The way we create and organize knowledge is the theme of From the Tree to the Labyrinth, a major achievement by one of the world’s foremost thinkers on language and interpretation. Umberto Eco begins by arguing that our familiar system of classification by genus and species derives from the Neo-Platonist idea of a “tree of knowledge.” He then moves to the idea of the dictionary, which—like a tree whose trunk anchors a great hierarchy of branching categories—orders knowledge into a matrix of definitions. In Eco’s view, though, the dictionary is too rigid: it turns knowledge into a closed system. A more flexible organizational scheme is the encyclopedia, which—instead of resembling a tree with finite branches—offers a labyrinth of never-ending pathways. Presenting knowledge as a network of interlinked relationships, the encyclopedia sacrifices humankind’s dream of possessing absolute knowledge, but in compensation we gain the freedom to pursue an infinity of new connections and meanings.
Moving effortlessly from analyses of Aristotle and James Joyce to the philosophical difficulties of telling dogs from cats, Eco demonstrates time and again his inimitable ability to bridge ancient, medieval, and modern modes of thought. From the Tree to the Labyrinth is a brilliant illustration of Eco’s longstanding argument that problems of interpretation can be solved only in historical context.
Not a book about what Beowulf means but how it means, and how the reader participates in the process of meaning construction.
Overing’s primary aim is to address the poem on its own terms, to trace and develop an interpretive strategy consonant with the extent of its difference. Beowulf’s arcane structure describes cyclical repetitions and patterned intersections of themes which baffle a linear perspective, and suggest instead the irresolution and dynamism of the deconstructionist free play of textual elements.
Chapter 1 posits the self/reader as a function of the text/language, examining the ways in which the text "speaks" the reader. Chapter 2 develops an interactive semiotic strategy in an attempt to describe an isomorphic relation between poem and reader, between text and self. Chapter 3 addresses the notions of text and self as more complex functions or formulations of desire, and thus complicates and expands the arguments of the two preceding chapters. The final chapter examines the issue of desire in the poem, and, to a lesser extent, desire in the reader (insofar as these may legitimately be viewed as distinct from each other).
My First Book of Sign, a full-color alphabet book, gives the signs for 150 of the words most frequently used by young children. The vocabulary comes from recognized word list sources such as the Dale List of 769 Easy Words. The proportion of word category choices (nouns, modifiers, and verbs) is based on early language acquisition research.
Readers do not have to know American Sign Language to enjoy My First Book of Sign; the book provides explanations of how to form each sign. This is a very special alphabet book appropriate for all children who are just beginning to read.
In the ongoing debate about evolution, scholars frequently argue either the perspective that humans stand as the end product of a deliberate process or that they derive from a series of random acts of natural selection. David F. Armstrong’s new book Original Signs embraces the Darwinian concept of natural selection and extends it to apply to the formation of language. While most current linguistic theory envisions language as a system for translating the contents of the mind into linear strings of arbitrary symbols, Armstrong asserts that this model does not characterize signed languages. He shows that language is inherently a multichannel activity, of which the two primary channels are auditory and visual.
Original Signs employs a more expansive notion of language that takes into account the full range of human communicative behavior. By making no strict separation between language and gesture, this thought-provoking work reveals that the use by deaf people of signs to create a fully formed language is also a natural facet of communication development for hearing people.
Armstrong explores the influences of Plato and Descartes on modern linguistics, and delineates the theories of earlier anthropological linguists Edward Sapir and Benjamin Lee Whorf, who thought of language as natural experiments connected to individual cultures. This exceptional work of scholarship methodically demonstrates that the intricacies of how languages develop, whether they depend upon words or signs, and that the complexity among languages that contact one another cannot be accounted for by the sequential hierarchical processes previously put forth by linguists and logicians. Original Signs will prove to be a fascinating, watershed work invaluable to linguists, anthropologists, and all other scholars and students engaged in the search for the origin of language.
In 1955 William C. Stokoe arrived at Gallaudet College (later Gallaudet University) to teach English where he was first exposed to deaf people signing. While most of his colleagues dismissed signing as mere mimicry of speech, Stokoe saw in it elements of a distinctive language all its own. Seeing Language in Sign traces the process that Stokoe followed to prove scientifically and unequivocally that American Sign Language (ASL) met the full criteria of linguistics—phonology, morphology, syntax, semantics and use of language—to be classified a fully developed language.
This perceptive account dramatically captures the struggle Stokoe faced in persuading the establishment of the truth of his discovery. Other faculty members ridiculed or reviled him, and many deaf members of the Gallaudet community laughed at his efforts. Seeing Language in Sign rewards the reader with a rich portrayal of an undaunted advocate who, like a latter-day Galileo, pursued his vision doggedly regardless of relentless antagonism. He established the Linguistics Research Laboratory, then founded the journal Sign Language Studies to sustain an unpopular dialogue until the tide changed. His ultimate vindication corresponded with the recognition of the glorious culture and community that revolves around Deaf people and their language, ASL.
From antiquity to the modern age, legal, documentary, exegetical, literary, and linguistic traditions have viewed the relationship between image and letter in diverse ways. There is a long history of scholarship examining this relationship, probing the manner and meaning of its dynamics in terms of equivalency, complementarity, and polarity.
This volume addresses the pictorial dimension of writing systems from cross-cultural and multidisciplinary perspectives. Historians—including specialists in art and literature—paleographers, and anthropologists consider imagistic scripts of the ancient and medieval Near East, Europe, Byzantium, and Latin America, and within Jewish, polytheistic, Christian, and Muslim cultures. They engage with pictographic, ideographic, and logographic writing systems, as well as with alphabetic scripts, examining diverse examples of cross-pollination between language and art.
The notion of semiotics as a universal language that can encompass any object of perception makes it the focus of a revolutionary field of inquiry, the semiotics of art. This volume represents a unique gathering of semiotic approaches to art: from Saussurian linguistics to transformational grammar, from Prague School aesthetics to Peircean pragmatism, from structuralism to poststructuralism.
Though concerned specifically with the semiotics of music and literature, the essays reveal the breadth of semiotics’ interdisciplinary appeal, involving specialists in musicology, ethnomusicology, jazz performance, literary criticism, poetics, aesthetics, rhetoric , linguistics, dance, and film. The diversity of authorial training and approach makes this collection a dramatic demonstration of the on-going debates in the field.
In many ways the semiotics of art is the testing ground of sign theory as a whole, and work in this subject is as vital to the interests of theoretical semioticians as to students of the arts. It is to both these interests that this volume is addressed.
"I didn't want to remain a hick from the mountains... In my cultural naivete I saw McDonald's as a place somehow where modern culture capital could be dispensed. Keeping these memories in mind as years later I monitored scores of conversations about the Golden Arches in the late 1990's, it became apparent that McDonald's is still considered a marker of a modern identity."
So begins a complicated journey into the power of one of the most recognizable signs of American capitalism: The Golden Arches. The Sign of the Burger examines how McDonald's captures our imagination: as a shorthand for explaining the power of American culture; as a symbol of the strength of consumerism; as a bellwether for the condition of labor in a globalized economy; and often, for better or worse, a powerful educational tool that often defines the nature of culture for hundreds of millions the world over.
While many books have offered simple complaints of the power of McDonald's, Joe Kincheloe explores the real ways McDonald's affects us. We see him as a young boy in Appalachia, watching the Golden Arches going up as the—hopeful—arrival of the modern into his rural world. And we travel with him around the world to see how this approach of the modern affects other people, either through excitement or through attempts at resisting McDonald's power, often in unfortunate ways. Through it all, Kincheloe makes clear, with lucidity and depth, the fact that McDonald's growth will in many ways determine both the nature of accepting and protesting its ever-expanding presence in our global world.
postamble();Research has shown that very young children can learn sign language before they learn to speak. Teach Your Tot to Sign: The Parents’ Guide to American Sign Language provides parents and teachers the opportunity to teach more than 500 basic American Sign Language (ASL) signs to their infants, toddlers, and young children. Hearing children, deaf children, and children with special needs can benefit from learning the elementary signs chosen for this handy pocket-size book. Young children who can communicate using simple signs become less frustrated and also bond in a special way with their parents. In teaching ASL to parents of toddlers and preschool teachers, author Stacy A. Thompson recognized the need for a book that could be used at home and in the classroom. Her book features fundamental signs of great appeal to young children and concise instructions on how to sign, including the critical importance of facial expression.
Teach Your Tot to Sign anticipates all of the common desires and interests of young children — food, pets, planes, trains, cars, and boats, games, holidays, vegetables, family — in short, nearly everything. Reflecting children’s endless curiosity, the vocabulary chosen ranges from signs for “baby,” “broken,” “clown,” “dinosaur,” “firefighter,” “gentle,” “hot,” “hurt,” “ketchup,” “pacifier,” “rooster,” “sad,” “spaghetti,” “wagon,” “water,” “wet,” to “you’re welcome,” and even “McDonalds.” This lively assortment of signs will help every child convey earlier in their development their thoughts, feelings, and desires to their parents and teachers.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press