This paper analyzes the exchange between Ricoeur and Derrida concerning metaphor. I argue that the exchange is not a "missed encounter," as Pirovolakis has suggested, but exemplifies a hermeneutic situation in which theoretical divergence... more
This paper analyzes the exchange between Ricoeur and Derrida concerning metaphor. I argue that the exchange is not a "missed encounter," as Pirovolakis has suggested, but exemplifies a hermeneutic situation in which theoretical divergence is supplemented by a practical convergence. Rather than a mere exegesis of the exchange between Ricoeur and Derrida, I emphasize the practical implications for the interpretation of poetic metaphors. To be more specific, I emphasize the case of Celan's poem "Blume" and the semantic density of the central metaphor. Although Ricoeur and Derrida diverge in strictly theoretical terms, their theoretical positions-when translated into practical terms-establish different but convergent paradigms for the interpretation of poetic metaphors.
This paper argues that postmodernism is not the end of something, as many theorists would have it, a cultural formation that follows something called modernism; rather, postmodernism is the early articulation of a new era of contested... more
This paper argues that postmodernism is not the end of something, as many theorists would have it, a cultural formation that follows something called modernism; rather, postmodernism is the early articulation of a new era of contested modernity. The paper seeks to advance this argument by analyzing the intertextual relation between Edward Hopper's "The Nighthawks" (1942) and Ridley Scott's "Blade Runner" (1982). Furthermore, this intertextual relationship is reflected epistemologically in a discussion of Lukacs's notion of realism and Ricoeur's notion of utopia. The era of multiple or contested modernity is a consequence of the rapid economic modernization of Japan, South Korea, Taiwan, Hong Kong, Singapore, China, and other countries in the region. It signals a new era, in which being advanced or modern is not the monopoly of the West. The paper outlines a three-level model of cultural analysis, where an economic development (contested modernity) is reflected in epistemology (realism and utopia), which informs the cultural domain (postmodern culture). The relationships between the three levels are fluid, dynamic, and multidirectional.
A materialidade é um ponto cego teórico. É uma resistência, uma opacidade, uma negatividade: ela não pode ser tematizada por aquilo que ela carrega. Ela não pode ser representada. Para expor essa característica medial, este trabalho... more
A materialidade é um ponto cego teórico. É uma resistência, uma opacidade, uma negatividade: ela não pode ser tematizada por aquilo que ela carrega. Ela não pode ser representada. Para expor essa característica medial, este trabalho recorreu às obras de Hans Ulrich Gumbrecht e Dieter Mersch. Ambos fundamentam um campo denominado de pós-hermenêutico, no qual a materialidade emerge como um conceito-chave para se apreender as dimensões mediais e comunicacionais que estão para além ou aquém do sentido. Este texto buscou compor uma breve introdução ao conceito de materialidade para as teorias dos media e da comunicação.
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Materiality is a theoretical blind spot. It is a barrier, an opacity, a negativity: it cannot be thematized, it cannot be represented. To expose this medial feature, this paper discusses the works of Hans Ulrich Gumbrecht and Dieter Mersch. Both establish a field called post-hermeneutic in which the materiality emerges as a key-concept to grasp the medial and communicative dimensions that are beyond of meaning’s categories. This text intends to compose a brief introduction to the
concept of materiality to the theories of media and communication.
