Analogy (Cognitive Psychology)

In recent debates on empathy in various disciplines, including philosophy, psychology, psychopathology, cognitive sciences, neurophysiology, the discussion has focused on empathic experiences within the intersubjective context, either between two individuals or among groups. But this is only one side of the coin. Since ancient times, subject-object and even object-object relationships were described in a way that cultural anthropology has defined as “animation”, that rhetorics has named “personification”, and that we would today call “empathic”. The chapter aims at exploring these objectual implications of empathy. Pinotti particularly criticizes the projective “hydraulic” model of communicating vessels–from subject to object–which builds the hermeneutical mainstream paradigm of any theorization of such relationships. With recourse to alternative theoretical perspectives, such as Gestalt theory of expression, “realistic” phenomenology, and theory of symbolic forms, the author proposes a newfound characterological approach that engages with acknowledging the originary expressive and pathemic character of things in themselves, and therefore in defending the fundamentum in re of objectual empathy.

By examining the trans-disciplinary neologisms called "terminological junctions" in writings of Arakawa and Gins, one may find adequate conditions for making visible, and perhaps resolving a central paradox in the thinking of Gilles Deleuze, who exhorts us to "forge alliances" across scientific percepts, philosophical concepts and artistic constructs, and yet denies the adequacy of metaphor specifically, and tropes generally, because of the taint of representation and transcendence. Drawing on my earlier work which emphasizes the "agency" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of "terminological junctions" as "shocks of thought."

This paper addresses the creative, cultural and cognitive aspects of symbolic and procedural thinking in contemporary generative art.
Generative art is perceived broadly, as a heterogeneous realm of artistic approaches based upon combining the predefined elements with different factors of unpredictability in conceptualizing, producing and presenting the artwork, thus formalizing the uncontrollability of the creative process, underlining and aestheticizing the contextual nature of art.
The introduction provides an overview of generativeness as one of the key factors of art making, outlines the characteristics of ludic, pseudo- or proto-scientific methodology that distinguish generative art, and focuses on generative principles in digital art.
The main section includes five interrelated sets of contemporary generative art projects, with comments on the conceptual, technical and poetic qualities of their methodologies.
The final section summarizes the specifics of symbolic and procedural thinking which is required for the development of generative art projects, and discusses its cognitive implications for creativity in general.

Analogical inference depends on systematic substitution of the components of compositional structures. Simple systematic substitution has been achieved in a number of connectionist systems that support binding (the ability to create connectionist representations of the combination of component representations). These systems have used various implementations of two generic composition operators: bind() and bundle(). This paper introduces a novel implementation of the bind() operator that is simple, can be efficiently implemented, and highlights the relationship between retrieval queries and analogical mapping. A frame of role/filler bindings can easily be represented using bind() and bundle(). However, typical binding systems are unable to adequately represent multiple frames and arbitrary nested compositional structures. A novel family of representational operators (called braid()) is introduced to address these problems. Other binding systems make the strong assumption that the roles and fillers are disjoint in order to avoid ambiguities inherent in their representational idioms. The braid() operator can be used to avoid this assumption. The new representational idiom suggests how the cognitive processes of bottom-up and top-down object recognition might be implemented. These processes depend on analogical mapping to integrate disjoint representations and drive perceptual search.

The analogy between love and sickness is a powerful conceptual device that structures our understanding of love (and perhaps partly our understanding sickness, too). We grasp love in the way we do because we have this analogy in mind. My aim in this paper is, firstly, to explore some of the reasons that can be called up to justify the analogy. I will try to identify the properties that love and sickness can be considered to share. I will therefore point out that love and sickness are both characterized by being alterations, conditions demanding a solution, seeming inexplicable, being detectable by symptoms, and so on. These common traits can provide some foundations for the analogy. But a good analogy is not created just because some common traits exist: the shared properties need to be relevant, and the analogy should let us discover new, interesting things about our target concept. So my second question in this paper is: what can we learn about love if we take the analogy between love and sickness seriously? I will develop the analogy, and will try to examine whether some other important traits of sickness can nevertheless be discovered in love, and how they are disguised. Sick persons are not normally responsible for their condition; sickness has possible causes and possible effects; there are therapies, doctors, hospitals, contagion, right or wrong diagnoses; sickness has special relations with voluntariness, and with beliefs. What does all this become on the side of love? Is the analogy successful, or does it end in failure?

Considerable quantities of Nordic/Baltic amber occur in Irish later Bronze Age deposits. This exotic material reached Ireland through exchange networks that may have stretched all the way to the coasts of Denmark. This paper reviews some of that evidence and then looks to the texts of medieval Ireland in a search for analogies of how such travel might have been socially facilitated.

Introduction Le langage quotidien compte nombreuses expressions métaphoriques qui se caractérisent par un lexique qui nous permet d'entrer dans la culture d'une langue. Ce travail est consacré à une triple comparaison du lexique métaphorique dans la langue française, italienne et espagnole, afin d'étudier les diverses analogies sur lesquelles se fondent les unités lexicales métaphoriques. Il s'agit d'un texte qui présent les différentes expressions de chaque langue: il s'adresse donc aux étudiantes de langues étrangères dont la langue maternelle soit une des trois comparées, mais également à tous ceux qui veulent combler la curiosité de savoir comment se forment certaines expressions métaphoriques dans les autres langues.

Reasoning by analogy is one of the most frequently used techniques of legal argument. In this Article, Professor Brewer presents a detailed model of that reasoning process. With its focus on the special features of analogies that are offered as justificatory arguments, Professor Brewer's model provides clear criteria that lawyers, judges, students, and scholars can use critically to assess any given argument by analogy. Moreover, challenging a widely held view, Professor Brewer uses this model to argue that legal reasoning by analogy, like analogical argument in logic, mathematics, and the natural sciences, can have a great deal of rational force when properly executed. He explains that reasoning by analogy is a three-step rule-guided process that legal reasoners typically deploy when they are in doubt about the scope of a legal concept or rule and want to use an analysis of examples to help resolve that doubt. The three-step process consists of an inference (of the type known as "abduction") from chosen examples to a rule that could resolve the doubt; confirmation or disconfirmation, by a process of reflective adjustment, of the rule thus inferred; and application of the confirmed rule to the case that occasioned the doubt. Professor Brewer also highlights the interpretive criteria that readers of analogical arguments should use in trying to understand their exact structure and content. He maintains, for example, that analogical arguments offered by judges who endorse certain widely shared rule of law values should presumptively be interpreted as relying in a special way on deductively applicable rules within the broader three-step analogical reasoning process. His discussion locates issues regarding the proper interpretation of legal analogies within broader jurisprudential debates over the extent to which legal arguments can, do, and should satisfy rule of law values.

Efforts are being made by science education researchers to improve student’s performance in physics, however, less attention is being given to misconceptions and alternative conceptions which are agents that sometimes impair students conceptual understanding. A major concern is student’s tendency to hold on to misconceptions and alternative conception even when faced with facts that discredit the misconceptions and alternative conceptions.
Researches have been conducted on misconceptions and alternative conceptions in varying fields of science: For example, in biology, Abimbola and Baba (1996) researched on misconceptions and alternative conceptions in science textbooks and discovered that STAN biology contained several misconceptions and alternative conceptions. (Franke, Scharfenberg and Bogner, 2013) in their study on the investigation of students’ alternative conceptions of terms and processes of gene, technology was able to identify some alternative conceptions.

The discipline of physics is structured around the learning of concepts, rules and laws. Knowledge of rules and laws are important for physics but it is not sufficient for a meaningful understanding of concepts. Pearce, (1997) stated that a student may remember for instance that Newton's second law is mathematically formulated as F = ma, but remembering that rule will not help the student understand the concept of net forces in various situations. Students must be able to
apply the concept of Newton's second law in different situations. If the students feel that they do not really understand the concepts beyond memorization of rules and definitions, they cannot therefore be confident in their ability to apply those concepts.

In other to facilitate conceptual understanding of a simple electric circuit in senior secondary school students, this study seeks to investigate misconceptions and alternative conceptions of senior secondary school students

Dans notre société de communication, de connaissances mobiles et d’incertitude, la production et la diffusion des savoirs scientifiques connaissent une accélération particulièrement marquée. Les savoirs s’entrecroisent en dépassant les frontières entre les disciplines des sciences humaines et sociales et des sciences naturelles, de la vie et des technologies. Comment des concepts, des théories ou des méthodes circulent, s’échangent, s’empruntent, se transfèrent et se transforment dans le passage d’une discipline à l’autre ? En quoi cette pratique interdisciplinaire est-elle une plus-value créative dans la production de connaissances nouvelles pour comprendre des problèmes impossibles à résoudre à partir d’un seul regard discipliné ? Ce livre est un appel au dépassement des frontières arbitraires entre les communautés disciplinaires, un appel à la créativité scientifique sous contrainte de rigueur et une heureuse contribution à un nouveau style de pensée interdisciplinaire.

On ne sera jamais assez reconnaissant à l’égard du courant structuraliste non seulement des découvertes capitales qu’il a produites mais aussi d’avoir transmis aux générations futures le legs de la réintroduction de tous les paramètres évacués par nécessité épistémologique, tâche qui continue d’alimenter la recherche dans de nombreux champs disciplinaires. En histoire, le retour à l’archive contre les excès d’une reconstruction du passé fondées sur les représentations déposées dans les textes. En critique littéraire, la redécouverte des instances auctoriale et référentielle contre une conception strictement autotélique du texte. En linguistique enfin, où la prégnance de l’épistémologie structuraliste fut sans doute maximale, le retour du sujet et du référent dans les courants énonciativiste et cognitiviste contre une limitation de l’objet à la langue définie comme pur système de valeurs différentielles. À certains égards, la linguistique analogique participe de ce mouvement, en ce qu’elle introduit au sein de sa problématique cet élément mondain qui demeurait encore à l’écart des élaborations théoriques des linguistes, la substance du signifiant.Il ne nous semble pas nécessaire de démontrer que l’analogie joue un rôle capital dans la vie humaine. Cela est évident non seulement au plan développemental (apprentissages par analogie), au plan de l’histoire de l’humanité (caractère analogique des cosmogonies primitives) mais aussi au plan des conditions minimales d’exercice de la vie mentale, si l’on veut bien admettre que l’aptitude à catégoriser – la « fonction catégorielle » de Goldstein – est déjà un processus de nature analogique. Dans ces conditions, il serait pour le moins surprenant que cette création humaine qu’est le langage ne soit pas, d’une manière ou d’une autre, structurée selon des modalités analogiques.Il est évident qu’un concept aussi puissant doit être manié avec prudence, si l’on veut éviter la circularité consistant à s’extasier de découvrir de l’analogie partout après avoir postulé qu’elle n’était absente nulle part. Ce n’est pas parce qu’elle est omniprésente que l’analogie s’épuise dans le truisme de sa propre désignation. Si l’on veut se donner les moyens d’atteindre quelque résultat substantiel au moyen d’un tel concept, il convient donc de commencer par en donner une définition permettant d’en pénétrer la cohérence interne. C’est à cette question que les trois premiers chapitres de ce livre seront consacrés.Notre approche présentera la particularité de ne pas poser la proportion comme critère définitoire de l’analogie. Conformément à l’usage qui, dans une langue comme le français, autorise à formuler la relation « A est analogue à B », nous considérerons que l’analogie est en premier lieu une similitude d’un certain ordre et que la « quatrième proportionnelle » n’est qu’un type particulier d’analogie. D’où la distinction de nos deux premiers chapitres entre « analogie binaire » et « analogie proportionnelle ».En différant – au quatrième chapitre – la question de l’analogie linguistique, il est évident que nous cherchons à la fois à nous donner l’opportunité de découvrir, dans le concept d’analogie, autre chose que ce que la tradition des sciences du langage y a déposé et à légitimer, par l’explicitation préalable de la logique interne de l’analogie, la synthèse proposée à partir de ce concept. Nous tenterons de montrer, par cette synthèse, que la problématique analogique subsume bien plus que la question du symbolisme phonétique, et que l’on peut y intégrer les approches contemporaines de l’iconicité linguistique ainsi que le problème de l’« innovation sémantique », formulation que nous empruntons à Paul Ricoeur.Le cinquième et dernier chapitre, propose enfin quelques études dont la plupart ont été rédigées avant les réflexions théoriques qui nourrissent les quatre chapitres précédents. On y trouvera non seulement des illustrations particu¬lières de notre problématique analogique, mais aussi l’exposé de quelques notions qui l’ont nourrie et que nous n’avons pas jugé utile de présenter sous une forme nouvelle.

This dissertation argues that listeners use analogy (or relational similarity) to make sense of unexpected or unusual musical events and categorize musical patterns by connecting music to similar patterns from past experiences. Using Structure-Mapping Theory as a basis, I present an interdisciplinary framework for analogical listening: retrieval (past experiences), mapping (associating element of one structure with a corresponding element in a different structure), and evaluation (inferences based on the event mapped over in context). Humans make analogies from music to music or music to another domain (between music and language, and so on). I use the framework to help explain how music theorists perceive musical irony and categorize thematic variations. First, I use the framework to analyze Beethoven string quartets that scholars consider ironic (op. 95/iv, op. 131/V, op. 130/I) since perceiving musical irony relies partly on a music and language analogy. Using empirical studies on ironic language along with formal function, sonata theory, and schema theory, I argue why some theorists hear these movements as ironic. Second, this dissertation argues that analogy is used to categorize musical themes; themes are relational categories and not perceptual categories. To demonstrate that a theme is a relational category, I use the analogy framework to analyze theme and variation movements by Beethoven (op. 109/III), Mozart (K 377/II), and Daube (from Musical Dilettante). This project responds partly to an “ideal listener” assumption; I consider how contexts shape perception—particularly, music theorists connecting relations of patterns and inferences.

The purpose of this study was to investigate how the 5E learning model affects learning about the Solar System when an analogical model is utilized in teaching. The data were gathered in an urban middle school 7th grade science course while teaching relevant astronomy topics. The analogical model developed by the researchers was administered to 20 seventh grade students in a city of the Black Sea Region in Turkey. " The Solar System and Beyond: The space puzzle " unit was taught by using 5E learning model accompanied by analogical model during two class hours. In this case study, pre-experimental design with pre-test-post-test was used to collect data through questionnaire, reflective thinking scale, video recording, and informal observations. According to the findings of this study, the teaching intervention not only significantly increased the students' academic achievement but also improved their science process skills. The study suggests that analogies should be well-planned and deployed for teaching science courses. Furthermore, the number of the analogical models in textbooks should be increased to enrich meaningful learning for students' transition levels between concrete and abstract operational terms.

Il volume si propone come contributo alla ricostruzione storica e all’analisi critica della filosofia di Enzo Melandri (Genova, 1926 – Faenza, 1993). L’autore ricostruisce il percorso intellettuale del filosofo, ripercorrendo il suo itinerario teorico dalla fine degli anni Cinquanta sino ai primi anni Novanta, mettendo in luce l’originalità e l’attualità di alcuni aspetti del suo pensiero, concentrandosi in particolare sulla sua interpretazione del concetto di analogia. Emerge da quest’analisi la complessità della problematica connessa all’analogia, irriducibile a una definizione univoca: essa, infatti, si presenta in Melandri come una “famiglia” di concetti, che non può essere racchiusa entro le definizioni disciplinari che ne offrono la logica, la retorica, la psicologia cognitiva, la teoria del diritto, ecc., e si configura, in ultima analisi, come una costellazione di procedure razionali alternative e complementari rispetto a quelle rigorosamente deduttive della logica.

The public memory of the Nazi-perpetrated Jewish Holocaust/Shoah has become a reference point for debates about national identity and ethical responsibility on a global scale but nowhere more than in the Middle East. The state of Israel bases its national identity narrative to a large extent on the Shoah, with the Yad Vashem museum in Jerusalem and further Holocaust remembrance sites and events as symbolic anchors for the linkage between its creation and the resistance and suffering of the Holocaust victims. Hostile reactions to this narrative of Israel’s national identity range from denial of the historicity of the Jewish Holocaust to claims that since 1948, Palestinians have been suffering a ‘new’ Holocaust. The chapter uses cognitive metaphor/analogy theory to distinguish such instrumentalizations from genuine Holocaust-memory. In conclusion it is argued that pseudo-historical analogies have a significantly detrimental effect on the reconciliation process in the Middle East.

This dissertation explores the act of listening within the context of sound art, examining how a particular mode of listening is essential to understanding and appreciating sound art works, and how this differs from conventional music contexts.

While sound art is regarded as an art form and area of musical practice in its own right, it is often a discipline that is misunderstood or overlooked due to its cognitive impenetrability.  A heightened form of awareness and listening is important to its reception by the listener, whilst it also informs the aesthetic and compositional decisions of the artist.

The aim of the current research is to examine works where the artist has incorporated listening as a key element of his/her work.  From here the relationship between sound art and the role of listening is scrutinised.  Specific focus is given to sound art works which incorporate forms of performance, installation and visual media that transmit and realise the artist's intent.

This chapter reviews research on analogy and metaphor, and its application to musical understanding and accounts of musical organization. Analogy is a reasoning process based on similarities between two apparently different objects or phenomena; metaphor is a process through which structure from a source domain (such as “war”) is mapped on to a target domain (such as “love”) to construct new meaning (evident in the metaphor “Love is war”). The role of analogy and metaphor in musical understanding is explored, and crossmodal correspondences (which occur between discrete perceptual processes such as those associated with vision and sound) are discussed.

Analogical reasoning has been investigated by philosophers and psychologists who have produced different approaches like “schema induction” (Gick and Holyoak) or the “structure-mapping theory” (Gentner).What is commonplace, however, is that analogical reasoning involves processes of matching and mapping. Apart from the differences that exist between these approaches, one important problem appears to be the lack of inferential precision with respect to these processes of matching and mapping. And this is all the more problematic, because analogical reasoning is widely conceived of as “inductive” reasoning. However, inductive reasoning - in a narrow and technical sense - is not creative, whereas analogical reasoning counts as an important source of human creativity. It is C. S. Peirce’s merit to have pointed to this fact and that induction can merely extrapolate and generalize something already at hand, but not the kind of reasoning that leads to new concepts. Indeed, inventive reasoning is usually identified with abduction, and consequently abduction should play at least some role in analogy. Peirce has claimed that analogy is a compound form of reasoning that integrates abduction and induction, but the intriguing question is still, how these two inferences are to be reconstructed precisely. In the proposed paper I hold that analogical reasoning can indeed be analyzed in this way and that this helps us to reach a much more precise and differentiated understanding of the forms and processes of analogical reasoning. In particular I hold that (at least) two forms of analogical reasoning have to be distinguished, because they represent different inferential paths. The underlying inferential processed will be explicated in detail and illustrated by various examples.

Hatten (1994) writes that if musical passages are “inappropriate to the context of the movement . . . an ironic
interpretation would be one way to reconcile that inappropriateness as a compositional effect rather than a flaw” (185). Is
there something systematic that prompts listeners to interpret musical “inappropriateness” as ironic? Building upon Hatten’s
work, this article explores how a listener might infer irony in Beethoven’s music by drawing on cognitive principles and
analogies shared by music and language. I create an analytical framework that draws conditions from language psychologists’
empirical studies of verbal and situational irony (Colston 2001, Lucariello 1994). The first condition is a violation of
expectations established through a norm or schema. I use Caplin’s (1998) theory of formal function, Gjerdingen’s (2007)
schema theory, and Hepokoski and Darcy’s (2006) Sonata Theory to measure violation of expectation as defined by
Beethoven and his audience’s shared stylistic knowledge. Since listeners develop expectations in music simply by listening
(Meyer 1956), this paper incorporates “common ground,” Clark’s (1996) term for the information, knowledge, and cultural
norms that the composer and listener share. The second condition is blatantly failing to fulfill one or more of the “maxims”
defined by the linguist H.P. Grice (1975), who argues that a person implicitly follows the maxims in any “cooperative”
conversation. I apply this framework to analyze three Beethoven string quartet movements that Hatten and others have
described as “ironic”: op. 95/iv, op. 131/v, and op. 130/i. I close by discussing implications for musical communication as a
whole.

Public remembrance of the Nazi-perpetrated Holocaust/Shoah has become a reference point for debates about national identity and ethical responsibility on a global scale but nowhere more than in the Middle East. The state of Israel bases its national identity narrative to a large extent on the Shoah, with the Yad Vashem museum in Jerusalem and further Holocaust remembrance sites and events as symbolic anchors for the linkage between its creation and the resistance and suffering of the Holocaust victims. Hostile reactions to this narrative of Israel’s national identity range from denial of the historicity of the Jewish Holocaust to claims that since 1948, Palestinians have been suffering a ‘new’ Holocaust. The chapter uses cognitive metaphor/analogy theory to distinguish such instrumentalizations from genuine Holocaust-memory. In conclusion it is argued that pseudo-historical analogies have a significantly detrimental effect on the reconciliation process in the Middle East.

"Sommaire:
1. LES PÈRES DE L'ÉGLISE
2. RÉPERTOIRE FIGURÉ DU DÉCOR
3. EXPLICATION DES IMAGES AUX CATÉCHUMÈNES
4. LES SYMBOLIQUES DU PRINTEMPS
5. A L'IMAGE DE LA PERFECTION DIVINE
6. MÉTHODE D'INTERPRÉTATION PAR ANALOGIE
7. CYRILLE DE JÉRUSALEM
8. LES ANALOGIES DE L'ÉVÈQUE CYRILLE
9. ÉGLISE DES SAINTS-APÔTRES À MADABA
10. PREMIÈRE ÉGLISE DÉCOUVERTE À PETRA
11. BASILIQUE DE DOUMETIOS À NIKOPOLIS
12. BASILIQUE DE CHRISTOPOLITISSA À PAPHOS
13. ÉGLISE DE QABR HIRAM
14. ÉGLISE DE PHOTIOS À HOUARTÉ
15. ÉGLISE DE MICHAËLION À HOUARTÉ
16. ÉGLISE DE MIRATA
cf. M.T. Olszewski, L'image et sa fonction dans la mosaïque byzantine des premières basiliques en Orient: l'iconographie chrétienne expliquée par Cyrille de Jérusalem (314-387) / The image and its function in the byzantine mosaics ... : the christian iconography explained by Cyril of Jerusalem (314-387), Cahiers Archéologiques 43, 1995, pp. 9-34. "

Analogical
reasoning,
the
ability
to
understand
phenomena
as
systems
of
structured
relationships
that
can
be
aligned,
compared,
and
mapped
together,
plays
a
fundamental
role
in
the
technology
rich,
increasingly
globalized
educational
climate
of
the
21st
century.
Flexible,
conceptual
thinking
is
prioritized
in
this
view
of
education,
and
schools
are
emphasizing
“higher
order
thinking,”
rather
than
memorization
of
a
cannon
of
key
topics.
The
lack
of
a
cognitively
grounded
definition
for
higher
order
thinking,
however,
has
led
to
a
field
of
research
and
practice
with
little
coherence
across
domains
or
connection
to
the
large
body
of
cognitive
science
research
on
thinking.
We
review
literature
on
analogy
and
disciplinary
higher
order
thinking
to
propose
that
relational
reasoning
can
be
productively
considered
the
cognitive
underpinning
of
higher
order
thinking.
We
highlight
the
utility
of
this
framework
for
developing
insights
into
practice
through
a
review
of
mathematics,
science,
and
history
educational
contexts.
In
these
disciplines,
analogy
is
essential
to
developing
expert-­‐like
disciplinary
knowledge
in
which
concepts
are
understood
to
be
systems
of
relationships
that
can
be
connected
and
flexibly
manipulated.
At
the
same
time,
analogies
in
education
require
explicit
support
to
ensure
that
learners
notice
the
relevance
of
relational
thinking,
have
adequate
processing
resources
available
to
do
so,
and
align
structures
of
relationships
with
critical
attention
to
limits
to
the
alignments
between
analogs.

Analogical reasoning is often employed in problem-solving and
metaphor interpretation. This paper submits that, as a default, analogical
reasoning addressing these different tasks employs different
mapping strategies. In problem-solving, it employs analogymaximising
strategies (like structure mapping, Gentner & Markman,
1997); in metaphor interpretation, analogyminimising
strategies (like ATT-Meta, Barnden, 2015). The two strategies
interact in analogical reasoning with conceptual metaphors. This
interaction leads to predictable fallacies. The paper supports these
hypotheses through case-studies on “mind” metaphors from ordinary
discourse, and abstract problem-solving in the philosophy of
mind, respectively. It shows that (1) default metaphorical interpretations
for vision- and space-cognition metaphors can be derived
with a variant of the analogy-minimising ATT-Meta approach, (2)
philosophically influential introspective conceptions of the mind can
be derived with conceptual metaphors only through an analogymaximising
strategy, and (3) the interaction of these strategies
leads to hitherto unrecognised fallacies in analogical reasoning with
metaphors. This yields a debunking explanation of introspective
conceptions.

According to Greimas, the semiotic square is far more than a heuristic for semantic and literary analysis. It represents the generative "deep structure" of human culture and cognition which "define the fundamental mode of existence of an individual or of a society, and subsequently the conditions of existence of semiotic objects". The veracity of this bold hypothesis has received little attention in the literature. In response, this paper traces the history and development of the square of opposition from Aristotle to Greimas and beyond, to propose that the relations modeled in these diagrams are rooted in gestalt memories of kinesthesia and proprioception from which we derive basic structural awareness of opposition and contrast-including verticality, bilaterality, transversality, markedness and analogy. The paper draws on findings in the phenomenology of movement, recent developments in the analysis of logical opposition, recent scholarship in (post)Greimasian semiotics and prescient insights from Greimas himself. The argument is further tested via multimodal content analyses of a popular music video-highlighting relationships the semiotic square shares with mundane cultural ideologies and showing how these relationships might be traced to memory structures of bodily movement. The paper highlights the neglected relevance of embodied chiasmus and illustrates the enduring relevance of Greimasean thought.

Pembelajaran sains memerlukan seseorang murid menggunaka kemahiran berfikir bagi memahami sesuatu konsep yang dipelajari.  kemahiran berfikir kritis dan kreatif merupakan dua kemahiran berfikir yang ditekankan dalam kurikulum sains kebangsaan.  Kertas kerja ini membincangkan bagaimana kemahiran berfikir menganalogi iaitu kemahiran berfikir kreatif yang terdapat dalam model KBKK sains dapat diterapkan dalam pdp. Oleh itu, gabungan penggunaan analogi dan ICT yang dihuraikan dalam kertas kajian ini dilihat mempunyai potensi sebagai satu strategi pengajaran guru bagi menerapkan kemahiran berfikir murid.

This book is about representations of the body in all fields (fine art, medicine, ethnography, racial studies, biology). It is intended for artists, art students, and people interested in theories of art. This is the 2021 revision. Every couple of years I rewrite and update this book. The original was published by Stanford University Press in 1999 and is now out of print. This revision (the third "edition") includes examples from contemporary art, and assignments for classroom use. All comments & questions are welcome!

Developing the creativity of design students is widely considered to be an important goal in design education. Finding effective training and instruction to improve creativity is a challenging subject for design educators and researchers. The aim of this study is to examine the effect of relational thinking training on creativity of design ideas in an analogical design task. The proposed training consisted of three steps: finding relations between two sources; the characteristics of each source; and relations between a new idea and the sources. The participants were 45 second-year architectural design students. The results indicated that the training significantly improved the quality of design ideas and significantly changed the type of similarity that designers established between source and design idea from literal similarity to analogical similarity. We concluded that stimulating relational thinking of design students by an educational training is an effective way in design education to improve the design creativity.

The key to the keys to immortality and eternal youth lies in the correct answer to the main question: How to naively discover new essential – but still hidden – features required for properly training novel adaptive supervised machine learning algorithms (SMLA)

Cette étude des relations entre dénomination et analogie nous conduit à cerner trois types d’analogies qui peuvent être utiles pour l’analyse des dénominations :

- L’analogie de catégorisation, analogie homogène qui correspond à une similarité entre entités singulières du monde extra-mental extra-corporel ;
- L’analogie iconique, dont le noyau est constitué par des analogies homogènes entre occurrences de signifiants et entités singulières du monde extra-mental extra-corporel ;
- L’analogie iconique de la dénomination, analogie hétérogène qui correspond à une similarité entre signes et concepts, à partir de la propriété commune « unité ».

Si le développement des recherches sur l’analogie linguistique permet de documenter d’une façon convaincante le fait que les unités lexicales (autres que les onomatopées) sont, au moins en partie, analysables en termes d’analogie iconique, ces résultats pourraient être interprétés en faveur de la pertinence du concept de dénomination : car si les signifiants (ou leurs occurrences) portent des traces des propriétés des entités auxquelles les signes réfèrent, cela signifie que ces propriétés intrinsèques jouent bien un rôle essentiel au plan linguistique.

I rapporti tra logica, analogia e dialettica costituiscono il cuore del pensiero di Enzo Melandri e del suo opus magnum del 1968: La linea e il circolo. Lo scopo del presente lavoro e quello di chiarire tali rapporti, arrivando a isolare quella che potremmo definire – certo non con pretese di esclusivita interpretativa – una matrice teorica, un ordinamento di strutture concettuali alla luce delle quali avvicinarsi alla lettura di La linea e il circolo. Al centro di questa matrice si collochera la nozione di complementarita, che Melandri riprende da Niels Bohr, dandone un'originale interpretazione. E dunque, la nostra, una proposta ermeneutica, ma non solo. La convinzione che ci guida e duplice: 1) storica, secondo la quale in La linea e il circolo avviene un superamento della prima riflessione fenomenologica melandriana – contenuta in opere come Logica ed esperienza in Husserl e le Note sull'Organon aristotelico – quel che potremmo chiamare un superamento dialettico della fe...

Design fixation refers to designing under the influence of precedents with the inappropriate reuse of their features. With the aim of better understanding of design fixation and create a compendious framework, this paper reviewed 50 new empirical studies in this area.  Design fixation studies are classified into (a) investigating conditions that affect design fixation occurrence, (b) proposing affordance sources, and (c) suggesting overcome instructions and methods. Results indicated that there exist eight key factors, namely designer, design problem, sources, design process, design outcome, designers' goal, distance between source and problem, and similarity between source and design outcome. Finally, a new framework was developed on the basis of the key factors and variables. By synthesizing the variables and the findings of these papers, future research directions are proposed.