Abstract : Although Donne’s works hardly ever allude to Early Modern games, they are far from being play-free. In them, however, play takes on a poetic guise. This article first examines the context ...in which Donne started to write, in the 1590s. It points out that together with his peers from the Inns of Court and “convivial societies” he contributed to the rise of a playful ex tempore poetry at a time when collections of paradoxical statements and pseudo-encomiums had become very popular. As theorised by American anthropologist Gregory Bateson, play always involves an implicit self-referential comment and it is deeply paradoxical for it always transforms and transfers the meaning of what it represents. Borrowing from Bateson’s work, this article analyses the paradoxes and, more particularly, the self-reflexive paradoxes in “The Paradox”, “The Triple Fool” and “Paradox VII” (“That a wise man is knowne by much Laughinge”) from Paradoxes and Problems (1633) as a form of play, that is to say, in the mechanical sense, as a space in which fluctuations occur. These figures indeed cause the constant and dizzying migration of meaning.
The article investigates the concept of self-illness ambiguity (SIA), which was recently re-introduced in the philosophy of psychiatry literature. SIA refers to situations in which patients are ...uncertain about whether features (symptoms, signs) of their illness should be attributed to their illness or to their 'selves'. Identification of these features belongs to a more encompassing process of self- definition and -interpretation. The paper introduces a distinction between the notions of self-relatedness, self-referentiality (or: implicit self-signification), self-awareness and self-interpretation. Each of these notions offers a different perspective on SIA, but these perspectives do not exclude one another. A further distinction will be developed between primary, secondary and tertiary forms of self-referentiality. The practical and conceptual relevance of these distinctions will be illustrated with case vignettes. Throughout the paper our findings will placed in the context of other philosophical work on the self, especially in the field of narrative theory (Ricoeur), phenomenology (Ratcliffe) and philosophy of mind. The article closes with a brief discussion about the appropriateness of the term ambiguity and the potential of SIA as concept in the context of clinical psychiatry. Directions for future work will be indicated.
The so called pinakes in ancient Greek (votive images) were amongst the most common offerings. Divinities, mythological and ritual scenes, as well as the dedicators figured on them. As for the ...depiction of pinakes on vases, the images do not match with the archaeological realia. Painters are inspired by their own productions in order to draw the motifs on the pinakes creating pictorial games with the main scene. Thus, the image of a herm, human figure, billy goat, as well as of abstract motifs or even the absence of any figuration bear original significations and visual effects in the whole scene.
Inertia is a movement, whose dynamic is self-referential: it arrests and returns to itself. I will consider this force, which at the same time is propulsive and negative, in regard to the work of the ...British artist Idris Khan (b. 1978). I will develop the idea that two visual techniques - blurring and repetition - are the means by which inertia is maintained in the visual field. Blurring and repetition have been often employed in a political way to contest the right of the visible to claim truth: a blurred image is never a scientifically reliable source of information. I will be taking into consideration, among other sources, the already classic text of Eduardo Cadava 2011. "Lapsus Imaginis: The Image in Ruins" in October, Vol. 96 (Spring, 2001), pp. 35-60.. Relying on Walter Benjamin, Cadava talks about the inherent ruination in the contemporary image, as a trauma of what the visible has been accumulating in recent history. I consider Cadava's reading inspiring for the understanding of Idris Khan's work, since inertia in Khan's work functions as a statement of contestation. His works reveal to me an endless movement that defies historical time and doubts the image as legitimate document.
This paper presents an analysis of ‘image-within-image’ in Panel VII, Hieroglyphic Stairway 2, Structure 33 of the ancient Maya city of Yaxchilan, considering the position it occupies in the set of ...panels and its integration in the architectural setting. It will also examine the narrative registered in the embedded text and the subject of both text and image. It will argue that the recursive device of ‘image-within-image’ in the Panel extends to the totality of the staircase with the other twelve that compose it, and to the ritual activity celebrated on it. The analysis will provide an opportunity to explore reflexivity and self-referentiality and their implications for insights on ritual and personhood among Late Classic Maya. To do this, I will build on anthropology of art approach and its notion that visual devices may elicit ontological conceptions.
ABSTRACT
Objective. To identify whether the biopsychosocial framework of illness has overcome the limitations of the biomedical model of disease when applied in the practice of pain medicine.
...Design. Critical review of the literature concerning the application of biopsychosocial models to the praxis of pain medicine and the concepts of living systems.
Results. The biopsychosocial model of illness, formulated by Engel in 1977, has generated the International Association for the Study of Pain (IASP) definition of pain, two major conceptual frameworks in pain medicine, and three putative explanatory models for pain. However, in the absence of a theory that seeks to understand the lived experience of pain as an emergent and unpredictable phenomenon, these progeny of the biopsychosocial model have been caught in circular argument and have been unable to overcome biomedical reductionism or the perpetuation of body–mind dualism. In particular, the implication that pain can be a “thing” separate and distinct from the body bears little relationship to the lived experience of pain. Such marginalizing results when an observer attempts to reduce the experience of the pain of another person.
Conclusions. The self‐referentiality of living systems (through their qualities of autopoiesis, noncentrality and negentropy) sees pain “emerge” in unpredictable ways that defy any lineal reduction of the lived experience to any particular “thing.” Pain therefore constitutes an aporia, a space and presence that defies us access to its secrets. We suggest a project in which pain may be apprehended in the clinical encounter, through the engagement of two autonomous self‐referential beings in the intersubjective or so‐called third space, from which new therapeutic possibilities can arise.
This paper presents an analysis of ‘image-within-image’ in Panel VII, Hieroglyphic Stairway 2, Structure 33 of the ancient Maya city of Yaxchilan, considering the position it occupies in the set of ...panels and its integration in the architectural setting. It will also examine the narrative registered in the embedded text and the subject of both text and image. It will argue that the recursive device of ‘image-within-image’ in the Panel extends to the totality of the staircase with the other twelve that compose it, and to the ritual activity celebrated on it. The analysis will provide an opportunity to explore reflexivity and self-referentiality and their implications for insights on ritual and personhood among Late Classic Maya. To do this, I will build on anthropology of art approach and its notion that visual devices may elicit ontological conceptions.
Este artigo apresenta uma análise da ‘imagem dentro da imagem’ no Painel VII, Escada Hieroglífica 2, Estrutura 33 da antiga cidade maia de Yaxchilan. Considera-se a posição que a imagem ocupa no conjunto de painéis e sua integração no cenário arquitetônico. Examinase também a narrativa registrada no texto insertado no Painel e o tema do texto e da imagem. Argumenta-se que o dispositivo recursivo da ‘imagem dentro da imagem’ no Painel se estende à totalidade da escada com os outros doze que a compõem e à atividade ritual celebrada nela. A análise fornecerá uma oportunidade para explorar a reflexividade e a auto-referencialidade e suas implicações para conhecer o ritual e a personalidade entre os maias clássicos tardios. Para tanto, me baseio na antropologia da arte e em sua noção de que os dispositivos visuais podem extrair concepções ontológicas.
This essay traces the ways in which Kafka's drawings position themselves adamantly in the middle of things: temporally both through the foregrounding of their own becoming and through dynamic ...evocations of motion, as well as interpersonally through networks of performance and observation. The article juxtaposes images with texts such as "Wunsch, Indianer zu werden," "Der Kübelreiter," and sections of letters that describe the process of drawing to argue for a generative rather than privative sense of incomplete becoming that functions differently in the two media. It also explores how meanings arise and vary through relation and perspective. The images reflect self-referentially on the visual medium through depicted acts of observation, and also offer a visual commentary on textuality through expressive portraits of Kafka's own relatives reading. The drawings' sketchiness-their dynamic refusal of closure-enables a theory of humor in Kafka's work as arising from the way the viewer is "drawn into" the images. The recognition of one's own implication in this prolific openness of bodies and in the always-undercut drive to find meanings reveals the viewer as a co-inhabiter of an absurd and yet vibrant world in flux.
PDF
