Mundari: The myth of a language without word classes

Mundari, an Austroasiatic language of India (Munda family), has often been cited as an example of a language without word classes, where a single word can function as noun, verb, adjective, etc. according to the context. These claims, originating in a 1903 grammar by the missionary John Hoffmann, have recently been repeated uncritically by a number of typologists. In this article we review the evidence for word class fluidity, on the basis of a careful analysis of Hoffmann's corpus as well as substantial new data, including a large lexical sample at two levels of detail. We argue that in fact Mundari does have clearly definable word classes, with distinct open classes of verb and noun, in addition to a closed adjective class, though there are productive possibilities for using all as predicates. Along the way, we elaborate a series of criteria that would need to be met before any language could seriously be claimed to lack a noun-verb distinction: most importantly strict compositionality, bidirectional flexibility, and exhaustiveness through the lexicon

The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Imprints of the thing in itself : Li Zehou's critique of critical philosophy and the historicization of the transcendental

Kant's concept of the "thing in itself" constitutes a formidable challenge to the project of "(anthropological-)historical ontology" with which the name of Li Zehou has become synonymous. Li's radical reinterpretation of Kant's critical philosophy, which locates the conditions of the possibility of knowledge and experience within historical and social evolution and thus seeks to allow for a form of human self-determination, brings us face to face with the dose relation between the epistemological/ontological and normative dimensions of the notion of the thing in itself. My paper attempts to tease out some of the conceptual presuppositions and repercussions of Li's approach to the thing in itself in the Critique of Critical Philosophy (Pipan zhexue zhi pipan), while locating his reading in the broader context of Kant's transcendentalism

From Multiculturalism to Technique: Feminism, Culture and the Conflict of Laws Style

The German chancellor, the French president and the British prime minister have each grabbed world headlines with pronouncements that their state’s policy of multiculturalism has failed. As so often, domestic debates about multiculturalism, as well as foreign policy debates about human rights in non-Western countries, revolve around the treatment of women. Yet there is also a widely noted brain drain from feminism. Feminists are no longer even certain how to frame, let alone resolve, the issues raised by veiling, polygamy and other cultural practices oppressive to women by Western standards. Feminism has become perplexed by the very concept of “culture.” This impasse is detrimental both to women’s equality and to concerns for cultural autonomy. We propose shifting gears. Our approach draws on what, at first glance, would seem to be an unpromising legal paradigm for feminism – the highly technical field of conflict of laws. Using the non-intuitive hypothetical of a dispute in California between a Japanese father and daughter over a transfer of shares, we demonstrate the contribution that conflicts can make. Whereas Western feminists are often criticized for dwelling on “exotic” cultural practices to the neglect of other important issues affecting the lives of women in those communities or states, our choice of hypothetical not only joins the correctives, but also shows how economic issues, in fact, take us back to the same impasse. Even mundane issues of corporate law prove to be dizzyingly indeterminate and complex in their feminist and cultural dimensions. What makes conflict of laws a better way to recognize and do justice to the different dimensions of our hypothetical, surprisingly, is viewing conflicts as technique. More generally, conflicts can offer a new approach to the feminism/culture debate – if we treat its technicalities not as mere means to an end but as an intellectual style. Trading the big picture typical of public law for the specificity and constraints of technical form provides a promising style of capturing, revealing and ultimately taking a stand on the complexities confronting feminists as multiculturalism is challenged here and abroad

An Introduction to Key Concepts in Understanding the Chinese: Harmony as the Foundation of Chinese Communication

In addition to summarizing the content of the ten papers, this introduction paper focuses on the discussion of three issues that are related to the key concepts of Chinese communication examined in this special issue, namely, the trend of indigenous communication studies, harmony as the foundation of the paradigmatic assumptions of Chinese communication, and the pitfall of Chinese communication studies. In the conclusion, the author warns that when dealing with the localization of scholarship, scholars have to consider three directions for future research in this line of study, including culture changes over time, the potential problem of dichotomy, and the universalization of local concepts. [China Media Research. 2011; 7(4): 1-12

From Multiculturalism to Technique: Feminism, Culture and the Conflict of Laws Style

The German chancellor, the French president and the British prime minister have each grabbed world headlines with pronouncements that their state’s policy of multiculturalism has failed. As so often, domestic debates about multiculturalism, as well as foreign policy debates about human rights in non-Western countries, revolve around the treatment of women. Yet there is also a widely noted brain drain from feminism. Feminists are no longer even certain how to frame, let alone resolve, the issues raised by veiling, polygamy and other cultural practices oppressive to women by Western standards. Feminism has become perplexed by the very concept of “culture.” This impasse is detrimental both to women’s equality and to concerns for cultural autonomy. We propose shifting gears. Our approach draws on what, at first glance, would seem to be an unpromising legal paradigm for feminism – the highly technical field of conflict of laws. Using the non-intuitive hypothetical of a dispute in California between a Japanese father and daughter over a transfer of shares, we demonstrate the contribution that conflicts can make. Whereas Western feminists are often criticized for dwelling on “exotic” cultural practices to the neglect of other important issues affecting the lives of women in those communities or states, our choice of hypothetical not only joins the correctives, but also shows how economic issues, in fact, take us back to the same impasse. Even mundane issues of corporate law prove to be dizzyingly indeterminate and complex in their feminist and cultural dimensions. What makes conflict of laws a better way to recognize and do justice to the different dimensions of our hypothetical, surprisingly, is viewing conflicts as technique. More generally, conflicts can offer a new approach to the feminism/culture debate – if we treat its technicalities not as mere means to an end but as an intellectual style. Trading the big picture typical of public law for the specificity and constraints of technical form provides a promising style of capturing, revealing and ultimately taking a stand on the complexities confronting feminists as multiculturalism is challenged here and abroad