Glossar-English:Context

Unterpunkt zu: Sign theories: Overview

Original: Kontext

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Sign actions and their context Aspects of the utterance situation on which the success of the sign act depends are generally regarded as the context of a sign act ([Levinson 1983a]Levinson, Stephen C. (1983): Pragmatics. Cambridge University Press, Cambridge. ). This is particularly obvious in the case of the deictic sign components, in which the sign user points directly (e.g., gesturally) to parts of the utterance situation, or the anaphoric sign components, in which he employs references to other sign acts carried out immediately beforehand (his own and others, in particular, those directed at him). However, it is also attributed to the influence of the respective context when actually ambiguous expressions are understood without a corresponding explanation: If, for example, a 'bank' is mentioned in connection with a financial crisis, nobody will think of park furniture because of this context. The content and manner of use of images can also depend on aspects of the usage situation. Context and the propositional angle In addition, one can only speak of a propositional angle of a sign act in connection with an associated context because the propositional angle depends on the modality of the sign act. That is, it can only be determined relative to a situation that one can perceive or relate to. This applies in particular to the nomination, which, as a necessary part of every proposition, is employed to attempt to identify for the interlocutor an object from the current discourse universe (cf. [Tugendhat 1976a]Tugendhat, Ernst (1976): Vorlesungen zur Einführung in die sprachanalytische Philosophie. Suhrkamp, Frankfurt/M. ). Contexts in this sense are generalized from the usage situation of a sign to any situation. Sign acts with a propositional angle, therefore, have a double reference to a context, namely, on the one hand, with regard to their usage situation and, on the other hand, with regard to the (usually deviating) context for their propositional angle. Formal linguistic-logical approaches to contexts can be found, for example, as Situation Semantics ([Barwise & Perry 1984a]Barwise, Jon & Perry, John (1984): Situations and Attitudes. MIT Press, Cambridge, MA. ), Possible World Semantics ([Kripke 1972a]Kripke, Saul A. (1972): Naming and Necessity. In: Davidson, D. & Harman, G. (Hg.), Semantics of Natural Language. Reidel, Dordrecht. ), Mental Spaces Theory ([Fauconnier 1985a]Fauconnier, Gilles (1985): Mental Spaces. Aspects of Meaning Construction in Natural Language. MIT Press, Cambridge, MA. ), or also within the Discourse Structure Theory (([Kamp 1990a]Kamp, Hans (1990): On the Representation and Transmission of Information: Sketch of a Theory of Verbal Communication Based On Discourse Representation Theory. In: Klein, E. & Veltman, F. (Hg.), Natural Language and Speech. Springer, Berlin. ). [1] Contexts can be described in a first approximation as structured sets of intentional objects to which one can refer communicatively under favorable conditions. More adequate, however, is the definition as potential behavioral situations to which someone directs their attention. For, on the one hand, behavioral situations intrinsically fulfill the property of deductive completeness, which must first be extrinsically generated over arbitrary sets of objects: A situation is always presupposed to be intrinsically consistent in its totality, Following the school of «cognitive linguistics», such metaphorical transfers are even the actual basis for being able to deal with abstracts at all (cf., for instance, [Lakoff & Johnson 1980a]Lakoff, George & Johnson, Mark (1980): Metaphors We Live By. University of Chicago Press, Chicago & London. ). The metaphorical space provides the context: an imaginary behavioral situation in which such objects, which are actually not spatiotemporally classified, can appear at all so that it becomes possible to communicate about them inter-individually by means of sign acts with propositional angles. Image and context The connection between the concepts »image« and »context« exists on two levels: On the one hand, the use of the image itself is context-dependent. On the other hand, images are often, if not always, used for context building. Situational dependency of image use Apart from the fact that an object becomes an image only insofar as someone uses it in a certain way, the influence of the respective context of use is also inevitably noticeable in its use as an image. On the one hand, the use of an image depends directly on the lighting conditions in the respective context: Seeing a panel painting, for example, in a dim cathedral under light colored by stained glass windows or by flickering candlelight, or in a well and neutrally lit museum hall, undoubtedly puts its own stamp on the respective pictorial experience. The fact that the image surface itself may exhibit indexical moments through reflection, transparency, or texture-related shadows can be understood as merely a particularly pronounced form of this kind of context dependence, which is rather related to syntactic aspects. If, in this respect, one is to speak with regard to an image carrier of the image, a standard situation for illumination and indexically effective environmental influences is implicitly presupposed, which is by no means cross-culturally unambiguous. On the other hand, the respective usage intentions of the participants constitute the currently effective image contents and image references in the first place: With different intentions, one and the same image carrier may therefore actually appear as different images. The excerpt of a photo from the Vietnam War taken by Nick Ut and published in newspapers was accordingly used by both opponents and supporters of the war with completely different role assignments of the figures depicted. Here, too, a presupposed standard situation of usage intentions and required contextual knowledge remains all too often implicit when speaking of the image in view of an image carrier. Accordingly, recent art historical approaches rightly point to the importance of explicit contextualization in any image analysis. Furthermore, images in the surrounding area can influence the use of an image carrier: The hanging in an exhibition, the compilation in a sequence of images, for instance, in the context of an instruction manual or as a comic are typical examples. Combinations with texts or signs in other media also come into question for this kind of context dependency. However, in such arrangements – be it only images or images with other media – one has to pay attention to whether the mutual contextual influence leads to the formation of new signs on a higher level. Image content as context From the Renaissance idea of ​​Alberti's “window” to the conception of objects in “pure visibility” in phenomenological image theories of the 20th century, the scenes evoked with the help of images and visualized inter-individually have been understood as contexts. One can exchange information about them by means of relevant speech acts, for example, and draw attention to objects contained therein (or certain of their properties) with pointing gestures. As far as sortal objects are concerned, the appearances presented in the picture can be identified with appearances in other contexts, for instance with the help of identity claims. Particularly in the case of pictorial access to abstract “objects” in structural images, these objects, which cannot be classified in a spatiotemporal manner, are presented as (more or less) clearly definable spatial (or spatiotemporal) entities in a situation, a metaphorical context, where they and certain of their properties and relations among them appear in (visual) appearances. However, the above conceptions of the specificity of pictorial contexts owe important aspects: The conception of Alberti's window ignores the fact that the image use opens up a context that is generally not identical to the context of use: The scene behind a real window, on the other hand, always remains simply a part of the respective current context. The pictorial surface is misunderstood here as a transparent pane of glass, whereby the apparent “transparency of the medium”, which would only be typical for trompe l'œils, obscures an essential component of the image function: the stepping out of the given “here and now”. The conception of objects in pure visibility basically refers to objects that fall under sortal concepts. However, it is not taken into account that a house that is only visible, which means that it has neither weight nor resistance when you lean on it, and would, therefore, not behave according to the physical laws that normally apply to (sortal) houses, not at all would fall under our usual concept of a house and, hence, cannot be classified as a house without further ado: What appears in a corresponding picture, however, is generally understood as such a sortal individual – or more precisely: as the current appearance of such an individual because sortal objects never encounter us in any other way. Otherwise, all corresponding speech acts that relate to the content of the pictorial space with their propositional angle would become either incomprehensible or in great need of explanation because a rule for a special use that deviates from the norm is by no means obvious here. Thus, with those “objects in pure visibility” it remains unclear what kind of objects they are supposed to be. The modal image theory attempts to avoid these shortcomings of the older approaches by explicitly considering the image use as a context-building use of image carriers. With the image, one tries to establish a situation that is not usually present as an inter-individually available context. Of course, the four contexts of use mentioned above also apply to this context, whereby here, in particular, the Gestalt formation through visual perception of the situation becomes available (empirical context formation). Context and diegesis The concept of contexts in modal image theory is closely related to the use of the expression ‘diegesis’ in film and literary studies. [9] According to [Wulff 2007a]Wulff, Hans J. (2007): Schichtenbau und Prozesshaftigkeit des Diegetischen: Zwei Anmerkungen. montage AV - Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation, 16, 2. , „the term diegesis for the world view that a fiction offers has become common since Etienne Souriau“ (p. 40; cf. [Souriau 1951a]Souriau, Etienne (1951): La structure de l’univers filmique et le vocabulaire de la filmologie. Revue de Filmologie, 7, 8. Notiz: Dt.: Die Struktur des filmischen Universums und das Vokabular der Filmologie. In: Montage AV 6,2, 1997, S. 140–157 ; [Souriau 1953a]Souriau, Etienne (1953): L’Univers filmique. Flammarion, Paris. ). For Souriau, „everything that is considered to be represented by the film and that belongs to the reality that its meaning presupposes“ is part of the ‘diégèse’ ([Souriau 1951a]Souriau, Etienne (1951): La structure de l’univers filmique et le vocabulaire de la filmologie. Revue de Filmologie, 7, 8. Notiz: Dt.: Die Struktur des filmischen Universums und das Vokabular der Filmologie. In: Montage AV 6,2, 1997, S. 140–157 : (German) p. 151). Dominique Chateau understands the diegesis of a film accordingly as a set of behavioral situations pre-structured by various specifications that are mutually accessible ([Chateau 1976a]Chateau, Dominique (1976): La sémantique du récit. Semiotica, 18. : p. 215). The respective approaches are established primarily through film-narrative elements. From its introduction in film studies in the 1950s, the concept of diegesis was adopted in literary studies, particularly in France, in the 1970s and 1980s (e.g., [Genette 1972a]Genette, Gérard (1972): Figures III. Seuil, Paris. ). [10] Wulff verweist in dem bereits erwähn­ten Arti­kel unter ande­rem darauf, dass das Diege­tische eines Films in der Regel als ausge­sprochen komple­xe, raumzeit­liche, zudem auf mehre­re Ebe­nen verteil­te Struktur von Situ­atio­nen zu verste­hen ist, in denen die Akteu­re handeln, die von ihnen (und bei Filmen in Grenzen eben auch von den Zuschau­ern) wahrge­nommen werden können – und schließlich: über die (propo­sitio­nal) gespro­chen werden kann. Es handelt sich also, anders gesagt, um eine Vielzahl von mit­einan­der verbun­denen Verhal­tenssi­tuatio­nen – Kontex­ten im oben ausge­führten Sinn. Im Gegensatz zum Kontext­begriff der moda­len Bildthe­orie mit ihren über Einzel­analy­sen weit hinaus­reichen­den Bezü­gen zur logi­schen Propä­deutik, Sprachphi­loso­phie und Bildanth­ropo­logie wird der Begriff der Diege­se bislang hauptsäch­lich dazu einge­setzt, die Struktu­ren eines Werkes zu ana­lysie­ren. See also: Bild in reflexiver Verwendung Bildanthropologie Bildinhalt Cyberspace Dezeptiver und immersiver Modus Figur/Grund-Differenzierung Fiktion Film Gleichheit, Ähnlichkeit und Identität Interaktions-, Selbst- und Sachbezug interaktives Bild Kontextbildung Mimesis Modalität Nomination phänomenologische Bildtheorien Prädikation Proposition Raum und Geometrie Referenz Reflexion und Transparenz Semantik logischer Bilder sortale Gegenstände und Individuation sprachliche Metaphern und allgemeine Metaphorologie Theorien des Bildraums Zeichen, Zeichenträger, Zeichensystem

Notes Literature [Barwise & Perry 1984a]Barwise, Jon & Perry, John (1984): Situations and Attitudes. MIT Press, Cambridge, MA.[Brentano 1874a]Brentano, Franz (1874): Psychologie vom empirischen Standpunkt. Duncker & Humblot, Leipzig.[Chateau 1976a]Chateau, Dominique (1976): La sémantique du récit. Semiotica, 18.[Fauconnier 1985a]Fauconnier, Gilles (1985): Mental Spaces. Aspects of Meaning Construction in Natural Language. MIT Press, Cambridge, MA.[Frege 1892a]Frege, Gottlob (1892): Über Sinn und Bedeutung. Zeitschrift für Philosophie und philosophische Kritik, 100.[Genette 1972a]Genette, Gérard (1972): Figures III. Seuil, Paris.[Husserl 1929a]Husserl, Edmund (1929): Formale und Transzendentale Logik. Niemeyer, Halle (Saale).[Kaczmarek 2007a]Kaczmarek, Ludger (2007): Allyfying Leibniz. Einige Aspekte von Kompossibilität und Diegese in filmischen Texten. montage AV - Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation, 12, 2.[Kamp 1990a]Kamp, Hans (1990): On the Representation and Transmission of Information: Sketch of a Theory of Verbal Communication Based On Discourse Representation Theory. In: Klein, E. & Veltman, F. (Hg.), Natural Language and Speech. Springer, Berlin.[Kripke 1972a]Kripke, Saul A. (1972): Naming and Necessity. In: Davidson, D. & Harman, G. (Hg.), Semantics of Natural Language. Reidel, Dordrecht.[Lakoff & Johnson 1980a]Lakoff, George & Johnson, Mark (1980): Metaphors We Live By. University of Chicago Press, Chicago & London.[Levinson 1983a]Levinson, Stephen C. (1983): Pragmatics. Cambridge University Press, Cambridge.[Meinong 1907a]Meinong, Alexius (1907): Über die Stellung der Gegenstandstheorie im System der Wissenschaften. Voigtländer, Leipzig [Schirra 2001a]Schirra, Jörg R.J. (2001): Bilder   ——   Kontextbilder. In: Sachs-Hombach, K. (Hg.), Bildhandeln. Interdisziplinäre Forschungen zur Pragmatik bildhafter Darstellungsformen. Skriptum, Magdeburg.[Souriau 1951a]Souriau, Etienne (1951): La structure de l’univers filmique et le vocabulaire de la filmologie. Revue de Filmologie, 7, 8.[Souriau 1953a]Souriau, Etienne (1953): L’Univers filmique. Flammarion, Paris.[Tugendhat 1976a]Tugendhat, Ernst (1976): Vorlesungen zur Einführung in die sprachanalytische Philosophie. Suhrkamp, Frankfurt/M.[Wiesing 2008a]Wiesing, Lambert (2008): Die Sichtbarkeit des Bildes. Geschichte und Perspektiven der formalen Ästhetik. Campus, Frankfurt/M. & New York.[Wulff 2007a]Wulff, Hans J. (2007): Schichtenbau und Prozesshaftigkeit des Diegetischen: Zwei Anmerkungen. montage AV - Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation, 16, 2. Version 1: 2013 Responsible: Schirra, Jörg R.J. Editing: Sachs-Hombach, Klaus Contributions by: Joerg R.J. Schirra und Marcel Lemmes — (Note) Quote as: [Schirra 2013g-o]Schirra, Jörg R.J. (2013). Kontext. (Ausg. 1). In: Schirra, J.R.J.; Halawa, M. & Liebsch, D. (Hg.), Glossar der Bildphilosophie. (2012-2026). [bildglossar.org/index.php?title=Kontext]. Webadresse: bildglossar.org/index.php?title=Kontext Schirra, Jörg R.J. (2013). Context. (Ausg. 1). In: Schirra, J.R.J.; Halawa, M. & Liebsch, D. (Hg.), Glossar der Bildphilosophie. (2012-2026). [bildglossar.org/index.php?title=Glossar-English:Context].