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RE-COGNITION: you are seldom dissuaded, and then... discovery: a new revelation of things as they really stand! Or so you think, for now.
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The Afro-American rhetorical strategy of signifying is a practice unengaged in information giving. Signifying turns on the play and chain of signifiers, and not on some supposedly transcendent signified. The "Blackness of Blackness" Henry Louis Gates, Jr.
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Farder Coram: “And how do you know where these meanings are?” Lyra: “I kind of see ‘em, like climbing down a ladder at night, you put your foot down and there’s another rung. Well, I put my mind down and there’s another meaning... There’s a trick in it like focusing your eyes.”pic.twitter.com/xfcl5eiZMJ
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Looking for pointers... deeper into Asia, Africa, Europe, America, or Oceania? But do I use the I Ching, Opon Ifá, Tarot, dust off my obsidian mirror and quartz crystals, or update my scapulimancy app? Even rolling a 10-sided D&D die to decide feels culturally loaded... Help!pic.twitter.com/fE5fw4rxXO
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Esu is the Black Interpreter, the Yoruba god of indeterminacy, the sheer plurality of meaning, or ariyemuye ("that which no sooner is held than slips through one's fingers"). As Hermes is to hermeneutics, Esui is to .Esu-‘tufunaalb ("bringing out the interstices of the riddle").
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‘Each symbol has one primary meaning and a range of subsidiary meanings.’ Not sure who did the original work on this - I’ve seen the text on a few sites - but this version is from here: https://bridgetothestars.net/images/alethiometer.jpg … Look at those variations on the Sun! .pic.twitter.com/BHS244mlHV
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The alethiometer from Philip Pullman’s His Dark Materials.pic.twitter.com/m3nvBx6MTe
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@hipbonegamer Yeats’ zig-zag is a KO connection, thanks! You win! Olson met Yeats as a young man, and people often compare and contrast them. The Kingfishers was very much in my mind writing this. Also Wordsworth’s Daffodils, which covers very similar ground more economically.Prikaži ovu nitHvala. Twitter će to iskoristiti za poboljšanje vaše vremenske crte. PoništiPoništi -
Now reposted with stunning brushwork art by Lao Jia depicting high-speed horseback archery .pic.twitter.com/0ox65rgx8D
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Bashō-inspired travelogue-cum-Glass Bead Game featuring Ancient Greeks, Jazz, Weaving, Buddhism, Horses, Japanese Archery, Wordsworth, Tove Lo, Birdwatching, Wittgenstein, Charles Olson... it’s no wonder Medium’s curators declined to categorise it.https://link.medium.com/ygmEjJSJA3
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Continuing my longitudinal survey on xmas cracker jokes, there’s a surge in A1 type (taking information at face value) in 2019. Worrying sign of the times, or sampling quirk? I’ll aim to address emerging methodological flaws in the coming year. https://link.medium.com/4vDJXOTmL2 pic.twitter.com/u9HXTInAYW
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You never step/speak into the same river/language twice Heraclitus/Karcevskijpic.twitter.com/nNPBF9icS9
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ICYMI I‘ll weave these two threads together with a playful DoubleTake of Aristotle and Chuang Tzu, whose independently-proposed poetics of synonymy and homonymy explains why this chimp is so pleased with the fluidity in form and use of his termite stick. https://twitter.com/justknecht/status/1191077229398298626?s=21 …pic.twitter.com/BiRvQEw4SD
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Bashō’s debt to Chuang Tzu here may be seen in his own poetics of refamiliarisation (recasting traditional topics into new languages and material cultures - A3) and recontextualisation (defamiliarisation and dislocation of habitual perceptions - C1). (Traces of Dreams, Shirane)
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To Mukařovský’s referential (B1), sound (C2), morphological (B2) and lexical (A2) connections they add tautology (A1), synonym (A3), and metaphor (B3). Only C1 and C3 connections are omitted, as they do not provide enough of a basis for semantic equivalence in Jakobson’s scheme.pic.twitter.com/1zCocQGKYm
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I also admire Peter and Wendy Steiner’s use of Karcevskij to expand on Mukařovský’s ‘line of connections’ in their postscript to the 1976 translation of On Poetic Language (O jazyce básnickém, 1940).
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Slightly less controversially translated, still as a chiasmus: ‘all kinds of things can have the same one meaning (i.e. synonymy); all kinds of meanings can come from the same one thing (homonymy)’ Of course the horse itself is a MacGuffin, Chuang Tzu’s nod to earlier Hui Shih
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Criss-Cross: Introducing Chiasmus in Old Chinese Literature Author(s): David McCraw Source: Chinese Literature: Essays, Articles, Reviews (CLEAR), Vol. 28 (Dec., 2006), pp. 67- 124 McCraw‘s examples include one from Chuang Tzu, though I am solely to blame for this one.
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天地,一指也;萬物,一馬也。(Chuang Tzu) Translated literally as a parallelism: ‘heaven and earth, one meaning; myriad things, one horse’ Translated liberally as a chiasmus: ‘all kinds of things can be put to the same use; all kinds of uses can be made of the same thing’
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At ‘the origin’ may be any thing, itself, or an initial icon, symbol or sign as a starting point in an infinite interconnected chain of reexpressions of form, and reconnections of meaning/use.pic.twitter.com/b8sy275tz9
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So what if the two terms lie not as poles on a continuum, but on axes orthogonal to each other? It enriches the descriptiveness from a single variable on an axis (-x to +x) to a double coordinate (x, y) where one aspect can vary while the other stays the same.
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