Consecuencia lógica graduada y analiticidad

William Parry concibió en los años treinta una teoría de la implicación lógica (o entailment), la teoría de la implicación analítica (IA), que se proponía evitar las paradojas de la implicación estricta. Parry denominó al principio básico de la lA "principio prescriptivo": ninguna fórmula con la implicación analítica como relación principal vale universalmente si tiene una variable que aparezca en el consecuente pero no en el antecedente. La idea intuitiva, de inspiración kantiana, detrás de este principio es que, para que A implique lógicamente a B, B debe estar contenido en A

Beyond traditional literature : towards oral theory as aural linguistics.

Thesis (Ph.D.)-University of Natal, Durban, 1996.Oral Theory, which is the discipline that studies the oral tradition, has been characterized as a literary anthropology, centered on essentially two notions: tradition on the one hand, literature on the other. Though emphasis has moved from an initial preoccupation with oral textual form (as advocated by Parry and Lord) to concerns with the oral text as social practice, the anthropological / literary orientation has generally remained intact. But through its designation of a traditional 'other' Oral Theory is, at best, a sub-field of anthropology; the literature it purports to study is not literature, but anthropological data. This undermines the existence of the field as discipline. In this study it is suggested that the essence of orality as subject matter of Oral Theory - should be seen not in the origins of its creativity (deemed 'traditional'), nor in its aesthetic process / product itself ('literature'), but in its use of language deriving from a different 'auditory' conception of language (as contrasted with the largely 'visualist' conception of language at least partly associated with writing). In other words, the study of orality should not be about specific oral 'genres', but about verbalization in general. In terms of its auditory conception, language is primarily defined as existing in sound, a definition which places it in a continuum with other symbolical / meaningful sounds, normally conceptualized as 'music'. Linguistics, being fundamentally scriptist (visualist) in orientation, fails to account for the auditory conception of language. To remedy this, Oral Theory needs to set itself up as an 'aural linguistics' - implying close interdisciplinary collaboration with the field of musicology - through which the linguistic sign of orality could be studied in all its particularity and complexity of meaning

Orality as the Key to Understanding Apostolic Proclamation in the Epistles

Redaction criticism and its modern successors in the literary field, while they give more credit to the text and the author, have at the same time mired the academy again into a modern mud of sources and manipulation. There is promise in certain new paths—rhetoric, reader-response, speech-act theory, methods which we will note briefly in the first chapter. But finally we must move out of the academy and into the church. For the orality of Scripture is not just about its origin but also about its use and purpose. The Scriptures are a liturgical piece. They belong not on the desk but in the lectern. They were written to be proclaimed. Thus, in a sense, this is a canonical study—yet undertaken with more ecclesiastical seriousness than that fledgling field commonly musters. The Bible is a church book. St. Paul proclaims that it is useful for many pastoral ends, all of which are taken up by the man of God (2 Tim. 3:16-17). Such considerations raise many questions. How were the Scriptures produced, published, disseminated, used? If they were spoken into script in order that the voice might again speak them into the ear, how might this recognition affect our method of interpretation? Do they indeed mean or function differently when they are heard? Might there soon be a method known as oral criticism ? Or would it be preposterously self-contradictory to turn the results of oral research into another method to be wielded in the scholar\u27s silent study? What impact will these results have on the valuation of the Scriptures and their reading in the liturgy? What is the purpose of this reading in an age when everyone can read the Scriptures at home? How does the living voice of the Scriptures relate to the institution and mandate of the Office of the Holy Ministry? These persistent questions, we believe, give urgency to the present study

Guilt, persecution and atonement : moral responsibility in Loewald and Levinas

This thesis examines the question, what does it mean to be responsible for choices that we did not make? The theme of moral responsibility is traced through feminist and postmodern discourses, and through the thought of psychoanalyst Hans Loewald and philosopher Emmanuel Levinas. An examination of feminist ethics and the so-called caring perspective situates the (gendered) self within an interpersonal web of competing caring commitments. Postmodern analysis deconstructs the self and, like the feminist critique, inquires into the transpersonal, historical and institutional discourses that give rise to our experiences of interiority and individualism. This placing-in-perspective of the autonomous self undermines all moral systems that are founded upon a conception of the reason-centered "1" that conceal the influence of the realm of affect and the (so-called) irrational. The primacy of this affective realm is taken up in the developmental psychoanalytic account of Hans Loewald, who elaborates the central and ongoing role of guilt and atonement in the formation of a responsible self. Guilt and atonement are also central to the conception of subjectivity advanced by Emmanuel Levinas. Levinas's critique of the reason-centered "1" is every bit as radical as the de-centered postmodern self, and yet he posits an alternative conception that cannot but be ethical. This self is summoned to a (limitless) responsibility through proximity to the other, and this obligation is only mitigated by the presence of the third (i.e. a plurality of others). As in Loewald's account, the ego is torn asunder via an experience of trauma. However, whereas Loewald (following Freud) seeks to identify the ultimate causes of this trauma, Levinas traces (literally, as they only exist as traces) their unfolding and assigns their origins to that which is always directed away from the self and can never be formalized in a system. In reading Loewald with and against Levinas, the themes of guilt, persecution and atonement are thus identified as salient to our understanding of what it means to be morally responsible

Irony and otherness : a study of some recent South African narrative fiction

Bibliography: pages 277-290.This study considers the relation between irony and otherness. Chapter 2 shows that there is little agreement on the politics of irony in critical discussions. Nevertheless, irony and otherness do appear to be linked in many of these discussions. Chapter 3 offers a consideration of Emmanuel Levinas's conception of ethics in terms of his understanding of the other as face and trace. The tendency of language to foreclose on otherness by reducing it must be interrupted, while otherness must, nonetheless, be Said. The chapter concludes with an attempt to relate Levinas's conception of otherness - as the interruption of conceptualising otherness - to Paul de Man's conception of irony as permanent parabasis in terms of the tropes of prosopopoeia and catachresis. Any representation of the other must be interrupted continually as it is a prosopopoeia of otherness (in that it gives otherness a face) and therefore a catachresis (for the other has no face and must be given one). The task with which the (reading) self is faced is ironic in that it consists at once of positing and interrupting the face given to the other. Chapters 4, 5 and 6 are attempts at reading the interplay of irony and otherness in selected recent South African fiction. Van Heerden's Kikoejoe, as an allegory of the refusal to narrativise otherness, is read as being caught in the double bind of irony; Matlou's Life at Home is read as a text intimating an otherness at the heart of domesticity and within the reader; and, finally, Coetzee's Age of Iron is read as a text in which confession is the nexus of the relation between irony and otherness. This study brackets the political in order to examine the relationship between irony and otherness from the vantage point of Levinas's 'conception' of the other. The task remains to consider whether it is possible to approach irony ethically, or ethics ironically, and to consider the political ramifications of the relation between irony and otherness postulated in this study

Craft specialisation, workshops and activity areas in the Aegean from the Neolithic to the end of the protopalatial period

This thesis examines the theory behind workshops, including craft specialisation, and presents a catalogue of workshops and activity areas in the Aegean from the Neolithic to the end of the Protopalatial period. No systematic procedure for analysing and classifying workshops has been used or proposed previously. The main aim of this thesis is to develop a method by which loci suggested to be workshops may be analysed, with a view to ascertaining whether this identification is correct. Following on from this, a further objective is to formulate a means of classifying the information to determine the type of working area and the degree of certainty with which it may be called a workshop or activity area. This method will be used in the compilation of the catalogue. For a comprehensive study of workshops, two main theoretical issues are considered in Volume I. Firstly, the theory of craft specialisation, integral to the study and definition of workshops, is examined. Its definition, features, associated aspects and connection with workshops are researched. Secondly, a theoretical study of the possible varieties of workshops and their likely locations, products, and consumers provides a basis for the following examination of actual loci within the Aegean. In Volume II a catalogue of working areas in the Aegean is presented, which also includes other craft-related loci: craftsman's graves, hoards and mines. The method for analysis is employed extensively throughout the catalogue to reinterpret areas previously suggested to be workshops or activity areas. New classifications are suggested for many loci. It is concluded that the proposed method is successful in achieving the aims for which it was developed

Music and (post)colonialism : the dialectics of choral culture on a South African frontier

This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre"