This paper introduces and discusses three models of future: a determinist model, a stochastic model, and the model of True Prophetic Knowledge. All three models coexist in natural languages and are represented both in their grammatical systems and in the text-building discourse strategies speakers and authors apply to.

Lloyd Jones’s *The Book of Fame*, a novel about the stunningly successful 1905 British tour of the New Zealand rugby team, represents both skilled group action and the difficulty of capturing it in words. The novel’s form is as fluid and deceptive, as adaptable and integrated, as the sweetly shaped play of the team that became known during this tour for the first time as the All Blacks. It treats sport on its own terms as a rich world, a set (...) of bodily skills, and an honest profession in itself. A reading of *The Book of Fame* can contribute to the interdisciplinary study of literature and cognition, exemplifying two-way ‘exchange values’. On the one hand, we gain insights into the nature of skilful group agency, of distinct forms and at distinct timescales, by focussing on the precise forms taken by the All Blacks’ creation of space. Here, we treat The Book of Fame as a brilliant evocation of features of collective thought, movement, and emotion that both everyday and scientific inquiry can easily miss. On the other hand, we also read back into the novel a subtle, fascinated interrogation of the mechanisms by which small groups form, evolve, and act. In this more ambitious mode of analysis, we use independently motivated theoretical concerns to help us see real features of the literary work that might otherwise remain invisible. We focus on the relationship between skilful performance and collective action. These topics fall outside the ambit of much current work by literary theorists using cognitive research, who tend to focus on theory of mind and modularity, metaphor and blending, emotion and empathy, consciousness and concepts, representation and so on. But skilled performance and collective action comprise surprisingly lively research fields across the sciences, from neuropsychology to philosophy of mind and cognitive anthropology. These areas of inquiry may provide even more productive avenues for future work in the interfield of literary and cultural theory and the cognitive sciences. (shrink)

How do Language communities generate rules and norms of behavior? How do those norms and rules impact on interpersonal communication and on the Construction of organisations? Such communication implies the testing and comparison of narratives seen as relevant for problem solving in organisations. The Research suggests that reflection rooms are created when persons come together to find responses to Challenges (Called gaps in decision making in Searles Rationality in Action from 2001). The book investigates struggles of narratives over time in (...) the Development of Norwegian fisheries in the 20th Century, testing the relation between the horisontal institution of Language against the hierarchical organization of practical collective activities, in general and in practice in fisheries. (shrink)

meaning of a proper name is simply its referent.[1] This thesis, however, brings with it a whole host of problems. One particularly thorny difficulty is that of negative existentials, sentences of the form ‘N does not exist’ (where ‘N’ is a proper name). Intuitively, some such sentences are true, but the direct reference theory seems to imply that they must be either false or meaningless. After all, if the meaning of a name is just its referent, then a sentence such (...) as ‘Mary does not exist’ is meaningless unless there exists a person Mary who is the referent of the name ‘Mary’. But if such a person exists, then the sentence denying her existence must be false.            Now it might be suggested that negative existentials involve a rather rare and specialized use of names, for which an alternate analysis might well be appropriate. One might, for example, have independent reasons for thinking that existence is not a predicate. Even if this is right, however, the analysis of fictional discourse poses difficulties for the direct reference theory that cannot be so easily avoided. The trouble is that fictional names—‘Sherlock Holmes’ and ‘Bilbo Baggins’, for example—lack referents; fictional characters do not exist. As a result, a simple application of the direct reference view to fictional discourse is entirely untenable—this would entail that claims regarding fictional characters are not only never true, but always meaningless.            The tendency in the philosophy of language has been to treat fictional discourse as a peripheral case, posing little threat to the direct reference view. And, as such, the fact that the analysis of fiction seems to run into intractable difficulties has been downplayed, and the fact the analyses on offer tend to be ad hoc has been tolerated. Typical strategies include treating fictional names as abbreviations for definite descriptions, supposing that fictional names occur within the scope of tacit fictive operators of various sorts, or taking them to directly refer to non-existent objects.. (shrink)

The paper discusses the role of tense and time from a cross-linguistic perspective by comparing English and Mandarin. Multiple translations of the same literary piece are used to test the correspondence between the tense, the perfective aspect and temporal adverbials. In English, tense marking is found to work with at least two language-specific stylistic means, clause interpolation and inversion, to create a mixed narrative viewpoint. In Mandarin, neither the perfective aspect nor temporal adverbials, i.e., constructions that invoke time, are (...) systematically used across the renditions, which shows the Mandarin system’s overall indifference to time in managing viewpoint in discourse. The Mandarin renditions, in addition to an overall indifference to time, feature consistent and frequent use of reduplication as the system’s distinctive viewpoint strategy. The paper concludes with a discussion of the cognitive consequence of a language using an obligatory marking system to piggyback the function of viewpointing narratives. (shrink)

This article presents a corpus linguistic analysis of the development in future-oriented political journalism in four Danish newspapers in the period 1997–2013. Keyword analysis and concordance analysis are applied within a framework of grammatical-semantic theory of tense and modal verbs and semantic-pragmatic theory of time meaning, modality and speech acts. The results suggest, unexpectedly, that the newspapers – and news reports in particular – seem to have become less future-oriented in the period. At the same time, however, the articles (...) – and particularly news commentary, in itself increasing – might have become slightly more speculative. Thus, the journalists themselves have become the main source of ‘guessing’, that is, predicting and speculating, with the keywords vil and ville, including unreal and counterfactual speculations in the past tenses. (shrink)

This study examines the linguistic construal and cognitive representation of time and viewpoint in the genre of news narratives. We present a model of mental spaces that involves a News Space in which the deictic center is construed of the news actors at the time the newsworthy events took place, and a Reality Space in which the deictic here-and-now center of journalist and reader is construed. This model explains how the dynamic representation of narrative news discourse, characterized by shifts (...) in time and viewpoint, is steered by linguistic devices. An analysis of Dutch news narratives shows that temporal adverbs such as yesterdayand shifts from present tense to past tense may signal a moveforwardin narrative time, to a viewpoint in the future relative to the narrative now-point, rather thanbackward. These atypical time shifts can be accounted for by presupposing an Intermediate Space located at a point in time between the News Space and the Reality Space where the progression of narrative time comes to a halt and experiences are rather relived than reported. The salience of the Intermediate Space may be signaled by quotative conditionals reflecting the viewpoints of implicitly quoted sources. These results clarify how tense and temporal deixis steer the linguistic construal of time and viewpoint in news narratives, demonstrating that time and viewpoint are closely linked in the cognitive representation of these narratives. (shrink)

This study examines the linguistic construal and cognitive representation of time and viewpoint in the genre of news narratives. We present a model of mental spaces that involves a News Space in which the deictic center is construed of the news actors at the time the newsworthy events took place, and a Reality Space in which the deictic here-and-now center of journalist and reader is construed. This model explains how the dynamic representation of narrative news discourse, characterized by shifts (...) in time and viewpoint, is steered by linguistic devices. An analysis of Dutch news narratives shows that temporal adverbs such as yesterdayand shifts from present tense to past tense may signal a moveforwardin narrative time, to a viewpoint in the future relative to the narrative now-point, rather thanbackward. These atypical time shifts can be accounted for by presupposing an Intermediate Space located at a point in time between the News Space and the Reality Space where the progression of narrative time comes to a halt and experiences are rather relived than reported. The salience of the Intermediate Space may be signaled by quotative conditionals reflecting the viewpoints of implicitly quoted sources. These results clarify how tense and temporal deixis steer the linguistic construal of time and viewpoint in news narratives, demonstrating that time and viewpoint are closely linked in the cognitive representation of these narratives. (shrink)

This article investigates the performative nature of forensic dialogue as a literary device in the story of Susanna. Whilst Susanna scholars have brought significant contributions in recent years, this article contends that there has never been a special focus on the performative function of forensic dialogue in Susanna. This aspect should be explored further as it can contribute to how the story can be read, interpreted and applied in contemporary society. The article suggests that the forensic dialogue in Susanna is (...) possibly an intentional literary strategy by the implied author and has a performative function to benefit the implied reader. This means that the implied author uses forensic dialogue to invite participation from the reader. From a speech act interpretive angle, this article attempts to prove this claim by exploring the aforementioned literary device in Susanna and demonstrating its performative nature aimed at the reader. Contribution: The article’s main contribution rests on its unique approach to investigating the performative nature of forensic dynamics in Susanna. This technique of exploring narrative texts does also advance the Susanna scholarship, in that it offers a reader yet another way of reading, interpreting and applying the story to the contemporary society. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a (...) foreclosed home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A Woman's Thought Runs Before Her Actions":Vows as Speech Acts in As You Like ItWilliam O. ScottAbout a decade ago Susanne Wofford discussed As You Like It from the viewpoint that Rosalind uses a "proxy," her guise as Ganymede, in uttering "the performative language necessary to accomplish deeds such as marriage." 1 Thus Wofford complicated and qualified the success-oriented assumptions about performative usage of language as envisioned in (...) Austin's speech-act theories. 2 Her starting point was that (as Austin himself said) these performative usages don't have the same kind of force if they are included in a play; and so she proposed to take Rosalind's uses of vows as playful, both theatrically and personally. Her notion of the proxy, which raises questions too about the binding force of the speech act through the identity and tactics of the speaker, is especially apt in describing exactly what Rosalind does. Understandably Rosalind's performative manqué may be a prelude to the perfected form. Another complication suggests itself if one is going to attend to niceties of language usage: given that for Austin a performative procedure is founded on conventions of language, shouldn't one also examine such linguistic forms historically? For this play the most relevant form to consider historically is the vow.The precise formulation of vows, in espousal or marriage (both legally enforceable in church courts), was very important in early-modern England. One may wonder, then, what the formal requirements of [End Page 528] vows were, how much the analysis of them resembled and diverged from modern speech-act philosophy, and how the vows functioned. And one might ask such questions both about this play and about real-life practice. A more exact notion of vows may enrich our notions of Rosalind's playfulness with them and broaden our sense of the uses and tactics of performatives; and to the extent that this playfulness contrasts with Rosalind's serious (re)iteration of vows at the end of the play, we should give due weight to Carol Neely's suggestion that much of the pleasure for early-modern audiences lay in the body of the play rather than its conclusion. 3The actual vows between lovers would indeed lend themselves to historicized analysis of the speech acts that constitute them. The early-modern ecclesiastical court judge Henry Swinburne made something like that in his Treatise of Spousals, with his section "By what Form of Words Spousals de futuro are contracted," and similarly on the form of words in "Spousals de praesenti." 4 The implied time of effectiveness in the commitment to marriage is crucial in church law of the time, because it determines whether the vows are, respectively, a betrothal that promises a future marriage, or a present binding (whether inside or outside church) that becomes an instant marriage upon carnal consummation. Both these declarations of commitment are performatives (once reciprocated), and they are normally established by social convention, what Swinburne calls "the Common use of Speech or Custom" (p. 83). Swinburne also concerns himself with what amount to the conditions of "felicity" that are requisite to make the speech valid—for instance, who is allowed to contract spousals (cp. Austin, pp. 14–24).Both of these issues of timing and eligibility are important to Rosalind in the pretense of wedding in Act 4, Scene 1. As it is for Swinburne, the context is important: when Celia as priest asks, "Will you, Orlando, have to wife this Rosalind?" his answer "I will" is not good enough for Rosalind until he adds at her direction, "I take thee, Rosalind, for wife." 5 Likewise Swinburne considers at length the arguments whether there is a distinction between "I will" and "I do," and whether the future-sounding verb refers only to the beginning of a process and not its completion (pp. 8–9, 57–61). Though in general he allows the distinction (so that "I will" makes a spousal and "I do" a marriage), one of his exceptions sounds like the question that Celia first puts: "The Man demanding of the Woman whether she will take him to her Husband, she answereth [I will... (shrink)

This study elaborates on narrative resources emerging in the treatment of longlasting musculoskeletal and psychosomatic disorders in Norwegian psychomotor physiotherapy. Patients’ experiences produced in focus group interviews were analyzed from a narrative perspective, combining common themes across groups with in depth analysis of selected particular stories. NPMP theory expanded by Løgstrup’s and Ricoeur’s philosophy, and Mattingly’s and Frank’s narrative approach provided the theoretical perspective. Patients had discovered meaning imbued in muscular tension. Control shifted from inhibiting discipline and (...) cognitive strategies, towards more contingence with gravity and sensation, and increased freedom to be what and who they were. Trust, time, open speech, and being respectfully listened to were described as therapeutic pre-conditions. The body was experienced as the source of their voice as their own. As tension patterns transformed, novel experience in sensation appeared to feed narrative imagination, reshaping past plots, embodied identity and future prospects. NPMP was disclosed as a treatment integrating detection, battle and repair as narrative subplots, but the core narrative was the journey of transformation. Novel embodied narrative resources nourished the quest for a life and identity in tune with the body as one’s own. (shrink)

The chapter considers two semantic issues concerning will-sentences: Stalnaker’s Asymmetry and modal subordination in Karttunen-type discourses. The former points to a distinction between will and modal verbs, seeming to show that will does not license non-specific indefinites. The latter, conversely, suggests that will-sentences involve some kind of modality. To account for the data, the chapter proposes that will is semantically a tense, hence it doesn’t contribute a quantifier over modal alternatives; a modal feature, however, is introduced in the interpretation of (...) a will-sentence through a supervaluational strategy universally quantifying over possible futures. That this is not part of will’s lexical semantics is shown to have consequences that ultimately contribute to explain Stalnaker’s Asymmetry. Furthermore, that a modal quantification is present in the interpretation of a will-sentence is shown to imply the availability of modal subordination in Karttunen-type discourses. (shrink)

In volume 1 of this three-volume work, Paul Ricoeur examined the relations between time and narrative in historical writing. Now, in volume 2, he examines these relations in fiction and theories of literature. Ricoeur treats the question of just how far the Aristotelian concept of "plot" in narrative fiction can be expanded and whether there is a point at which narrative fiction as a literary form not only blurs at the edges but ceases to exist at all. (...) Though some semiotic theorists have proposed all fiction can be reduced to an atemporal structure, Ricoeur argues that fiction depends on the reader's understanding of narrative traditions, which do evolve but necessarily include a temporal dimension. He looks at how time is actually expressed in narrative fiction, particularly through use of tenses, point of view, and voice. He applies this approach to three books that are, in a sense, tales about time: Virgina Woolf's _Mrs. Dalloway;_ Thomas Mann's _Magic Mountain;_ and Marcel Proust's _Remembrance of Things Past_. "Ricoeur writes the best kind of philosophy—critical, economical, and clear."—Eugen Weber, _New York Times Book Review _ "A major work of literary theory and criticism under the aegis of philosophical hermenutics. I believe that... it will come to have an impact greater than that of Gadamer's Truth and Method—a work it both supplements and transcends in its contribution to our understanding of the meaning of texts and their relationship to the world."—Robert Detweiler, _Religion and Literature_ "One cannot fail to be impressed by Ricoeur's encyclopedic knowledge of the subject under consideration.... To students of rhetoric, the importance of Time and Narrative... is all too evident to require extensive elaboration."—Dilip Parameshwar Gaonkar, _Quarterly Journal of Speech_. (shrink)

In this ground-breaking and influential study Fredric Jameson explores the complex place and function of literature within culture. At the time Jameson was actually writing the book, in the mid to late seventies, there was a major reaction against deconstruction and poststructuralism. As one of the most significant literary theorists, Jameson found himself in the unenviable position of wanting to defend his intellectual past yet keep an eye on the future. With this book he carried it off beautifully. A landmark (...) publication, The Political Unconscious takes its place as one of the most meaningful works of the twentieth century.century. (shrink)

In this ground-breaking and influential study Fredric Jameson explores the complex place and function of literature within culture. At the time Jameson was actually writing the book, in the mid to late seventies, there was a major reaction against deconstruction and poststructuralism. As one of the most significant literary theorists, Jameson found himself in the unenviable position of wanting to defend his intellectual past yet keep an eye on the future. With this book he carried it off beautifully. A landmark (...) publication, _The Political Unconscious_ takes its place as one of the most meaningful works of the twentieth century.century. (shrink)

Precise prediction of future vehicle information can improve the control efficiency of hybrid electric vehicles. Nowadays, most prediction models use previous information of vehicles to predict future driving velocity, which cannot reflect the impact of the driver and the environment. In this paper, a real-time energy management strategy based on driver-action-impact MPC is proposed for series hybrid electric vehicles. The proposed EMS consists of two modules: the velocity prediction module and the real-time MPC module. In the velocity prediction module, a (...) long short-term memory neural network model, which is trained by the traffic data derived from a VR-based driving simulator, is adopted to predict the future driving information by using driver action information and current vehicle’s velocity. The obtained future driving velocity is treated as the inputs of the real-time MPC module, which outputs the control variables to act on the underlying controllers of power components by solving a standard quadratic programming problem. Compared with the rule-based strategy, a 5.6% average reduction of fuel consumption is obtained. The effectiveness of real-time computation of the EMS is validated and verified through a hardware-in-the-loop test platform. (shrink)

Natural languages exhibit a great variety of grammatical paradigms. For instance, in English verbs are grammatically marked for tense, whereas in the tenseless Eskimo-Aleut language Kalaallisut they are marked for illocutionary mood. Although time is a universal dimension of the human experience and speaking is part of that experience, some languages encode reference to time without any grammatical tense morphology, or reference to speech acts without any illocutionary mood morphology. Nevertheless, different grammatical systems are semantically parallel in certain respects. (...) Specifically, I propose that English tenses form a temporal centering system, which monitors and updates topic times, whereas Kalaallisut moods form a modal centering system, which monitors and updates modal discourse referents. To formalize these centering parallels I define a dynamic logic that represents not only changing information but also changing focus of attention in discourse (Update with Centering, formalizing Grosz et al 1995). Different languages can be translated into this typed logic by directly compositional universal rules of Combinatory Categorial Grammar (CCG) The resulting centering theory of tense and illocutionary mood draws semantic parallels across different grammatical systems. The centering generalizations span the extremes of the typological spectrum, so they are likely to be universal. In addition, the theory accounts for the translation equivalence of tense and illocutionary mood in a given utterance context. Following Stalnaker (1978) I assume that the very act of speaking up has a ‘commonplace effect’ on the context. It focuses attention on the speech act and thereby introduces default modal and temporal topics. These universal defaults complement language-specific grammars, e.g. English tenses and Kalaallisut moods. In a given utterance context the universal discourse-initial defaults plus language-specific grammatical marking may add up to the same truth conditions.. (shrink)

Michael Tooley presents a major new philosophical theory of the nature of time, offering a powerful alternative to the traditional "tensed" and recent "tenseless" accounts of time. He argues for a dynamic conception of the universe, in which past, present, and future are not merely subjective features of experience. He claims that the past and the present are real, while the future is not. Tooley's approach accounts for time in terms of causation. He therefore claims that the key to understanding (...) the dynamic nature of the universe is to understand the nature of causation. Time, Tense, and Causation is a landmark treatment of one of the oldest and most perplexing intellectual problems, and will be fascinating reading for anyone interested in the character of time. (shrink)

Although the bulk of this paper takes the form of an interpretation of the story of Abraham and Sarah in Genesis, it is intended as an exploration of what I take to be a new nexus of assumptions about the objects and practice of philosophy. This new configuration might be designated the narrative paradigm. Here one treats philosophical statements about the world as speech acts in a context few of whose disparate dimensions -- psychological, political, economic, scientific, aesthetic (...) or moral -- can be mastered with the precision of a logical calculus, but which nevertheless exhibits structures and motifs that may let us make sense of philosophical strategies we can neither evade nor forego. Most philosophers from classical times on have been interested in some version of a complete.. (shrink)

Speech acts are a staple of everyday communicative life, but only became a topic of sustained investigation, at least in the English-speaking world, in the middle of the Twentieth Century.[1] Since that time “speech act theory” has been influential not only within philosophy, but also in linguistics, psychology, legal theory, artificial intelligence, literary theory and many other scholarly disciplines.[2] Recognition of the importance of speech acts has illuminated the ability of language to do other things than describe (...) reality. In the process the boundaries among the philosophy of language, the philosophy of action, the philosophy of mind and even ethics have become less sharp. In addition, an appreciation of speech acts has helped lay bare an implicit normative structure within linguistic practice, including even that part of this practice concerned with describing reality. Much recent research aims at an accurate characterization of this normative structure underlying linguistic practice. (shrink)

This paper addresses a problem concerning the rational stability of intention. When you form an intention to φ at some future time t, you thereby make it subjectively rational for you to follow through and φ at t, even if—hypothetically—you would abandon the intention were you to redeliberate at t. It is hard to understand how this is possible. Shouldn't the perspective of your acting self be what determines what is then subjectively rational for you? I aim to solve this (...) problem by highlighting a role for narrative in intention. I'll argue that committing yourself to a course of action by intending to pursue it crucially involves the expectation that your acting self will be ‘swept along’ by its participation in a distinctively narrative form of self-understanding. I'll motivate my approach by criticizing Richard Holton's and Michael Bratman's recent treatments of the stability of intention, though my account also borrows from Bratman's work. I'll likewise criticize and borrow from David Velleman's work on narrative and self-intelligibility. When the pieces fall into place, we'll see how intending is akin to telling your future self a kind of story. My thesis is not that you address your acting self but that your acting self figures as a ‘character’ in the ‘story’ that you address to a still later self. Unlike other appeals to narrative in agency, mine will explain how as narrator you address a specifically intrapersonal audience. (shrink)

A barrier to entailment exists if you can't get conclusions of a certain kind from premises of another. One of the most famous barriers in philosophy is Hume's Law, which says that you can't get normative conclusions from descriptive premises, or in slogan form: you can't get an ought from an is. This barrier is highly controversial, and many famous counterexamples were proposed in the last century. But there are other barriers which function almost as philosophical platitudes: no Universal conclusions (...) from Particular premises, no Future conclusions from premises about the Past, and no claims that attribute Necessity from premises that merely tell us how things happen to be in the Actual world. Barriers to Entailment proposes a unified logical account of five barriers that have played important roles in philosophy, in the process showing how to diagnose proposed counterexamples and arguing that the case for Hume's Law is as strong as that for the platitudinous barriers. -/- The first two parts of the book employ techniques from formal logic, but present them in an accessible way, suitable for any reader with some background in first-order model theory (of the kind that might be taught in a first class in logic). Gillian Russell introduces tense, modal, indexical, and deontic formal logics, but always avoids unneeded complexity. Each barrier is connected to broader philosophical topics: universality, time, necessity, context-sensitivity, and normativity. Russell brings out under-recognised connections between the domains and lays the groundwork for further work at the intersections. -/- The last part of the book transposes the formal work to informal barrier theses in the philosophy of language, in the process doing new work on the concept of logical consequence, and providing new responses to proposed informal counterexamples to Hume's Law which employ hard-to-formalise tools from natural language, such as speech acts and thick normative expressions. (shrink)

Gaining a high level of proficiency is the ultimate aspiration of all language learners, and the use of apology and politeness strategies is consistently associated with the levels of language proficiency. Owing to the significance of speech acts, politeness strategies, and level of proficiency, this study aimed to investigate the realization of apology speech acts and politeness strategies among Iranian EFL learners to examine and compare the lower-intermediate and advanced learners’ use of apology and politeness (...) strategies. To achieve this goal, 320 learners were selected out of 390 EFL learners who took a test of English language proficiency and were then divided into lower-intermediate and advanced levels. The findings of the study revealed significant differences between lower-intermediate and advanced Iranian EFL learners in the realization of the speech act of apology and politeness strategies. Advanced learners preferred to use more indirect and complicated forms of apology speech acts and tended to apply negative politeness and off-record strategies more than the lower-intermediate learners did. However, lower-intermediate learners preferred to use simple and more direct forms of apology and politeness strategies. It can be concluded that as learners increase their knowledge in the target language, and as their interlanguages get closer to the target language, they tend to apply more complicated and native-like speech acts and strategies . (shrink)

Natural languages exhibit a great variety of verbal paradigms. For instance, in English main verbs are grammatically marked for tense, whereas in the tenseless Eskimo-Aleut language Kalaallisut they are marked for illocutionary mood. Although time is a universal dimension of the human experience and speaking is part of that experience, some languages encode discourse reference to time without any grammatical tense morphology (see e.g. Bittner 2005), or reference to speech acts without any illocutionary mood morphology.

The 25th of January, 2011 witnessed a wave of political unrest all over Egypt, with repercussions that have re-shaped the future of contemporary Egypt. For the first time in the modern history of Egypt since the 1952 Nasserite revolution, grass-root protestors went to streets chanting slogans against the military regime headed by the (since then ex-) President of Egypt, Hosni Mubarak. This placed the then regime, as well as its mainstay, the National Democratic Party (NDP), in a political crisis on (...) both local and international scales. It is this critical moment that led Mubarak to give his unprecedented speech on February 1st, 2011. The speech has brought about epoch-making political changes in the history of contemporary Egypt. Under public pressure, two seminal declarations were made in this speech: (1) Mubarak’s intention not to nominate himself for a new presidential term; (2) a call on the Houses of Parliament to amend articles 76 and 77 of the constitution concerning the conditions on running for presidency and the period for the presidential term in Egypt. The present paper seeks to answer the following overarching question: what are the discursive strategies used for saving the political face of Mubarak in his speech on February 1st, 2011? I follow a text-analytic framework based on the socio-semantic theory of social actors and the pragmatic models of speech acts and face-threatening acts. The analysis reveals Mubarak’s attempt to save his positive political face as a legitimate President who regarded himself as the official ruler invested with absolute power over Egypt. (shrink)

Prior has conjectured that the tense-logical system Gli obtained by adding to a complete basis for the classical propositional calculus the primitive symbolG, the definitionsDf. F:Fα=NGNαDf. L:Lα=KαGα,and the postulatesis complete for the logic of linear, infinite, transitive, discrete future time. In this paper it is demonstrated that that conjecture is correct and it is shown that Gli has the finite model property: see [4]. The techniques used are in part suggested by those used in Bull [2] and [3]:Gli can be (...) shown to be complete for the logic of linear, infinite, transitive, discrete future time in the sense that every formula of Gli which is true of such time can be proved as a theorem of Gli. For this purpose the notion of truth needs to be formalized. This formalization is effected by the construction of a model for linear, infinite, transitive, discrete future time. (shrink)

It is argued that the assignment of truth values to future contingents is threatened not by a tensed metaphysics but by a temporally “local” notion of truth, i.e., by the assumption that whatever is true at a given time needs to be grounded in what exists at that time. If this assumption is accepted, tensed and tenseless metaphysics are equally vulnerable; if it is rejected, both can accommodate true future contingents. This means that semantic decisions are largely independent of metaphysical (...) considerations. The work of Correia and Rosenkranz (2018) is a clear example of how the tensed metaphysics of the growing block can incorporate true future contingents. Two potential worries are discussed in the context of their work: (a) that their grounding strategy overgeneralizes and admits true counterfactual contingents; and (b) that the growing block theory lacks sufficient resources to distinguish the unique possible future course of events that is relevant for the grounding of future contingents. (shrink)

The main goal of Michael Tooley’s groundbreaking book is to establish a position intermediate between the tenseless theory of time and the standard tensed theory of time. Tooley argues for a novel version of the tensed theory of time, namely, that the future is unreal and the present and past real, and yet that reality consists only of tenseless facts. The question that naturally arises for the reader concerns an apparent paradox: how could the tensed theory of time be true (...) if reality consists only of tenseless facts? (shrink)

This book presents a wide range of thinking about how the discipline of philosophy has engaged and might in the future engage with the profound questions raised by rapidly shifting methods of communication. Although social media and telecommunications have dramatically altered the daily lives of people, and no technology has enjoyed the same rapid success as that of the mobile phone, the philosophical underpinnings and consequences of these changes have been insufficiently explored. Clustered in six sections, this book addresses major (...) questions of interest to the thoughtful professional. Section I considers ontology: How should we consider emerging media and what are the categories through which we can organize and understand this new realm of social reality. Section II investigates human nature and its relationship to the social transformations that are occurring through new media. It also considers and compares historical methods of communication such as paper. In Section III, questions of time, narrative voice, and emotions are assessed in relation to emerging media. General issues concerning emergence of meaning, philosophy of mind, artificial intelligence, and agency are the focus of Section IV. Symbols and speech acts—including the philosophical ramifications of the communication process itself as viewed through emerging technologies—represent the key concerns of Section V. Section VI probes various interpersonal, institutional, and political/power dimensions stemming from new systems of communication. A coda points forward to outstanding open questions, calling for further research to be done. The book represents a seminal contribution assembling original thoughts from both leading and rising scholars of the field. (shrink)

Speech acts have sometimes been considered as unembeddable, for principled reasons. In this paper, I argue that speech acts can be embedded under certain circumstances. In particular, I consider denegation and conjunction of speech acts, quantification into speech acts, conditionalization of speech acts, the embedding of speech acts by verbs like say and wonder, speechact-modifying adverbials like frankly, clauses commenting on speech acts, like certain uses of because-clauses, parentheticals, and appositive relative clauses. A (...) crucial distinction is made between speech acts and speech act potentials, linguistic objects that can be used to perform speech acts when applied in a specific communicative situation. I develop a semantic theory in which speech act potentials are captured as semantic functions that change a world-time index, reflecting the nature of speech acts as events that happen in the world. As index changers, speech act potentials become nearly regular semantic objects, with a proper semantic type on which other semantic objects can operate on. In this way, speech acts (or rather, speech-act potentials) become part of the recursive structure of language. (shrink)

In his Reportatio super Sententias (ca. 1321–1323), Walter Chatton proposes a solution to the problem of future contingents based on propositional analysis. Future-tense statements must be disambiguated with the help of a scope distinction between temporal and truth operators, such that a statement like “Socrates will sit” comes out either as (1) “it is true now that Socrates will sit,” or (2) “it will be true that Socrates sits.” On the first analysis, Socrates’s action is necessitated, whereas on the second (...) it remains contingent. In his later Quodlibet (ca. 1330), Chatton maintains his original analysis but augments it with an ingenious use of the traditional distinction between actus exercitus and actus significatus. His use of the distinction enables him both to give some speech-act-theoretical content to the scope analysis, which had been open to the charge of mere formalism, and to defend it cogently against an apparently strong counterargument. (shrink)

We offer a novel picture of mathematical language from the perspective of speech act theory. There are distinct speech acts within mathematics, and, as we intend to show, distinct illocutionary force indicators as well. Even mathematics in its most formalized version cannot do without some such indicators. This goes against a certain orthodoxy both in contemporary philosophy of mathematics and in speech act theory. As we will comment, the recognition of distinct illocutionary acts within logic and mathematics (...) and the incorporation of illocutionary force indicators in the formal language for both goes back to Frege’s conception of these topics. We are, therefore, going back to a Fregean perspective. This paper is part of a larger project of applying contemporary speech act theory to the scientific language of mathematics in order to uncover the varieties and regular combinations of illocutionary acts present in it. For reasons of space, we here concentrate only on assertive and declarative acts within mathematics, leaving the investigation of other kinds of acts for a future occasion. (shrink)

Foundations of Speech Act Theoryoffers a timely, thorough and, above all, compelling examination of the complexities of illocutionary acts, performatives, and their phenomenological basis. Savas Tsohatzidis has collected an impressive range of international scholars on the subject. Clearly demonstrating the relevance of speech act theory to semantic theory, the collection further interrogates the inability of pragmatic theories of illocution to properly locate such speech acts within the logic of phenomenology and intersubjectivity.

Ethical oaths for bankers, economists and managers are increasingly seen as successful instruments to ensure more responsible behaviour. In this article, we reflect on the nature of ethical oaths. Based on John Austin's speech act theory and the work of Emmanuel Levinas, we introduce a performative concept of ethical oaths that is characterised by (1) the existential self-performative of the one I want to be, which is (2) demanded by the public context. Because ethical oaths are (3) structurally threatened (...) by the possibility of infelicity or failure, we stress (4) the behavioural aspect of ethical oaths in economics and business. We conclude that a performative concept of ethical oaths can contribute to more ethical behaviour in economics and business, because the performative involves action and behaviour. At the same time, it becomes clear that a radical new perspective on the nature, function and limitation of oaths is needed. (shrink)

Crafted within a knowledge-first epistemological framework, Mona Simion’s engaging and wide-ranging work ensures that both the Knowledge Norm of Assertion (KNA) and Classical Invariantism (CI) can be part of a viable and productive research program.Dissatisfied with current strategies on offer in the literature, she successfully counters objections to the pair sourced in “shiftiness intuitions”—intuitions that seem to indicate that mere changes in practical context can impact the propriety of assertions and knowledge attributions. For example, in Keith DeRose’s famous pair (...) of low stakes versus high stakes bank cases, the consequences of Keith’s acting on The bank is open on Saturday if it were false change from trivial in low stakes to catastrophic in high stakes. We are to suppose that the proposition is true, and that Keith has access to the same quantity and quality of evidence for it in both cases. In low stakes, but not in high stakes, we are inclined to think that Keith can appropriately assert to his inquiring wife “The bank is open on Saturday.” In low stakes, Keith’s knowledge ascription “I know that the bank is open on Saturday” strikes us as aptly asserted and true. In high stakes only a knowledge denial on Keith’s part strikes us as aptly asserted and true.If we want to hang on to KNA, it looks like we will have to abandon CI and concede that ‘knows’ or knowledge is sensitive to changes in practical considerations. If we want to retain CI, we can try to say that, while Keith does still know that the bank is open on Saturday in high stakes, he does not have sufficient warrant to properly assert that it is. But such a move seems to run counter to KNA. We appear to be stuck in the Shiftiness Dilemma.Keen to get us out of the dilemma and to preserve the idea that epistemically good thinking and asserting are independent of practical concerns, Simion suggests a strategy that can also be used to protect other epistemic speech-act norms and notions from similar threats of practical shiftiness. She notes that having an impact on the degree of epistemic warrant required is not enough to make a norm an epistemic one. Fair enough. If I am given strong practical reason (a million dollars, or a gun to the head) not to adopt full belief until I have gathered more evidence, there is potentially some nonepistemic norm at work in the demand for further evidence. So it is a live possibility (indeed, a plausible one, as Simion would say) that our intuitions in the Shiftiness Dilemma are being misdescribed: they are tracking all-things-considered propriety of assertion, not epistemic propriety. In high stakes, practical norms override the epistemic norm KNA. Keith’s asserting “The bank is open on Saturday” would be epistemically proper but all-things-considered improper.Simion backs up her account with an etiological-function origin story and typology for the norms of assertion. Here is her characterization of etiological function for traits, artifacts, and actions. E-function.A token of type T has the e-function of type B of producing effect E in a system S iff (1) tokens of T produced E in the past, (2) producing E resulted in benefit of type B in S/S’s ancestors, and (3) producing E’s having B-benefited S’s ancestors contributes to the explanation of why T exists in S.In this schema, norms governing an action are typed by the functions or purposes of the action, which in turn are typed by the benefits the action delivers. The epistemic norm of assertion will be the one that characteristically and reliably enables participants in the practice of assertion to secure its primary epistemic good, which Simion identifies as knowledge (testimonial knowledge in hearers generated under normal conditions by the assertions of knowledgeable speakers). Moves in a practice either directly or indirectly aim at fulfilling the goal of the practice. Assertion is a move in the practice of inquiry, which has the generation of knowledge as its aim. Hence, Simion concludes, assertion aims at generating knowledge.This account helps to explain why, in cases like high stakes, Keith all-things-considered ought not to assert “The bank is open on Saturday,” even though he knows it is true. Prudential norms of assertion override the epistemic KNA, for when multiple functions come into conflict, the ones that are more important to the survival of the organism will generate weightier normative constraints.Simion then applies her account to the general category of constatives—for example, speech acts that express a speaker’s belief and the intention that the hearer form or continue to hold the like belief. Employing the taxonomy of Bach and Harnish, she argues that, as expressions of belief and hence varieties of assertion, constatives are subject to knowledge norms as well. Bach and Harnish identify fifteen different subcategories of constatives, each characterized in terms of the kind of belief and intention they express. The norms governing a species have to be at least as strong as the norms governing the corresponding type. As species of the type assertion, each subcategory, then, is subject to at least the necessary direction of KNA. Ultimately, we arrive at a knowledge norm for every speech act on the list, such as The Knowledge Norm of Conjecture (KNC):One’s conjecture that p is epistemically permissible only if one knows that there is reason, but not sufficient reason, to believe that p. Most of the proposed interpretations of various constatives are on the whole reasonable enough, though J. L. Austin would surely be unhappy to see so many different speech acts fashioned into varieties of assertion. Simion concludes with reflections on conjecturing, telling, and moral assertion.Construing the challenge of shiftiness intuitions in terms of the Shiftiness Dilemma allows Simion to declare success when the compatibility of KNA and CI with the relevant data of intuition is secured. Ensuring empirical adequacy for an explanatory framework is an important step, but pronouncements of victory by way of inference to the best explanation would be premature.Other candidates have been shown to match KNA’s familiar explanatory successes (involving lottery propositions, Moorean statements, etc.). Unlike KNA, alternatives that require only epistemically justified or rational belief or credence can allow that a subject is epistemically proper to assert what they believe when their belief is epistemically rational, even under conditions where there are defeating reasons that they are not in a position to be aware of. Furthermore, such norms seem better suited for philosophical or heated moral discussions where there is little consensus and individuals routinely fail to know that what they assert is true. Simion sounds the alarm that the Shiftiness Dilemma threatens to generalize “to epistemic normativity as a whole” (xi–xii), but norms concerning rational credence seem particularly immune.As Simion notes, the etiological-function model of norms that she proposes could be rebuilt with a different central epistemic aim at its core. Indeed, Millikan-inspired models along these lines are appealed to in other areas in philosophy where the concept of information takes center stage—a concept that may be more amenable to rigorous definition and use in dialogue with the sciences than knowledge. We can wonder, also, what special weight the etiological-function model accords to a knowledge-first perspective on epistemic normativity when the model is malleable in this way.The effectiveness of Simion’s strategy for shielding epistemically good thinking and assertion from practical shiftiness becomes less apparent when we try to apply it to Keith’s belief or judgment that the knowledge ascription/denial he asserts is true. It is unclear whether we are to suppose that, in high stakes, Keith epistemically ought to believe/judge that his asserted knowledge denial is false, but all-things-considered he ought to believe/judge that it is true. We do not have to accept that the knowledge-first, etiological function account of normativity for assertion carries over to belief, of course, but then what progress have we made in accounting for the shiftiness in Keith’s judgment that he knows the bank is open on Saturday in low stakes but not in high stakes?Furthermore, there are other ways to generate problems for fallibilist Classical Invariantists in low versus high stakes pairs of cases. Here is a simplified version of a puzzle from the debate over pragmatic encroachment. Consider low cases where you meet the invariant standards for knowing that p, but your justified confidence falls short of certainty. Among these cases, there must be some where you also meet the invariant standards for knowing that if p is true, then among your choices of action ϕ-ing results in the best overall outcome. Say, for instance, that you have a machine with a ϕ button, and your machine, which you know to be extremely reliable, tells you what the cost or benefit will be if you push the button and p is true versus if p is false. If you ϕ (push the ϕ button) and p is true, you win one hundred dollars; if you ϕ and p is false, you lose one hundred dollars. You face the choice: to ϕ or not to ϕ. Since you know that p, and you know that if p is true, then among your choices of action ϕ-ing results in the best overall outcome, you rationally conclude that ϕ-ing results in the best overall outcome, and hence that you ought to ϕ. If you know which choice of action has the best overall outcome, that is what you all-things-considered should do. Now consider high, where the quantity and quality of your evidence for p is the same, and you still know that your machine is extremely reliable. This time, however, the machine tells you that if you push ϕ and p is true, you win one hundred dollars, but if you push ϕ and p is false, you lose $1 million. Your rational confidence in p is not high enough to justify pushing the button, so you rationally conclude that you ought not to ϕ. Since in high nothing evidentially relevant has changed (all that has changed is the machine informing you of a new, more serious cost of acting on p if p is false), the classical invariantist will have to say that you still know that ϕ, and you still know that if p is true, then among your choices of action ϕ-ing results in the best overall outcome. So, according to CI, you should still be able to reason properly as follows: you know that p, and you know that if p is true, then among your choices of action ϕ-ing results in the best overall outcome, so you know that ϕ-ing results in the best overall outcome, hence you ought to ϕ. Classical invariantists owe us an explanation concerning how we can avoid the paradox here without conceding that knowledge is practically shifty. (shrink)

(2014). Toward Narrative Strategy. World Futures: Vol. 70, Strategy, Story, and Emergence: Essays on Scenario Planning, pp. 5-18.

RESUMO A partir da perspetiva de uma análise crítica do discurso, este artigo analisa a questão da autenticidade nos atos discursivos de expiação política. O objetivo é estudar de que forma a autenticidade dos atos discursivos de expiação política pode ser avaliada através de estratégias de reelaboração do passado empregadas em discursos de penitência. O artigo enfrenta a seguinte pergunta de pesquisa: de que forma estratégias de reelaboração do passado influenciam na autenticidade de um ato discursivo de expiação política? O (...) artigo analisa uma declaração de 2015 proferida por Shinzo Abe, antigo primeiro-ministro do Japão, e argumenta que, no seu ato discursivo de expiação política de 2015, ele desenvolveu uma estratégia de cancelamento da memória histórica nipónica. Tal estratégia impediu que a declaração de 2015 de Shinzo Abe fosse considerada um genuíno ato discursivo de expiação política. (shrink)

In the article art forms of utopian ideas embodiment in the novels of the Scottish writer I. Banks are considered. Utopian narratives are found both in the science-fiction cycle devoted to the civilization of Culture and in the novel "Business". Art modeling of the fundamental strategies of the society development characteristic for the New time, reveals their internal inconsistencies. Preindustrial, patriarchal living forms are offered instead. Novels by I. Banks visually demonstrate the feature of modern public consciousness and the (...) absence of ideal future representations. In the article fantastic and realistic I. Banks’ novels are compared from the point of this utopian ideal. (shrink)

The rationality of future bias figures crucially in various metaphysical and ethical arguments (Prior 1959; Parfit 1984; Fischer 2019). Recently, however, philosophers have raised several arguments to the effect that future bias is irrational (Dougherty 2011; Suhler and Callender 2012; Greene and Sullivan 2015). Particularly, Greene and Sullivan (2015) claim that future bias is irrational because future bias leads to two kinds of irrational planning behaviors in agents who also seek to avoid regret. In this paper, I join others who (...) have objected to Greene and Sullivan’s argument (Dorsey 2016; Tarsney 2017), but for significantly different reasons that put into question an unchallenged premise in the debate. These reasons are based on the relationship between the alleged irrational planning behaviors and certain features of regret that regret shares with future bias. First, regret is dynamic, involving preferences that change over time and in inconsistent ways. Second, regret comes in degrees, meaning that we can rank our potential regrets. Because regret has these features, I show that the future-biased agents in Greene and Sullivan’s cases do not need to act in irrational ways to rationally avoid regret. (shrink)

Art viewers and critics talk as if visual artworks say things, express messages, or have meanings. For instance, Picasso’s 'Guernica' has been described as a “generic plea against the barbarity and terror of war”, forming a “powerful anti-war statement”. One way of understanding meaning in art is to draw analogies with language. My thesis explores how the notion of a speech act – an utterance with a performative aspect – can illuminate art’s power to ‘speak’. In recent years, philosophers (...) of art have explored speech act theory in relation to literary art, though barely at all in relation to visual art. Given the way we talk about painting, sculpture, installation, film, and photography, and given that artists have investigated performativity through their art, this neglect is surprising. My thesis develops two main arguments. First, artwork meaning is active. I argue that visual artworks, under certain conditions, are speech acts. They have propositional content, and they have a certain force: they can do things such as assert, protest, and criticise – things we would normally do with words. I defend these contested claims against several dissenters, and explore some consequences: in particular, I explore how art can lie, a hitherto neglected question. Second, artwork meaning is flexible. I argue that what an artwork says and does is affected by the context in which it’s displayed, and in particular, by its curation. As a result, an artwork’s content and force can vary from context to context. This goes against a dominant view in the philosophy of art – what I call ‘Originalism’ – that the meaning of an artwork is fixed by factors which held at the time of the work’s creation, and so cannot change across time. I argue that this is mistaken: artworks can change in meaning. Curatorial factors can affect an artwork’s content and force, and consequently its social effects. It is known that our verbal speech has the power to oppress and liberate people in a society. My thesis aims to show that art also has this power to shape society; through what it says, and through what it does. (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary against (...) the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Narrative Ontology by Axel HutterFrank SchalowHUTTER, Axel. Narrative Ontology. Translated by Aaron Shoichet. Cambridge: Polity Press, 2022. xiii + 296 pp. Cloth $69.95; paper, $26.95Where postmodernism has dominated the language of contemporary philosophy, there is a need to develop an alternative discourse to address perennial philosophical issues. In Narrative Ontology, Axel Hutter proceeds along this path by introducing narration or a form of storytelling to (...) reinscribe "the three ideas that have belonged since time immemorial to the heart of philosophical reflection: freedom, God and immortality." Hutter's defense of his thesis is twofold. First, he distinguishes narration as a temporal enactment embodied in telling a story, the scope of which is sufficiently universal as to found a new understanding of history, its alpha and omega. Second, he appeals to the biblical account of the tribulations of Jacob and Joseph as retold in the narrative style of Thomas Mann's novel Joseph and His Brothers. "The first reason a philosophical enquiry seeks to connect with Thomas Mann is that he himself accommodates a reciprocal illumination of philosophy and literature by situating his own way of thinking and working in explicit proximity to philosophy." "The second reason this philosophical enquiry seeks to connect with Thomas Mann is that he accommodates a narrative ontology of meaning, by contemplating, in his way, the same fundamental question."Along with an introduction, Hutter divides his book into three parts. In Part One ("The Stories of Jacob"), Hutter undertakes a precise explication of Mann's novel, in order to illustrate how ontology can be reconstituted as a narrative event that redefines "being" as a foundational act of history. "Jacob's sentences give expression to the hope that God can preserved the possibility of the future even if it seems to be destroyed in the fire of death." Form (that is, the narrative style) and content (that is, the interwoven meanings of the biblical text of Jacob as told and retold) are united. "This characterizes how Thomas Mann reads the original text.... The manner of his reading is articulated, in fact, in the Joseph novel itself.... Thus, a complex intertwining of narrative levels of meanings emerges: the inner meaning of the original story consists in a narrative ontology in which being is understood—in a sense that is still in need of elucidation—narratively and historically: as (hi)story. For an adequate understanding, this original story is re-narrated by Thomas Mann himself with the explicit intention of raising the original meaning of the story, its narrative ontology, clearly into consciousness."In Part Two ("Time and Meaning"), Hutter explores the thematic and methodological implications of narration as an attempt to infuse meaning into history and, conversely, through its own self-illustration, to chart the course of what is historical, that is, the transmission of future [End Page 143] understanding through the recovery of the past. Thus, storytelling renders history concrete, and, reciprocally, history challenges the narrator to plumb the depths of its greatest mysteries. According to Hutter, the Joseph novel embodies Mann's effort to meet this challenge. Storytelling is a way of preserving the past, but only under the condition of welcoming the promise of the future. "Yet the story that the Joseph novel narrates concretely is the story of Abraham and his blessing that is handed down to his descendants. In the peculiarly timeless omnipresence of this story, the tradition of the figure of Abraham is joined with the prophecy of the blessing that is not only promised to Abraham but to all his heirs."In Part Three ("The Stories of Joseph"), Hutter examines the dynamic of conversion or the transformative movement from self-love to compassion. He appeals to these spiritual elements to check the nihilistic tendency to exalt the individual both as the center of freedom and as the ground of social relations. Another kind of bond is necessary to overcome the abyss of meaninglessness, which is prefigured in ancient times and becomes most evident today in postmetaphysical forms of nihilism. "The 'whole theology' of the Joseph novel revolves around the Abrahamic covenant between God and human being—a covenant that, as already stated, implies a theory of... (shrink)

This article analysed the Indonesian government’s strategy in eradicating terrorism and radicalism. This study was designed with quantitative methods within the framework of normative legal research using anti-terrorism-related regulations as the sample. Data analysis was carried out with content analysis to identify the conception of terrorism, radicalism and deradicalisation in the legislation. The research found that most of Indonesia’s counter-terrorism regulations associate terrorism with criminal actions. However, regulatory developments also present a decreasing association between terrorism and acts of violence alone (...) as terrorism is growingly being conceptualised by policymakers not only as a virulent action to an increasing extent but also ideologically based on the process of radicalisation. Consequently, various regulations after 2013 accommodate many prevention-based ideas and soft approaches. Newest regulations also accommodate deradicalisation as an important strategy in countering terrorism. This finding practically would imply including counter-narratives through education and deradicalisation strategies. It is also projected through counter-propaganda as a strategic deradicalisation approach. Its incorporation into regulations is needed as digital technology advances, making it easier for young people to be exposed to radical ideas through internet channels. Contribution: This study deepens empirical evidence regarding the need for an alternative soft approach strategy in dealing with religious doctrine-based radicalism. Apart from preventive measures through law enforcement which should be continuously strengthened, the findings in this research encourage preemptive methods in deradicalisation through counter-narrative, counter-propaganda and counter-ideology. (shrink)

In this paper, I compile some reasons for resisting Stainton's analysis of sub-sentential speech. My resistance stems from considerations about the intentions and expectations of those who communicate using sub-sentential speech. I challenge Stainton's reasons for thinking that some sub-sentential utterances have the status of full-fledged speech acts and argue that they turn out to be degenerate speech acts. After offering my own analysis of sub-sentential speech, I recommend that by revisiting the divide and conquer (...) strategy Stainton dismisses for handling the alleged cases of genuine sub-sentential speech, we can resist radical forms of contextualism suggested by his analysis. En este texto recopilo algunas razones para oponerse al análisis del habla suboracional que plantea Stainton. Mi oposición surge de consideraciones en torno a las intenciones y expectativas de quienes se comunican usando el habla suboracional. Pongo en duda las razones que aduce Stainton para pensar que algunas proferencias suboracionales tienen el estatus de actos de habla en toda la extensión de la palabra y arguyo que resultan ser actos de habla degenerados. Después de ofrecer mi propio análisis del habla suboracional, recomiendo que, retomando la estrategia "divide y vencerás" que Stainton descarta para manejar los presuntos casos de habla suboracional genuina, podemos oponernos a las formas radicales de contextualismo que su análisis sugiere. (shrink)