Thematische Bibliographien / Traditional referentiality

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 4. Februar 2022

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Zeitschriftenartikel zum Thema "Traditional referentiality"

Babnik, Jan. „The Many Faces of Camouflage: An Essay on Camouflage, Surveillance, Control Society, and Cuttlefish“. Membrana Journal of Photography, Vol. 1, no. 1 (2016): 52–63. http://dx.doi.org/10.47659/m1.052.art.

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The article investigates the relationship between social control and camouflage in contemporary conditions of new visibility from the perspective of digitalisation of photographic image and its increased integration into military and surveillance technologies. The author investigates the play of visibility and invisibility, of hiding and exposing, implied in traditional understanding of camouflage under the changed conditions of referentiality and visibility through a number of examples, ranging from surveillance projects aimed at preventing human rights violations to the military use of drones and artistic projects that either critique the new means of social control, or offer strategies of resistance to individuals.

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Fonteyn, Lauren, Liesbet Heyvaert und Charlotte Maekelberghe. „How do gerunds conceptualize events? A diachronic study“. Cognitive Linguistics 26, Nr. 4 (01.11.2015): 583–612. http://dx.doi.org/10.1515/cog-2015-0061.

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AbstractThis article offers a cognitive perspective on the evolution of the semantics of English nominal gerunds (NG) (I regret the signing of the contract) and verbal gerunds (VG) (I regret signing the contract). While the formal differences between NGs and VGs are well documented, their semantics remains largely unexplored territory. The perspective that is taken here is centered on the linguistic notion of reference and various aspects of the conceptualization involved in it. As they formally hover between more nominal and more clause-like internal properties, gerunds form an interesting test case for the cognitive perspective on referentiality. Our corpus analysis describes how the situations that NGs and VGs refer to are conceptualized as deictic expressions grounded in the speech event in Present-day English, and how this has changed since the Early Modern period. It is shown that only a multi-layered model of referentiality can account for the subtle differences found between NGs and VGs: while no fundamental shifts are found with regard to the traditional referential subtypes (specific, non-specific, generic), NGs and VGs do turn out to differ in their choice for either nominal or clausal grounding mechanisms, in their status as existentially stable or flexible entities and in the mental spaces in which they situate the events that they conceptualize.

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Bray, Tamara L. „An Archaeological Perspective on the Andean Concept of Camaquen: Thinking Through Late Pre-Columbian Ofrendas and Huacas“. Cambridge Archaeological Journal 19, Nr. 3 (Oktober 2009): 357–66. http://dx.doi.org/10.1017/s0959774309000547.

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Ethnohistoric sources suggest that the indigenous inhabitants of Andean South America saw both people and things as animated or enlivened by a common vital force (camaquen). In approaching the subject of camaquen archaeologically, I attempt to place objects and their materiality at the analytical centre, rather than the normally privileged ethnohistoric or ethnographic data, in order to see what new insights into the nature of Pre-Columbian ontologies might be gained from ‘thinking through things’. In this, I follow recent theories premised on the idea that the traditional segregation of concepts and things may hinder understanding of alternative worlds. The study focuses specifically on the arrangements, relationality and referentiality between and among objects found in sacred and offering contexts dating to the Inca period.

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Rohde, Markus, Peter Brödner, Gunnar Stevens, Matthias Betz und Volker Wulf. „Grounded Design - a praxeological IS research perspective“. Journal of Information Technology 32, Nr. 2 (Juni 2017): 163–79. http://dx.doi.org/10.1057/jit.2016.5.

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In this paper, we propose Grounded Design - a particular design research (DR) approach rooted in a practice-theoretical tradition. It assesses the quality of information technology (IT) design through evaluation of emerging changes in social practices, which result from the appropriation and use of IT artifacts. The paper starts with a systematic analysis of the reasons for persistent limitations of traditional information systems DR, specifically in coping with problems of contingency and self-referentiality. Following this critique, the principles of Grounded Design are presented. Grounded Design is applied in case studies where we reconstruct the social practices observed before and during the design and appropriation of innovative IT artifacts. We call these context-specific research endeavors ‘design case studies.’ In conducting these case studies, Grounded Design builds upon well-established research methods such as ethnographical field studies, participatory design and action research. To support the transferability of its situated findings, Grounded Design suggests documenting increasing numbers of design case studies to create an extended, comparative knowledge base. Comparing cases allows for the emergence of bottom-up concepts dealing with the design and appropriation of innovative IT artifacts in social practice.

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Randviir, Anti. „From systematic semiotic modelling to pseudointentional reference“. Sign Systems Studies 47, Nr. 1/2 (08.08.2019): 8–68. http://dx.doi.org/10.12697/sss.2019.47.1-2.01.

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Societies as open social systems work through semiotic modelling systems. We view their relevance for shaping primary and secondary needs, as well as metaneeds that are conditioned in social systems. Through conditioning in socialization, semiotic reality can be naturalized up to a level where we can start speaking about not only unconscious, but also unintentional semiosic activity. By that, the very realm of indexicality will be questioned. If indexicality is conjoined with unintended referentiality, then unintentional semiosis means the blurring and fusion of realities far beyond the so-called simulacral semiotic spaces. It is especially acute in the context of the development of technological availabilities where the physical, the semiotic, and the purely virtual reality merge. That quite novel phenomenon is exemplified by semiotic insularization. What follows is that it is hard to define the research object, for the subject is fading away, the real and the virtual are intermingling also in terms of their inhabitants (biological humans, computer users, avatars, virtual identities). Thus the pragmatic dimension of semiotics is gradually becoming lost. Also, the referential reality is moving farther from the informational space created and represented in “traditional” discursive flows, rather becoming based on pseudoreferential clues of meaning making.

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Garaz, Oleg. „Do Androids Dream of Electric Sheep? or about The Sense of Cultural Nostalgia“. Studia Universitatis Babeş-Bolyai Musica 65, Nr. 2 (21.12.2020): 79–87. http://dx.doi.org/10.24193/subbmusica.2020.2.05.

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"The evolution of the European musical culture took place in a flagrant contradiction with the traditional image of a simple succession of stylistic stages. Even if the linearity of the consecution of Antiquity, Middle Ages, Renaissance, Baroque, Viennese Classicism, Romanticism, Modernism and Postmodernism is only too obvious, the nature and logic of the transformations are related to the determining referentiality of the syncretic principle. But, unlike the Enlightenment conception of linear progress, applicable rather to the technological and, in general, scientific thinking, musical art has evolved in mirror symmetry to a cultural history that was separated into two great “ages”, following Eliade's idea of the sacred-profane dichotomy. Around the year 1600, the order of the constituents of the syncretic principle, which are three in number: the Sacred (the tribal societies), the mythological (the Greek and Roman Antiquities) and the ritualistic (the Middle Ages and the Renaissance), was reversed – the ritualistic and the mythological (the Baroque, the Viennese classicism and Romanticism) and the Sacred (the first modernism). In postmodernity, the syncretic principle itself is “recycled” and thus the cycle of cultural evolution closes by returning (in an obviously distorted manner) to the original principle. Keywords: syncretism, Sacred, mythological, ritualistic, three modernisms and three modernities."

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ROY, STÉPHANE. „Form and referential citation in a work by Francis Dhomont“. Organised Sound 1, Nr. 1 (April 1996): 29–41. http://dx.doi.org/10.1017/s1355771896000155.

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It is common to oppose formalist and referentialist approaches to music. However, in Francis Dhomont's work Points de fuite, these approaches appear complementary when we consider the relationship between sounds and sources. Adopting the analytical approach of the American theorist Leonard B. Meyer, we show how the syntactic flow of Points de fuite generates formal implications through the impact of tension and relaxation archetypes. The piece explores metaphors based upon recurrent anecdotal events – the recorded signifiers of the source. These extra-musical elements define the work's structure to such an extent that they eliminate the traditional gap between formalism and referentialism in music.

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Giusti, Giulio L. „Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red“. Acta Universitatis Sapientiae, Film and Media Studies 11, Nr. 1 (01.12.2015): 159–79. http://dx.doi.org/10.1515/ausfm-2015-0021.

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Abstract This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of elaborate camerawork and disjunctive music and sound. Specifically, this article seeks to complement these studies by arguing that such a stylistic and technical achievement in the film is also rendered by Argento’s use of a specific art-historical repertoire, which not only reiterates the Gesamtkunstwerk-like complexity of the director’s audiovisual spectacle, but also serves to transpose the film’s narrative over a metanarrative plane through pictorial techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American Hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I will demonstrate how and to what extent in the film Argento manages to break down the epistemological system of knowledge and to disrupt the reasonable order of traditional storytelling through the technique of the trompe-l’oeil in painting.

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Lappela, Anni. „Vuoret ja kaupunki vastakohtaisina tiloina Alisa Ganijevan teoksissa“. AVAIN - Kirjallisuudentutkimuksen aikakauslehti, Nr. 3 (02.10.2016): 7–22. http://dx.doi.org/10.30665/av.66158.

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Mountains and City as Contrary Spaces in the Prose of Alisa Ganieva I analyze Alisa Ganieva’s novel Prazdnichnaia gora (2012) and her novella Salam tebe, Dalgat! (2010) from a geocritical (Westphal, Tally) point of view. Ganieva was born in 1985 in Moscow, but she grew up in Dagestan, in North Caucasia. Since 2002, she has lived in Moscow. All Ganieva’s novels are set in present-day Dagestan, not only in the capital Makhachkala but also in the countryside. I study the ways the two main spaces and main milieus, the mountains and the city, oppose each other in Prazdnichnaia gora. I also analyze how this opposition constructs the utopian and dystopian discourses of the novel. In this high/low opposition, the mountains appear as the utopian place of a better future, and the city in the lowlands is depicted as a dystopian place of the present-day life. The texts’ multilayered time is also part of my analysis, which follows Westphal’s idea of the stratigraphy of time. Furthermore, the mountains are associated with the traditional way of life and the Soviet past. In this way, the mountains have two kinds of roles in the texts. Nevertheless, the city is a central element of the postcolonial dystopian discourse of Prazdnichnaia gora. In my opinion, Ganieva’s texts problematize referentiality, one of the key concepts of geocriticism. Whilst the city tends to be very referential, the mountains escape the referential relationship to the “real” geographical space.

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Padilla Aguilera, Tania. „Benegasi y la fiesta de la llegada al trono de Carlos III“. Cuadernos de Estudios del Siglo XVIII, Nr. 29 (17.12.2019): 363–94. http://dx.doi.org/10.17811/cesxviii.29.2019.363-394.

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RESUMENEn su obra «Descripción festiva de la suntuosa carrera y reales funciones…» (1760), escrita en un período que podríamos calificar como de senectute, el poeta madrileño José Joaquín Benegasi y Luján (1707-1770) desarrolla unas estrategias literarias que oscilan entre un aparente mecenazgo y una actitud claramente profesional. En esta última dirección apuntan algunos de los rasgos más interesantes del libro, como la presencia de un discurso en el que abunda la autorreferencialidad y que está cargado de marcas distintivas que el autor ya ha asumido como propias (estilo jocoserio, arte menor, casticismo, sátira, mascarada). La «Descripción festiva» está construida desde los planteamientos de una continua confrontación dialéctica que funciona dentro del propio texto, pero también fuera de él y en relación con otros textos. Todos estos procesos apuntan a la confirmación de la hipótesis inicial: en esta obra Benegasi utiliza un cauce literario tradicional al servicio del nuevo modelo de mercado editorial.PALABRAS CLAVEProfesionalidad, estrategias editoriales, trayectoria, literatura circunstancial, polémicas, prensa. TITLEBenegasi and the party of the arrival to the throne of Carlos IIIABSTRACTIn his work «Descripción festiva de la suntuosa carrera y reales funciones…» (1760), framed in a period that could be described as senectute, the Madrilenian poet José Joaquín Benegasi y Luján (1707-1770) develops literary strategies that oscillate between an apparent patronage and a clearly professional attitude. In this last address point some of the most interesting features of the book, such as the presence of a speech that abounds in self-referentiality and is loaded with distinctive marks that the author has already assumed as their own (jocoserious style, minor art, casticismo, satire, masquerade). The «Descripción festiva» is constructed from the expositions of a continuous dialectical confrontation that works within the text itself but also outside it and in relation to other texts. All these processes point to the confirmation of the initial hypothesis: in this work Benegasi uses a traditional literary channel at the service of the new model of the publishing market.KEY WORDSProfessionalism, editorial strategies, trajectory, circumstantial literature, controversies, press.

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Dissertationen zum Thema "Traditional referentiality"

Bolintineanu, Ioana Alexandra. „Towards A Poetics of Marvellous Spaces in Old and Middle English Narratives“. Thesis, 2012. http://hdl.handle.net/1807/35062.

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From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

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Bücher zum Thema "Traditional referentiality"

Nakayama, Toshihide. Polysynthesis in Nuuchahnulth, a Wakashan Language. Herausgegeben von Michael Fortescue, Marianne Mithun und Nicholas Evans. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199683208.013.35.

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Nuuchahnulth is a Southern Wakashan language spoken in British Columbia, Canada. It is a verb-initial head-marking language and is almost exclusively suffixing morphologically. The language exhibits polysynthesis involving holophrasis but does not allow compounding. Instead, it has numerous suffixes with heavy lexical content, traditionally termed ‘lexical suffixes’. This lexical suffixation serves as the central mechanism in Nuuchahnulth for bringing multiple lexically heavy morphemes into a word. The complexity of actual polysynthetic words in this language seems rather limited compared to what is reported to be possible in Eskimo languages. There are cases where similar semantic content can be expressed either synthetically using a polysynthetic word or analytically as separate words. When such an alternation is possible, discourse-pragmatic considerations, particularly discourse referentiality of the object of the predicate, play a major role in the choice of constructions.

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Taylor, Kenneth A. Meaning Diminished. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198803447.001.0001.

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This book examines the dialectical role of semantic analysis within metaphysical inquiry. It argues that semantic analysis ought to be modest in its metaphysical pretensions in the sense that linguistic and conceptual analysis should not be expected to yield deep insight into either what exists or the nature of what exists. The argument turns on distinctions among narrowly linguistic semantics in the generative tradition and two varieties of broadly philosophical semantics which correspond to broad approaches to semantically infused metaphysical inquiry. In particular it distinguishes ideational semantics and metaphysical inquiry via the way of ideas, on the one hand, from referential semantics and metaphysical inquiry via the way of reference, on the other. It is argued that foundational assumptions of the generative framework are insufficient on their own to support the drawing of metaphysically immodest conclusions from the narrowly semantic premises. But it is shown that if we are determined to bridge the gap between narrowly semantic premise and metaphysical conclusion, we must augment our semantics with additional metasemantic premises. Such additional premises may come either from ideationalist or referentialist metasemantics. A number of arguments for preferring referential metasemantics over ideational metasemantics are offered. It is argued pursuing referentialist metasemantics as opposed to ideationalist metasemantics yields a semantics that is metaphysically modest. Finally it is argued that metaphysically modest should regarded as a feature rather than a bug of a semantic theory, one that serves to bring semantics into closer alignment with the special sciences generally.

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Buchteile zum Thema "Traditional referentiality"

Ranković, Slavica. „The Performative Non-Canonicity of the Canonical: Íslendingasǫgur and their Traditional Referentiality“. In The Performance of Christian and Pagan Storyworlds, 247–72. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.miscs-eb.1.100758.

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„HOMERIC SIGNS AND TRADITIONAL REFERENTIALITY“. In Homer’s Traditional Art, 13–34. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp2m4.6.

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Appert, Catherine M. „Producing Diaspora“. In In Hip Hop Time, 160–84. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0006.

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This chapter shows how palimpsestic practices of hip hop genre produce diasporic connections. It describes how hip hop practices of layering and sampling delink indigenous musical elements from traditional communicative norms to rework them in hip hop, where they signify rootedness and locality in ways consistent with hip hop practice in the United States. It demonstrates that this process relies on applications of hip hop time (musical meter) as being fundamentally different from indigenous music, whose local appeal is contrasted with hip hop’s global intelligibility. It outlines how hip hop concepts of flow free verbal performance from lyrical referentiality to render it a musical element. It argues that these practices of hip hop genre, in their delinking of sound and speech, reshape understandings of the relationship between commercialism and referentiality, and suggests that voice therefore should be understood to encompass artists’ agency in pursuing material gain in the face of socioeconomic struggle.

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Maring, Heather. „Metonymy, Gifre, Grædig, and a Devouring-the-Dead Theme“. In Signs That Sing. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054469.003.0003.

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Chapter 2 describes how Anglo-Saxon poets made use of the metonymy of traditional phraseology and oral-connected themes (multiforms) by exploring the “devouring-the-dead” theme in Beowulf, Soul and Body I, and Soul and Body II. The “devouring-the-dead” theme, first proposed here, depicts a ravenous agent destroying a dead body. Due to its subject matter, the theme commonly draws on the half-line collocation grædig ond gifre (“greedy and devouring”), which also arises independently of the theme. The collocation and the “devouring-the-dead” theme are written oral idioms that make use of the metonymic referentiality of oral-traditional signs for both utilitarian and aesthetic purposes.

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Maring, Heather. „A Lord-Retainer Theme“. In Signs That Sing. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054469.003.0004.

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Chapter 3 discusses an oral-connected idiom whose constitutive motifs employ clusters of concepts rather than specific morphemes or phraseological patterns. By calling the lord-retainer convention a “theme” in the oral-traditional sense, this chapter highlights meaningful features of the theme and the expressive role of metonymic referentiality. The poems discussed use the motifs of the lord-retainer theme to frame the relationship between lords and retainers in different ways. In Battle of Maldon and Beowulf the lord-retainer theme represents the social contract between mortal lords and their retainers, while in Andreas and Genesis A it describes a spiritual contract between Christ and his followers.

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Ostertag, Gary. „Fine on Frege’s Puzzle“. In Metaphysics, Meaning, and Modality, 337–59. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199652624.003.0018.

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The fact that (1) “Cicero = Tully” is informative whereas (2) “Cicero = Cicero” is not seems to resist explanation on traditional referentialist principles. According to Fine, the referentialist can make sense of the difference by appealing to the fact that in (2), but not (1), the singular-term occurrences are?coordinated. I argue that Fine’s account of this crucial notion is inadequate and present an alternative way of understanding it, one on which coordination facts do not enter into the content of what is said or asserted. To borrow from Wittgenstein, coordination lies not with what my words?say, but with what my words?show. To demystify the notion of showing, I indicate how it can be understood in terms of Grice’s notion of conventional implicature.

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Ladyga, Zuzanna. „Exhaustion of Possibilities: Harold Rosenberg, John Barth and Susan Sontag“. In The Labour of Laziness in Twentieth-Century American Literature, 189–209. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442923.003.0006.

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The chapter examines dominant postmodernist structures of feeling with respect to their internal contradiction. If its declared assent to the mode of exhaustion of aesthetic possibilities, articulated in its penchant for self-referentiality, intertextuality, and metafiction, gives an impression of a full-fledged embracement of doing nothing, this insight might actually be misleading. A careful look at postmodern manifestos – by Harold Rosenberg, John Barth and Susan Sontag – suggests that the appropriation of the limit-trope of doing nothing as postmodernism’s very own is in fact artificial. Rather than realizing the counter-normative potential of the trope of doing nothing, The chapter argues that the dominant postmodern rhetoric nullifies it by rephrasing productivity in terms of hyper-productivity and hyper-engagement. In Harold Rosenberg’s theory of Action Painting and John Barth’s notion of ultra-productive weariness with tradition, for example, modes of inactivity such as passivity or disinterest are revitalized as modes of heightened cognition. Thus, rather than inaugurating a “new” representational and ethical regime, postmodern manifestos are quite reactionary in that reiterate the ideologically troublesome Romantic notion of the artist’s active role in the process of artistic production.

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„POSTSTRUCTURALISM 131 igaray, Kristeva, Lacan) as they have come to be translated and transformed through the Anglo-American theorising of questions of the literary and the matter of critical, textual analysis. The terms poststructuralism and theory or high theory have been assumed by some to be virtually synonymous (as have poststruc-turalism and deconstruction), and the salient discernible features in common of this so-called critical modality - allegedly - have to do with the following topics: the work of rhetoric, the destabilis-ing effects of language, the provisionality of meaning, the work of tropes and images in resisting uniformity or organic wholeness, questions of undecidability, discontinuity, the aporetic and frag-mentation, difference and otherness, the constructedness of the subject, matters of translation, and the denial or, perhaps more accurately, a critique of the referentiality or mimetic function of language. Bibliography Attridge, Derek. Peculiar Language: Literature as Difference from the Renaissance to James Joyce. Ithaca, NY, 1988. Attridge, Derek and Daniel Ferrer (eds). Post-Structuralist Joyce: Essays from the French. Cambridge, 1984. Attridge, Derek, Geoffrey Bennington and Robert Young (eds). Post-Structuralism and the Question of History. Cambridge, 1987. Chase, Cynthia. Decomposing Figures: Rhetorical Readings in the Ro-mantic Tradition. Baltimore, MD, 1986. Cohen, Tom. Anti-Mimesis from Plato to Hitchcock. Cambridge, 1995. Cohen, Tom. Ideology and Inscription: 'Cultural Studies' After Benja-min, De Man, and Bakhtin. Cambridge, 1998. De Man, Paul. Allegories of Reading: Figurai Language in Rousseau, Nietzsche, Rilke, and Proust. New Haven, CT, 1979. De Man, Paul. The Rhetoric of Romanticism. New York, 1984. D e Man, Paul. The Resistance to Theory. Minneapolis, MN, 1986. de Man, Paul. Aesthetic Ideology, ed and intro. Andrzej Warminski. Minneapolis, 1996. Easthope, Antony. Poetry as Discourse. London, 1983. Easthope, Antony. British Poststructuralism since 1968. London, 1988. Harari, Josué V. (éd.). Textual Strategies: Perspectives in Post-Structur-alist Criticism. London, 1979. Johnson, Barbara. The Critical Difference. Baltimore, MD, 1980.“ In Key Concepts in Literary Theory, 147–55. Routledge, 2016. http://dx.doi.org/10.4324/9781315063799-23.

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