Heritage interpretation, or interpretation in short, is arguably one of the most visible and impactful professional heritage management practices that visitors encounter in museums and at heritage sites. As an applied practice, interpretation
A New Paradigm in Response to Current Developments
Developing Donald Davidson's Ideas in International Political Theory
imposing a dogmatic view of communication itself. The argument will draw on Davidson's ideas on (1) general epistemology; (2) radical interpretation (RI) and language; and (3) ethics and cultural difference. These aspects are highly relevant for IPT
Three Examples from History and the Present
misunderstanding, or is it on the contrary very profound spiritual wisdom coming to meet us? Before I talk about three examples of Christian interpretation, I want to make a short digression on the question, ‘Anti-Judaism, debasement of the Old Testament and its
passage. We will assert that it opens the gate to an interpretation according to which the DP expresses the core meaning of fraternity. We will call that interpretation the narrow Rawlsian interpretation of fraternity. We shall draw the reader
the biblical story was an opportunity both to subvert the traditional interpretations by foregrounding the centrality of the female, and to foreground the creation of something new just as Eve herself had been a new creation. 1 Perhaps something more
A cultural neurohermeneutic account
This essay answers the question: what is interpretation? It does so by proposing that interpretation involves certain brain operations. These utilize perceptual and procedural culture stored in neural networks. The parts of the brain performing interpretation are said to constitute a cultural neurohermenetic system, hypothesized to function according to an interpretive hierarchy. It is argued that such an approach has two benefits. The first of these is to provide a non-sociobiological, non-reductionist way of analyzing interactions between culture and biology. The second benefit is to provide conceptual tools for explaining how the micro-realm within individuals (I-space) makes connections in the macro-realm (E-space) of events in social forms. Conceptualization of such connections forms a basis for a variety of social analysis termed complex string being theory.
Bourricaud, he says, concerning Suicide : ‘Thus Durkheim resorts, against his principles, to an individualist interpretation when he tries to explain why the periods of economic boom seem to be frequently accompanied by an increase in suicide rates: when the
In this article I defend the traditional interpretations of Kant’s Formula of a Law of Nature from recent attacks levelled by Faviola Rivera-Castro, James Furner, Ido Geiger, Pauline Kleingeld and Sven Nyholm. After a short introduction, the article is divided into four main sections. In the first, I set out the basics of the three traditional interpretations, the Logical Contradiction Interpretation, the Practical Contradiction Interpretation and the Teleological Contradiction Interpretation. In the second, I examine the work of Geiger, Kleingeld and Nyholm: these three commentators reject the traditional interpretations entirely, but I argue that this rejection is ill-founded. In the third and fourth, I take a detailed look at Furner’s work, work in which he seeks to revise (rather than reject) the traditional interpretations. I argue that, despite his more modest aims, Furner’s revision is also ill-founded.
In two recent articles I offered a solution to an old problem in Kant’s account of the categorical imperative, that of finding a unitary interpretation of all four of the Groundwork’s applications of the Formula of the Law of Nature (FLN). In this article I bring out the unity of this solution and defend the principle of suitability interpretation of FLN from objections raised by Samuel Kahn.
It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.