In the first two volumes of this work, Paul Ricoeur examined the relations between time and narrative in historical writing, fiction, and theories of literature. This final volume, a comprehensive reexamination and synthesis of the ideas developed in volumes 1 and 2, stands as Ricoeur's most complete and satisfying presentation of his own philosophy.

Time and Narrative

Many people in "literate" societies, when asked to define literacy, almost always do so in terms of reading
and writing abilities This narrow interpretation of literacy, an
offspring of reductionist psychology, has reigned supreme in many academic and educational contexts for decades, greatly shaping literacy theories and classroom practices Within the past ten years, however, a large body of multidisciplinary
research has begun to undermine the authority of this
perspective by situating literacy in larger social practices

Social Linguistics and Literacies: Ideology in Discourses.

Sources of the Self

Foreword Note on graphic conventions 0. Introduction-Toward a Logic of Culture 0.1. Design for a semiotic theory 0.2. 'Semiotics': field or discipline? 0.3. Communication and/or signification 0.4. Political boundaries: the field 0.5. Natural boundaries: two definitions of semiotics 0.6. Natural boundaries: inference and signification 0.7. Natural boundaries the lower threshold 0.8. Natural boundaries: the upper threshold 0.9. Epistemological boundaries 1. Signification and Communication 1.1. An elementary communicational model 1.2. Systems and codes 1.3. The s-code as structure 1.4. Information, communication, signification 2. Theory of Codes 2.1. The sign-function 2.2. Expression and content 2.3. Denotation and connotation 2.4. Message and text 2.5 Content and referent 2.6. Meaning as cultural unit 2.7. The interpretant 2.8. The semantic system 2.9. The semantic markers and the sememe 2.10. The KF model 2.11. A revised semantic model 2.12. The model \"Q\" 2.13. The format of the semantic space 2.14. Overcoding and undercoding 2.15. The interplay of codes and the message as an open form 3. Theory of Sign Production 3.1. A general survey 3.2. Semiotic and factual statements 3.3. Mentioning 3.4 The prolem of a typology of signs 3.5. Critique of iconism 3.6. A typology of modes of production 3.7. The aesthetic text as invention 3.8. The rhetorical labor 3.9. Ideological code switching 4. The Subject of Semiotics References Index of authors Index of subjects

A Theory of Semiotics

This book provides a groundbreaking reassessment of the prehistory of Homeric epic. It argues that in the Early Iron Age bilingual poets transmitted to the Greeks a set of narrative traditions closely related to the one found at Bronze-Age Hattusa, the Hittite capital. Key drivers for Near Eastern influence on the developing Homeric tradition were the shared practices of supralocal festivals and venerating divinized ancestors, and a shared interest in creating narratives about a legendary past using a few specific storylines: theogonies, genealogies connecting local polities, long-distance travel, destruction of a famous city because it refuses to release captives, and trying to overcome death when confronted with the loss of a dear companion. Professor Bachvarova concludes by providing a fresh explanation of the origins and significance of the Greco-Anatolian legend of Troy, thereby offering a new solution to the long-debated question of the historicity of the Trojan War.

From Hittite to Homer: The Anatolian Background of Ancient Greek Epic

Scholarship finds the autobiographical Book 1 of Aurelius’s Meditations peculiar in that it (1) lacks direct enunciation of the self , and (2) focuses instead on the description of others , who (3) are themselves stripped of biographical content. Philippe Lejeune’s claim that autobiography aims to construct the account of a life whose diachronicity is completely effaced by its meaning helps make sense of these anomalies. The same aim also motivates the Late Stoic injunction to examine one’s “representations” or phantasiai , which exhibit a specular relation to the subject that has them.

Oneself as Others: Aurelius and Autobiography

Nestor : Poetic Memory in Greek Epic

Since its first published editions and translations early in the last century, the Sumerian narrative now generally known as Enki and Ninhursag has been at the centre of claims and controversies over the nature of myth and the relation among the myths of different cultures in the ancient Near east. The present study proposes to review earlier interpretations on the narrative and to suggest - tentatively, given the fragmentary nature of the texts that preserve it - less a unified interpretation than a number of different but perhaps still unified approaches to an understanding of its context and content as myth.

Enki and ninhursag : The trickster in paradise

the trapper’s gaze O ne day, across a water-hole, in a wilderness three days’ trek from the city, a trapper sees what has not been seen before: a wild man, like a beast—like a god—fallen from heaven, naked, his body rough with matted hair, down on all fours, crouching to lap up the water. This happens for a second day, and also for a third, but in the way in which this story gets told, these three distinct occasions are fused into a single encounter, as if each were identical to the others, as if each happened at one and the same time, or else all were stuck somehow in a kind of recursive and possibly nightmarish loop. The trapper looks, and his gaze for that brief moment could be ours, but what we see most clearly is not what he saw, but how what he saw gives his face in our eyes a different and yet still recognizable look: It is the look of “one who have travelled distant roads” ( Gilgamesh I 113–21): 1

Looking at the Other in Gilgamesh

We all secretly venerate the ideal of a language which in the last analysis would deliver us from language by delivering us to things. M. Merleau-Ponty, The Prose of the World In a study published some years ago, J.-P. Vernant drew attention to the fundamental distinction Greek thought makes between spoken and all other modes of divination. It is a difference that reflects certain givens of ancient social and political structure, and that has its roots in the marked orientation of Greek society towards open discourse. What he has in mind as a paradigm of oral divination is the question-and-answer format of many ancient oracles. He argues that this provides far more direct and more ‘democratic’ access to the will of deity or the way of things than do styles of consultation dependent on interpretative schemes which, because of their indirect nature, are accessible only to a small and privileged group. The fine art of pyromancy, for instance, deploys a framework of transformational rules and techniques whose complexity removes the interpretation of ‘fire signs’ ( empura sēmata ) from the realm of ordinary skills and makes it instead the special province of a priestly caste, such as that of the Iamidai at Olympia.

Keith Dickson

Papers

Oneself as Others: Aurelius and Autobiography

Nestor : Poetic Memory in Greek Epic

Enki and ninhursag : The trickster in paradise

Looking at the Other in Gilgamesh

Voice and Sign in Pindar