derrida's analysis of temporality for photography. This supports an investigation into how Derrida's notion of responsibility and the future to come can be applied to photography. Chapter 3 focuses on deconstruction and architecture. First, the analysis establishes the links between architecture and language by outlining the creative and transformative outcome that the correlation between function and meaning in the light of deconstruction produces. Second, the investigation examines Bernard Tschumi's idea of architecture as event in Parc de La Villette. Tschumi's work is an example of how the deconstructive approach adopted by architects fosters creativity in users. Finally, the analysis focuses on the transformative and creative character of portable architecture by investigating the correlation between the creative character of deconstructive concepts such as freeplay, parergon, and the axiom of incompleteness, and the transformative features of tents. (shrink)

Nicholas Allott considers Chomsky at ninety. [This is a short introduction to Chomsky's linguistic work, its implications for our knowledge about language and the mind, and its connections with the political philosophy that is implicit in his work on international relations and the media. I argue that Chomsky's contribution to linguistics, cognitive science and philosophy should not be controversial. He has been a major influence on the computational/representational view of the mind that is now taken for granted in serious (...) work in linguistics and cognitive psychology. His work in linguistics revolutionised the field, leading to the discovery of grammatical principles with considerable explanatory power, and has shifted the burden against those who oppose Universal Grammar: an innate, domain-specific system that underlies our linguistic abilities. Chomsky's political work includes detailed critiques of US and other Western policy, particularly foreign policy, and, with Edward Herman, a model that seeks to explain how radical opinions and inconvenient facts are excluded from the media. Chomsky also has a political philosophy, although he does not set it out in detail. He sees human beings as intrinsically creative and with an instinct for freedom, and he takes these features of human nature to favour a libertarian socialist society.]. (shrink)

The world today is characterized by intercultural diversity. More and more communication takes place between people with different linguistic as well as cultural backgrounds. This happens because of contacts within the areas of business, science, education etc. but also because of immigration brought about by labour shortage or unstable political situation. The globalisation of the economy with increased appreciation by companies that managing cultural differences properly can be a key factor in getting things done effectively across borders. With increased (...) contact of personnel and customers from diverse cultural background, there is a growing demand for businesses to understand and manage the diverse values, perceptions, business worldviews and behaviour of corporations, staff, and its customer. Intercultural communication and management is an interdisciplinary human resources field concerned with faciliting communication, management and effective interaction of personnel and customers across borders. The starting point for understanding consumer behaviour is really important. Marketing and environmental stimuls enter the consumer’s conscioussnes, and set of psychological processes combine with certain consumer characteristics to resault in decision processes and purchase decision. The marketer’s task is to understand what happened in the consumer’s consciousness between the arrival of the outside marketing stimuli and the ultimate purchasedecision. Four psychological processes are motivation, perception, learning and also memroy, fundamentaly influence consumer responses. Understanding consumer behaviour may often be complicated since many different factors influence the behaviour and sicnce many different forms of behaviour exist. Paper describe fuzzy concept for evaluation of some cros-cultural impact and compare it with other type of measurements presented in literature. (shrink)

This introductory chapter presents the reader with various ways of approaching the topic ‘Wittgenstein and the creativity of language’. It is argued that any serious account of the questions arising from this joint consideration of, on the one hand, this great genius of philosophy and, on the other, the varieties of speech, text, action and beauty which go under the heading ‘the creativity of language’ will have to appreciate the potential of both, in terms of breadth as well (...) as depth. First, the chapter points out a way of understanding Wittgenstein’s discussion of rules and rule-following in relation to meaning and normativity which, in virtue of respecting Wittgenstein’s own creativity as a writer, does not fall prey to a widespread source of misunderstanding. Next, Wittgenstein’s uses of language receive some additional attention (i.e. his use of analogies, metaphors, punctuation and other literary and rhetorical devices), before a glimpse is offered of an unravelling of the knot that is Wittgenstein and the creativity of language. The multiple interrelated threads here lead into areas of human concern ranging from the philosophy of language and logic through to ethics, aesthetics and politics. Finally, the chapter offers an overview of the contents of the book from the perspective of its editors. (shrink)

The Cognitive Science era can be divided into two distinct periods with respect to the topic of innateness, at least from the viewpoint of the linguist. The first period, which began in the late 1950s and was characterized by the work of people like Chomsky and Fodor, argued for reviving a nativist position, in which a substantial amount of people’s knowledge of language was innate rather than learned by association or induction or analogy. This constituted a break with the empiricist/behaviorist/structuralist (...) tradition that had dominated the field before that. (shrink)

In this article, creativity is defined as a semiotic phenomenon, as a process in which the boundaries of habits and norms of social communication are exceeded and by which the challenges offered by the environment are solved. Here it is indicated that there is a direct link between attention and animal creativity and shown that there are at least two possibilities for creativity to work – one that needs attention and one which doesn’t. Animal creativity can (...) work through several different mechanisms, which are here combined into a new model. Adding the Uexküllian concepts of the functional cycle and search tone to the model of creativity makes it possible to describe some additional mechanisms of animal creative behaviours. Additional concepts compared include dual memory systems, the theory of associations, and finally Gregory Bateson’s double description. By considering that approach, it is possible to understand how animals find and adapt new behaviours to their repertoires. Researching the creative behaviours of animals and the spread of innovation between populations is important from a wider perspective to understand how animals can adapt to changing environmental conditions. (shrink)

This book has been inspired by Walter Benjamin’s idea of an afterlife of an original in its translations and probes into a wide variety of extensions of Carroll’s story in six languages. For one thing, it deals with language that speaks and more or less automatically steers its users in a particular direction and, for another, it discusses the creativity of individual translators who not only share a definite picture of the world with their language community but, in great (...) many instances, reveal a unique resourcefulness in resisting its power. Each chapter deals first with a separate theoretical issue (e.g. literalness, style, gender, and tense) and then proceeds to examine its practical actualization in various translations of Alice. (shrink)

A critique of structural theories of semantics, Particularly of the system developed by fodor and katz. The paper shows that such theories rest on misconceptions of sentential meaning and meaningfulness, Which it is argued, Admits of degree and varies with context. Also, Metaphorical meaning is bound to remain outside the theoretical reach of such systems, Which conceive of the everyday use of language as a mechanical process and not partly a creative one. Finally, It is argued that analogies rather than (...) rules are used in the process of semantic interpretation. (shrink)

Cocreating meaning in collaboration is challenging. Success is often determined by people's abilities to coordinate their language to converge upon shared mental representations. Here we explore one set of low‐level linguistic behaviors, linguistic alignment, that both emerges from, and facilitates, outcomes of high‐level convergence. Linguistic alignment captures the ways people reuse, that is, “align to,” the lexical, syntactic, and semantic forms of others' utterances. Our focus is on the temporal change of multi‐level linguistic alignment, as well (...) as how alignment is related to communicative outcomes within a unique collaborative problem‐solving paradigm. The primary task, situated within a virtual educational video game, requires creative thinking between three people where the paths for possible solutions are highly variable. We find that over time interactions are marked by decreasing lexical and syntactic alignment, with a trade‐off of increasing semantic alignment. However, greater semantic alignment does not translate into better team performance. Overall, these findings provide greater clarity on the role of linguistic coordination within complex and dynamic collaborative problem‐solving tasks. (shrink)

Gadamer's linguistic turn has been criticized for eclipsing ontological grounds for truth by conflating the meaning of existence with history. Chung-ying Cheng's recognizes the nihilistic implications of a ceaseless quest for meaning that cannot but perpetually slip away and in response, discloses the cosmo-ontological grounds that Gadamer's interpretive acts presuppose. In so doing, Cheng initiates a theoretical appropriation and integration between Western philosophy and the Yijing tradition. However, Cheng also interprets Gadamer from a Heideggerian perspective without due regard to (...) Plato. When Gadamer's turn to language is understood in terms of his claim that Socrates removes the contradiction between the Pythagorean One and the many by studying the forms in language, then there is room in the said turn for temporalizing the meaning of Being in the dialogue form. It is through the dialectical interplay between the auditory and visual dispositions underlying orality and literacy, the two mediums in which human understanding is entangled for Gadamer, that the “creative” emerges in his thought from within and out of a prior historically effected consciousness that in the final analysis attests to the universality of Cheng's onto-generative hermeneutics. (shrink)

Conference summary. This summary discusses the main issues of the proceedings of the IV International Scientific Conference “Creativity as the National Environment: Media and Social Activity,” which was held from July 2 to July 4, 2018 in Saint Petersburg. The conference was organized by the Department of Philosophy of the Humanities Faculty of the Saint Petersburg State Economic University, the Russian Philosophical Society, the Society of Russian Philosophy at the Ukrainian Philosophical Foundation, and the Department of Philosophy of the (...) Moscow State Institute of International Relations. Being united by interest in the research on social activity in the media space and the national environment of creativity, 63 scholars from Russia, Ukraine, Slovakia and Hungary took part in the conference. The summary considers the ideas discussed at two plenary sessions and at the following sections of the conference: “Metaphysical foundations of the creative process,” “Semantic element of artistic and aesthetic creativity,” “Creativity of a social subject in the field of media space.” The proceedings of the conference contain the results of research carried out in the field of the philosophy of creativity and related research areas, including social philosophy, sociology, cultural studies, political science, journalism, linguistics. (shrink)

According to Chomsky, creativity is a critical property of human language, particularly the aspect of ?the creative use of language? concerning the appropriateness to a situation. How language can be creative but appropriate to a situation is an unsolvable mystery from the Chomskyan point of view. We propose that language appropriateness can be explained by considering the role of the human capacity for Mental Time Travel at its foundation, together with social and ecological intelligences within a triadic language-grounding system. (...) Our proposal is based on the change of perspective from the analysis of individual sentences to the flux of speech in which the temporal dimension of language is much more relevant. (shrink)

This essay, the last in a series, focuses on the relationship between Nietzsche’s mental illness and his philosophical art. It is predicated upon my original diagnosis of his mental condition as bipolar affective disorder, which began in early adulthood and continued throughout his creative life. The kaleidoscopic mood shifts allowed him to see things from different perspectives and may have imbued his writings with passion rarely encountered in philosophical texts. At times hovering on the verge of psychosis, Nietzsche was able (...) to gain access to unconscious images and the music of language, usually inhibited by the conscious mind. He reached many of his linguistic, psychological and philosophical insights by willing suspension of the rational. None of these, however, could have been communicated had he not tamed the subterranean psychic forces with his impressive discipline and hard work. (shrink)

As a sort of intellectual provocation and as a lateral thinking strategy for creativity, this chapter seeks to determine what the study of the dynamics of biodiversity can offer linguists. In recent years, the analogical equation "language = biological species" has become more widespread as a metaphorical source for conceptual renovation, and, at the same time, as a justification for the defense of language diversity. Language diversity would be protected in a way similar to the mobilization that has taken (...) place to protect endangered species. Nevertheless, one must be careful when uncritically transferring conceptualizations and theoretical frameworks from one field to another, since obviously, these two phenomena are quite different in the real world. The dialogue with bioecologists starts by asking about the formation of diversity, i.e., about specialization. Here, one can observe the similarity between the processes of linguistic and genetic fragmentation, in the sense that both phenomena have a (socio)geographical basis for dispersion and consequently, for the loss of their original compact nature and their intercommunication. The self-organizing and creative properties of human beings favor the development of specific varieties for each subset, varieties that continue to evolve constantly, through the unceasing "languaging" of humanity. Regarding the continuity of species or languages, one can also observe the decisive role of intragroup relations. The staying power of linguistic varieties will increase in direct proportion to the intensity of the relationship among the components of the subset. On the other hand, if exotic elements are introduced, especially if these elements are aggressive in nature, the alteration of the ecological niche may turn out to be fatal for the continuity of the previously existing forms. This suggests to us the need to make an in-depth study of what the minimal contextual conditions would be so that a set linguistic group could be assured a sustainable continuity within a framework of linguistic contact. What type of minimum (socio-)ecological niche would a language have to have if we wished to ensure its habitual reproduction? A proposal is made here to explore the ideas of "exclusive functions" and "non-hierarchical functional distribution" for codes in situations where there is high contact and a danger of disuse. As regards change, this phenomenon is seen as an inherent element in the tendency of life to create new developments, which may or not be accompanied by an adaptation to changing environmental conditions. It is pointed out that, similar to what happens in biology, much of linguistic innovation stems from a systemically reorganized mixture of solutions from different codes. An important research question would be, however, to determine why some of these innovations disappear and others survive and extend throughout the community. The big question mark, as Mufwene points out, is, then how to manage to understand how "the evolution of language proceeds by naturally selecting from among the competing alternatives available through the idiolects of individual speakers". Extinction, whether it be of languages or of species, is caused in most cases "by a combination of demographic processes and environmental changes", as Brown points out. Thus, the environment plays a fundamental role in the direction of evolution, since the "the survival of the fittest is, in actuality, the survival of those who fit into the context (Allen and Hoekstra)". This allows us to see the great degree of importance of political-economic contexts in the case of languages. In the same way, migratory movements are also one of the major variables determining the extinction of biodiversity and language diversity. Species and habitat form the basic unit of existence, and this is the major point of departure for understanding the problem of the preservation and recovery of species or languages. Given the increase in the degree of linguistic contact, the continuity of language diversity depends on determining, as exactly as possible, as Prigogine, the physicist, would say, what precise conditions of imbalance may prove to be stable. The great challenge is not so much avoiding contact but managing it. And "restorative ecology" can also be of help to us here. Being able to reach sustainable solutions for language diversity implies a profound knowledge of the dynamics for determining the ways in which language is used in contact situations. The general conclusion is that linguistics is still terminologically and conceptually ill prepared to deal with the dynamic character of human languages. The world and our objects must be conceived of as elements in a state of flux, as changing systems in an unstable equilibrium. With respect to language policy, it would be necessary to make an effort to manage to establish some general principles regarding the linguistic organization of the human species that would make it possible for local linguistic diversity and communication on a planetary scale, which must necessarily take place, to be compatible with each other. To succeed, it will be necessary to continue promoting an autonomous socio-ecological perspective devoted to the comprehension of language phenomena. Such a perspective would be based on a paradigm of complexity, and would, at the same time, place human beings at the center of its theoretical underpinnings. (shrink)

This paper is an exposition as well as a critical examination of M. Frank's response to the Derrida/Searle debate. It argues that Frank's critique of Derrida and Searle is partly justified but suffers from a number of shortcomings. The author agrees with Frank's argument that Derrida fails to explain how linguistic meaning is possible on the basis of purely differential relations between signs (différance) and supports his view that the human subject, in spite of its lack of complete self-transparency, (...) is endowed with more autonomy and semantic creativity than Derrida is willing to grant it. The paper tries to show, however, that much of Frank's critique of linguistic theory as represented by the work of Searle is unjustified because it is informed by a questionable notion of linguistic determinism rooted in Schleiermacher and Saussurean structuralism, a notion of ineffable or non-conceptual individual meaning that remains insufficiently explicated, and a generally anti-naturalist attitude towards language which leads to a misunderstanding of the role linguistics and related cognitive sciences can (and cannot) play in the hermeneutic sciences. (shrink)

Linguists have habitually phrased their accounts of language knowledge as sound/meaning correspondences about which no mention need be made of differences that might exist between knowledge of how to analyze input versus knowledge of how to construct output . However, evidence from many sources increasingly indicates that the dissimilarities between language as comprehension versus language as production are so profound that they nullify attempts to describe language in a 'non-directional' manner, 'neutral' with respect to interpretive versus expressive functions. A two-component (...) model of idealized linguistic performance can be devised on the basis of much past and present linguistic scholarship. Elements needed for the comprehension component are derivable from 'taxonomic' distributional analyses of phonotactics, morphosyntax, and lexical semantics, as well as from recent cognitive psychological work on 'perceptual strategies', while the production component can be formulated in terms of 'generative-semantic' and 'generative-phonological' rules recast as meaning-to-sound transformational processes. Interaction between these two components may well be the crucial determinant of the 'creative aspect of language use'. (shrink)

This essay examines modern linguistic meaning of creativity and its roots in ancient Cinese philosophy. In particular, two kinds of creativity that originated in ancient Cinese thought -- natural and individual creativity -- are introduced and discussed.

Book review of Grève, Sebastian Sunday and Mácha, Jakub 2016, _Wittgenstein and the Creativity of Language_, London: Palgrave Macmillan, 2016, xxi + 318pp.

The objective of our study is to explore scientific creativity with a focus on intellectual (thinking) skills in the cognitive aspect by analyzing scientific theories, which are basically the creativity of historical great scientists, Galileo, Newton, Einstein While our study laid stress on the cognitive domain, exploration of the creativity of great scientists is also connected with affective characteristics (motives, task commitment, etc.) and their environmental factors (incubation period). Great scientists of the science history were aware of (...) the discrepancy issue among different fields of study and long searched for solutions, which they held in their minds. As a result, they created a certain hypothesis using the abstraction strategy in which they leave only the considerations suitable for the world view of the time. Then, they conducted a thought experiment that justified it. The reason why it was difficult for general people to understand was that there was a domain transition beyond materials obtained in the abstraction process. Furthermore, they all had strong motives for the future as well as task commitment. Knowledge is a product of natural selection, and the fusion of knowledge that does not presuppose the unity of knowledge is meaningless. (shrink)

Originally published in 1990. Each of the 12 chapters in this book build upon an approach to the analysis of spoken and written texts that is centred upon the recipient rather than the producer, for the abilities of listeners and readers deserve much attention. This book should be of interest to students and lecturers of linguistics, literary studies, English, education, communication studies and psychology.

The role of figurative languages such as metaphor and metonymy in creativity has been studied in cognitive linguistics. These methods can also be applied to analyze non-linguistic data such as pictures and gestures. In this paper we analyze fashion design by focusing on visual metaphor and metonymy. The nature of creativity in fashion design is not fully studied from a cognitive perspective compared to other related fields such as art. We especially focus on the aspect of fashion (...) design as a communication tool between the designer and the audience to convey designer’s image of human. Photos from two fashion shows are analyzed. We carried out an experiment to compare how human images in two shows are interpreted by those who are familiar with fashion and those who are not. We got three results: (1) As far as figurative (metaphorical and metonymic) interpretations of human image are concerned, two groups with different familiarity to fashion have significantly different patterns of responses to two shows. (2) For non-figurative interpretations (such as physical or personal attributes), no significant difference in the pattern of response to the show was observed between two groups. The participants as a whole, however, responded to the two shows differently. (3) In addition for non-figurative interpretation, fashion experts found significantly more attributes in human images than the others. The results show that the analysis of figurative interpreations is effective in seeing how the familiarity to fashion affects the mode of seeing fashion shows. (shrink)

There is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for (...) young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies onpoetic languageas meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease. (shrink)