"Under the Shadow"?takes the form of fifty-nine brief sketches with simple nouns as titles. These exquisite vignettes take place on a plane at once surreal, abstract, and ominous, describing a set of people and incidents derived largely from fragments of conversation and gossip gathered here and there. They are reminiscent of Raymond Roussel's characters amid his inimitable ersatz pastorals, with tableaux both innocent and grotesque. There is something ambiguous about these passages, something deliberately closed and dreamlike. Many of them read like primal scenes of private pathologies; others are memories that, many years later, retain their power to haunt.
"Archaeologist Genevieve von Petzinger looks past the horses, bison, ibex, and faceless humans in the ancient paintings and instead focuses on the abstract geometric images that accompany them. She offers her research on the terse symbols that appear more often than any other kinds of figures--signs that have never really been studied or explained until now"--
Symbols are often seen as constituting an international language and to some extent they do, but that language is far from universal--context means everything in this complicated but engrossing form of communication. Take, for example, a cross, a crane, or a swastika: each one has a different and distinct significance and meaning for a Buddhist, an art historian, or a student of the occult. 1000 Symbols resolves the problem by offering groupings of related symbols, every one with a neat definition of its history and its cross-cultural meanings.
The tradition descending from Frege and Russell has typically treated theories of meaning either as theories of meanings (propositions expressed), or as theories of truth conditions. However, propositions of the classical sort don't exist, and truth conditions can't provide all the information required by a theory of meaning. In this book, one of the world's leading philosophers of language offers a way out of this dilemma. Traditionally conceived, propositions are denizens of a "third realm" beyond mind and matter, "grasped" by mysterious Platonic intuition. As conceived here, they are cognitive-event types in which agents predicate properties and relations of things--in using language, in perception, and in nonlinguistic thought. Because of this, one's acquaintance with, and knowledge of, propositions is acquaintance with, and knowledge of, events of one's cognitive life. This view also solves the problem of "the unity of the proposition" by explaining how propositions can be genuinely representational, and therefore bearers of truth. The problem, in the traditional conception, is that sentences, utterances, and mental states are representational because of the relations they bear to inherently representational Platonic complexes of universals and particulars. Since we have no way of understanding how such structures can be representational, independent of interpretations placed on them by agents, the problem is unsolvable when so conceived. However, when propositions are taken to be cognitive-event types, the order of explanation is reversed and a natural solution emerges. Propositions are representational because they are constitutively related to inherently representational cognitive acts. Strikingly original, What Is Meaning? is a major advance.
Voted America's Best-Loved Novel in PBS's The Great American Read Harper Lee's Pulitzer Prize-winning masterwork of honor and injustice in the deep South—and the heroism of one man in the face of blind and violent hatred One of the most cherished stories of all time, To Kill a Mockingbird has been translated into more than forty languages, sold more than forty million copies worldwide, served as the basis for an enormously popular motion picture, and was voted one of the best novels of the twentieth century by librarians across the country. A gripping, heart-wrenching, and wholly remarkable tale of coming-of-age in a South poisoned by virulent prejudice, it views a world of great beauty and savage inequities through the eyes of a young girl, as her father—a crusading local lawyer—risks everything to defend a black man unjustly accused of a terrible crime.
Jones discusses obvious symbols such as corporate logos, office sizes and use of titles, as well as focusing on the more subtle aspect of expressive forms of symbolism such as storytelling, institutional jargon and workplace personalisation.
