This study examines the relation of image and language as well as the relation of ethics and aesthetics through a discussion of the positions of Kierkegaard and Wittgenstein. In the Tractatus Wittgenstein pursues the idea that the image can show what language cannot express and defends an aesthetic unity of ethics and aesthetics. Is he right? Is there not much to be said in favour of the opposite position, represented by Kierkegaard's pseudonymous author Judge William (in Either/Or)? William criticizes the image and argues in favour of language and of an ethical unity of aesthetics and ethics. William shows that the word has a decisive surplus when compared to the image. However, this position has its shortcomings too: language is not the only place of authentic communication. Looking for an alternative to 'logoclasm' (the early Wittgenstein) and 'iconoclasm' (William), Zijlstra explores Wittgenstein's later work and Kierkegaard's oeuvre as a whole and presents a new way of thinking about the relation of ethics and aesthetics.

Laird shows that the Christian tradition of contemplation has its own refined teachings on using a prayer word to focus the mind, working with the breath to cultivate stillness, and the practice of inner vigilance or awareness.

This volume represents current theory and research in rhetoric, across disciplines, and is of interest to scholars and students in rhetoric studies in speech communication, English, and related disciplines.

Silence is a key pedagogical issue in language education. Seen by some as a space for thinking and reflection during the learning process, for others silence represents a threat, inhibiting target language interaction which is so vital during second language acquisition. This book eschews stereotypes and generalisations about why so many learners from East Asia seem either reluctant or unable to speak in English by providing a state-of-the art account of current research into the complex and ambiguous issue of silence in language education. The innovative research included in this volume focuses on silence both as a barrier to successful learning and as a resource that may in some cases facilitate language acquisition. The book offers a fresh perspective on ways to facilitate classroom interaction while also embracing silence and it touches on key pedagogical concepts such as teacher cognition, the role of task features, classroom interactional approaches, pedagogical intervention and socialisation, willingness to communicate, as well as psychological and sociocultural factors. Each of the book’s chapters include self-reflection and discussion tasks, as well as annotated bibliographies for further reading.

Silence in language learning is commonly viewed negatively, with language teachers often struggling to interpret learner silence and identify whether it is part of communication, mental processing, or low engagement. This book addresses silence in language pedagogy from a positive perspective, translating research into practice in order to inform teaching and to advocate greater use of positive silence in the classroom. The first half of the book examines the existing research into silence, and the second half provides research-informed practical strategies and classroom tasks. It offers applicable principles for task design that utilises rich resources, which include visual arts, mental representation, poetry, music, and other innovative tools, to allow both silence and speech to express their respective and interrelated roles in learning. Comprehensive yet accessible, it is essential reading for academic researchers and students in applied linguistics, TESOL, and language teaching, as well as for language teachers and educators.

Why are second language learners in Japan's universities so silent? This book investigates the perplexing but intriguing phenomenon of classroom silence and draws on ideas from psychology, sociolinguistics and anthropology to offer a unique insight into the reasons why some learners are either unable or unwilling to speak in a foreign language.

"The understandings which children have of Indigenous identity provide means by which to explore the ways in which Indigenous identity is both projected and constructed in society. These understandings play a powerful part in the ways in which Indigenous peoples are positioned in the mainstream society with which they are connected. The research presented in this edited collection uses children’s drawings to illuminate and explore the images children, both mainstream and Indigenous, have of Indigenous peoples. The data generated by this process allows exploration of the ways in which Indigenous identity is understood globally, through a series of locally focussed studies connected by theme and approach. The data serves to illuminate both the space made available by mainstream groups, and aspects of modernity accommodated within the Indigenous sense of self. Our aim within this project has been to analyse and discuss the ways in which children construct identity, both their own and that of others. Children were asked to share their thoughts through drawings which were then used as the basis for conversation with the researchers. In this way the interaction between mainstream modernity and traditional Indigenous identity is made available for discussion and the connection between children’s lived experiences of identity and the wider global discussion is both immediately enacted and located within broader international understandings of Indigenous cultures and their place in the world."

The first major work to examine Joseph Cornell's relationship to American modernism Joseph Cornell (1903–1972) is best known for his exquisite and alluring box constructions, in which he transformed found objects—such as celestial charts, glass ice cubes, and feathers—into enchanted worlds that blur the boundaries between fantasy and the commonplace. Situating Cornell within the broader artistic, cultural, and political debates of midcentury America, this innovative and interdisciplinary account reveals enchantment's relevance to the history of American modernism. In this beautifully illustrated book, Marci Kwon explores Cornell's attempts to convey enchantment—an ephemeral experience that exceeds rational explanation—in material form. Examining his box constructions, graphic design projects, and cinematic experiments, she shows how he turned to formal strategies drawn from movements like Transcendentalism and Romanticism to figure the immaterial. Kwon provides new perspectives on Cornell's artistic and graphic design career, bringing vividly to life a wide circle of acquaintances that included artists, poets, writers, and filmmakers such as Mina Loy, Lincoln Kirstein, Frank O’Hara, and Stan Brakhage. Cornell's participation in these varied milieus elucidates enchantment's centrality to midcentury conversations about art's potential for power and moral authority, and reveals how enchantment and modernity came to be understood as opposing forces. Leading contemporary artists such as Betye Saar and Carolee Schneemann turned to Cornell's enchantment as a resource for their own anti-racist, feminist projects. Spanning four decades of the artist's career, Enchantments sheds critical light on Cornell's engagement with many key episodes in American modernism, from Abstract Expressionism, 1930s "folk art," and the emergence of New York School poetry and experimental cinema to the transatlantic migration of Symbolism, Surrealism, and ballet.

An analysis of West German literature as it tries to come to terms with the holocaust and its impact on post-war German society.

This book explores the thought of Jacques Derrida as it relates to the tradition of apophatic thought--negative theology and philosophy--in both Western and Eastern traditions. Following the Introduction by Toby Foshay, two of Derrida's essays on negative theology, Of an Apocalyptic Tone Newly Adopted in Philosophy and How to Avoid Speaking: Denials, are reprinted here. These are followed by essays from a Western perspective by Mark C. Taylor and Michel Despland, and essays from an Eastern perspective by David Loy, a Buddhist, and Harold Coward, a Hindu. In the Conclusion, Jacques Derrida responds to these discussions.