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Which clippings match 'Claude Levi-Strauss' keyword pg.1 of 1
19 JUNE 2011

A comparable dichotomy between metaphor and metonymy

"Roman Jakobson found a comparable dichotomy between metaphor and metonymy in his seminal paper, 'Two Aspects of Language and Two Types of Aphasic Disturbances,' published in his monograph, Fundamentals of Language (Mouton & Co––Gravenhage, 1956). Here Jakobson discussed two types of aphasia based on complementary disorders in comprehending language: (a) a similarity disorder whereby one primarily depends on syntactic context to draw words into use (pp. 63–64); and (b) a contiguity disorder whereby one's style becomes a telegraphic 'word heap' without much, if any, evidence of syntax (pp. 71–72). According to Jakobson, two faculties are thus involved in the use of language: (a) selection in the choice of words to express an idea (metaphoric); and (b) the combination of words, again to express an idea (metonymic). Elaborate sentences without a particularly impressive vocabulary (for example in the prose of Henry James) illustrates the similarity disorder, while big vocabulary in loosely constructed sentences (for example in the prose of James Joyce) illustrates the contiguity disorder. Joyce heaped together his words with apparent abandonment, while James strenuously belaboured his syntax to produce exactly the right effect––an effect he found difficult to articulate with words alone as opposed to their combination in intricate sentences. An inferior choice of words, Jakobson claimed, is at the sacrifice of metaphor, whereas an inferior combination of words is at the sacrifice of metonymy (p. 76)."

(Edward Jayne)

Jakobson, R. (1971). "Fundamentals of Language". The Hague/Paris: Mouton, Harvard University and Morris Halle, Massachusetts Institute of Technology.

1). Edward Jayne. "The Metaphor–Metonymy Binarism"

TAGS

aphasia • choice of wordsClaude Levi-Strauss • combination of words • comprehending language • constructed sentences • contiguitydeconstructionismFerdinand de Saussuregrammar • Henry James • ideasJacques DerridaJacques LacanJames Joyce • John Langshaw Austin • language • langue • langue and parole • Louis Hjelmslev • metaphormetaphoric • metonymic • metonymynaming • paradigmatic relations • parole • Paul de Man • rhetoricRoland Barthes • Roman Jakobson • selection • semiology • semiotics • sentences • signifiedsignifierstructuralism • syntactic context • syntagmatic relations • syntaxtelegraphictropesvocabularyword heapwords

CONTRIBUTOR

Simon Perkins
31 MAY 2011

Majority of contemporary practice-based design PhDs use methodological bricolage

"A recent analysis of doctorates in design has identified four common characteristics of research approaches found in the exploration of practice–based design research questions [1]. They are: 1) a 'bricolage' approach to research design, 2) reflective practices, 3) the use of visual approaches and 4) thesis–structural innovation. These characteristics have been derived from an examination of a range of design theses and using a number of design research frameworks [2–4] to identify the epistemological and methodological models applied. This paper has chosen to focus on one of the four characteristics, the bricolage approach to method construction, as it is seen to be a common feature evident in all six studies. The bricolage method consists of combining methods from the social sciences, humanities, and hard sciences to derive a suitable model of inquiry.

While we acknowledge that design research investigates different issues that require studies into a range of subject areas such as the material, historical, scientific, social and psychological, the focus of this paper is the exploration of research questions derived from practice–based questions. In other words, it focuses on design activities that are used to generate new knowledge and understanding in and of itself.

We posit that the adoption of methodological bricolage is a necessity in design research due to the indeterminate nature of design. ...

Although Levi–Strauss introduced the concept of bricolage as a mode of acquiring knowledge, it was Denzin and Lincoln's [23] articulation of it within a methodological context that offered insight into new forms of rigour and complexity in social research. Nelson, Treichler and Grossberg describe bricolage (in the context of cultural studies methodology) as reflecting a choice of practice that is pragmatic, strategic and self–reflexive [24]. While Kincheloe [25] uses the term to describe multi–perspectival research methods, not just as the usage of mixed methods but to acknowledge that using methods from different disciplines enables the researcher to compare and contrast multiple points of view. Just as designed objects have prescribed affordances, methods automatically imply ontological and epistemological affordances. This relationship between inquiry and method affords design a useful indeterminacy, where not–knowing becomes a constructive loop that the bricoleur appears to be exploiting. As questions arise so methods to answer them are sought, abstracting platforms for design knowledge rather than concrete answers. Bricolage is a useful and necessary concept for design researchers as it allows them to deploy available and established strategies and methods, but also grants them the license to create new tools and techniques in order to address questions that are beyond the realm of the established discipline. Methodological bricolage permits the researcher to look at the problem we have with problems, as well as their solution. The bricoleur views research methods actively, rather than passively, meaning that the researcher actively constructs methods with tools at hand rather than accepting and using pre–existing methodologies [26]."

(Joyce S R Yee and Craig Bremner, 2011)

Fig.1 Danae Colomer, Gazpacho video portion of Food as Opera project.

2). Yee, J. S. R. and C. Bremner (2011). Methodological Bricolage – What does it tell us about Design? Doctoral Education in Design Conference. Hong Kong, Hong Kong Polytechnic University.

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TAGS

abstract knowledge • abstracting platforms for design knowledge • academic norm • academic studies • anthropological sense • bricolage • bricolage approach • bricolage method • bricoleur • Cary Nelson • case studiesClaude Levi-Strauss • complexity in social research • concrete answers • concrete knowledge • constructive loop • creative fiddler • creative tinkerer • cultural studies methodologydesign discipline • design PhDs • design researchdesign research approachesdesign researcherdesignerdisciplinary knowledge • doctoral studies • engineer • epistemological affordances • established research methodologies • established research methodsestablished research strategies • Joe Kincheloe • Lawrence Grossberg • making-do • methodological bricolage • methodological contextmethodologiesmixed methodsmodel of enquiry • modes of acquiring knowledge • multi-perspectival research methods • multiperspectival • multiple points of view • new forms of rigour • new objects • new tools and techniques • Norman Denzin • not-knowing • ontological affordances • Paula Treichler • PhDPhD supervision • pick and mix • practice-based • practice-based design PhDs • practice-based researchresearch designresearch methodsresearch modelresearcher • Savage Mind • select and apply • social research • spontaneous creative act • the scientific mind • tools at hand • useful indeterminacy • whatever is available • Yvonna Lincoln

CONTRIBUTOR

Simon Perkins
09 FEBRUARY 2009

The engineer is a myth produced by the bricoleur

"If one calls bricolage the necessity of borrowing one's concept from the text of a heritage which is more or less coherent or ruined, it must be said that every discourse is bricoleur. The engi~eer, whom Levi–Strauss opposes to the bricoleur, should be one to construct the totality of his language, syntax, and lexicon. In this sense the engineer is a myth. A subject who would supposedly be the absolute origin of his own discourse and would supposedly construct it 'out of nothing,' 'out of whole cloth,' would be the creator of the verbe, the verbe itself. The notion of the engineer who had supposedly broken with all forms of bricolage is therefore a theological idea; and since Levi–Strauss tells us elsewhere that bricolage is mythopoetic, the odds are that thee engineer is a myth produced by the bricoleur. From the moment that we cease to believe in such an engineer and in a discourse breaking with the received historical discourse, as soon as it is admitted that every finite discourse is bound by a cenain bricolage, and that the engineer and the scientist are also species of bricoleurs then the very idea of bricolage is menaced and the difference in which it took on its meaning decomposes."
(Jacques Derrida)

Jacques Derrida, Writing and Difference, trans. Alan Bass. London: Routledge, pp 278–294

CONTRIBUTOR

Simon Perkins
23 JANUARY 2006

Identity through shared practice and sharing stories of practice

"Such an approach is highly situated and highly improvisational. Reps [photocopy service technicians] respond to whatever the situation itself––both social and physical––throws at them, a process very similar to Levi–Strauss's (1966) concept of bricolage: the ability to 'make do with 'whatever is to hand'' (p. 17). What reps need for bricolage are not the partial, rigid models of the sort directive documentation provides, but help to build, ad hoc and collaboratively, robust models that do justice to particular difficulties in which they find themselves...

The second feature of social construction, as important but less evident than the first, is that in telling these stories an individual rep contributes to the construction and development of his or her own identity as a rep and reciprocally to the construction and development of the community of reps in which he or she works. Individually, in telling stories the rep is becoming a member. Orr notes, 'this construction of their identity as technicians occurs both in doing the work and in their stories, and their stories of themselves fixing machines show their world in what they consider the appropriate perspective' (Orr 1990b, 187). Simultaneously and interdependently, the reps are contributing to the construction and evolution of the community that they are joining––what we might call a 'community of interpretation,' for it is through the continual development of these communities that the shared means for interpreting complex activity get formed, transformed, and transmitted."

(John Seely Brown & Paul Duguid p.10)

[1] Levi–Strauss, C. (1966), p.17 The Savage Mind, Chicago: Chicago University Press.
[2] Orr, J. (1990b), p.187 'Sharing Knowledge, Celebrating Identity: War Stories and Community Memory in a Service Culture,' in D. S. Middleton and D. Edwards (Eds.), Collective Remembering: Memory in Society, Beverley Hills, CA: Sage Publications.

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29 AUGUST 2005

Rosalie Gascoigne: Bricoleur

"Claude Levi Strauss once described the artist as a bricoleur, the one who, when the rest of the nomadic tribe has moved on, remains among the discards of little value, the bric–a–brac which has been left behind by his/her more pragmatic kinsmen, those scraps of bright fabric, Pointed firesticks, a cracked cooking pot, chicken skulls. From these disparate objects the bricoleur creates a work of art something which pleases the eye, gives them a good 'read', as Rosalie Gascoigne described the way she looked and looked and looked again at her work in process. Nobody had a better eye than she for creating wonders from the 'inorganic refuse' of humanity and discards of nature: old faded Schweppes boxes, swan feathers, great grey sheets of corrugated iron abandoned in tips or tossed aside in the sun–burnt scrubby country around Canberra which she grew to love. She hated the word 'junk'. It was an insult to the treasures she found or begged, and lugged home to transform into works of subtle mystery, strong contrasts of textures, shapes and colours; beauty where one did not expect to find it. She says somewhere, (and incidentally I have never known an artist speak about their work with such endearing clarity) that she never used anything that had not been 'open to the weather'."
(Barbara Anderson)

O'Brien, G., D. Thomas, et al. (2004). Rosalie Gascoigne: Plain Air. Wellington, Aotearoa New Zealand, City Gallery Wellington in association with Victoria University Press.

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TAGS

Aotearoa New ZealandartistAustralia • bric-a-brac • bricoleurCanberraClaude Levi-Strauss • Daniel Thomas • discarded • Gregory O'Brien • inorganic refuseNew Zealand artist • Rosalie Gascoigne • signagestreet sign
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