A Compositional Semantics for Multiple Focus by Manfred Krifka, Austinlsaarbriicken

By Manfred Krifka, Austinlsaarbriicken

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It is the ceaseless creation of ever-sotenuous-and-tentative meanings: endless semiosis. In short, style-intonation by way of dialogue is an implicit (tacit) indication (index) of the speaker-author's participation in a community's 'form of life' (Bakhtin 1984, Todorov 1984). O. Quine's notorious 'untranslatability thesis,' yet it does not fall victim to Donald Davidson's confidence-building program of 'radical interpretation' (or 'translation') (for Davidson in regards to Quine's view, see Evnine 1991, Krausz 1989, Malpas 1992, Ramberg 1989, and Werhane 1992).

It is a matter, so to speak, of the 'joint product' of the semiotic activity of the entire community to which an individual belongs - perhaps therein lies something comparable to your 'charity principle,' Omega. The individual is a sort of mouthpiece of the community at the same time that she is able to exercise a degree of autonomy. She is the product of a dialogic exchange between herself and her (different and deferred) inner other, on the one hand, and the otherness of her community and her world, on the other.

217). All signs are unfolded from the enfolded sphere of'nothingness,' that 'boundless freedom,' that 'nowhere' — that is, the 'node' in figure 1. The same is to be said of the unfoldment of meaning. ) Our Blissful Unknowing Knowing 33 But please don't get me wrong: I do not intend to dish out a dose of bleary-eyed romantic drivel regarding meaning. ' We would like to suppose we are the authors of our meanings; at the same time we would like to eschew all trappings of numinosity, of meanings available only to the anointed few.

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