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Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that muddies several issues about the aspirations of the work even while expressing certainty about the poem's clarity. The suggestion is that Trench will have access to a particular insight (“you will understand” being something we say when others may not). Or does Tennyson mean that the allegory is so clear that its tendency is unmissable? That would certainly be a reasonable construal of the claim about a poem with few apparent mysteries.

This article analyzes the 1959 TV show World of Giants , which narrates its six-inch-tall protagonist Mel Hunter's struggle to live and work as a miniaturized spy in a normative environment. This defamiliarized experience of speculative impairment can be read productively in a disability register, rendering legible the show's critique of structural inaccessibility and complicating past scholarship's queer readings with a crip interpretation of Mel's non-normative gender and relationships with his \"normal\" companions. This argument combats disability's erasure in broadcast history scholarship and intervenes in conventional narratives regarding mid-century disability representation.

Inspired by the social representation theory, the article embraces many aspects of the way in which the space dimension in social distancing has become a central measure for both one’s own and others’ health protection during the Covid-19 pandemic, evoking symbolic dimensions related to the social representations of “others” that are emotionally driven by fear or mirror the vulnerable self, activating the othering–otherness process. This invisible (sometimes stigmatized) “other”—never previously known—has in a few months infected more than 11 million people on the global scale and caused more than 500 thousands deaths (as of 30 June 2020: https://coronavirus.jhu.edu/). It has dictated where we can go, whether and how we can work, and whom we can meet, induced the virtualization of social relationships (“neighbours from afar” and “together but divided”), and confined working and socio-recreational activities to the home. The socio-spatial prescriptive distancing assumes various meanings in cultural contexts depending on whether lifestyles are more collectivist or individualistic and whether social practices are marked by crowded social proximity or distance. The social representations of cities as complex systems of “places” conceived for social “coexistence” have moved to prescriptive rules of inter-individual spaces (1 m, 2 m, and even more) for “survival”, with significant effects on place identity.

The shift in the critical perspective splits an episteme in two. A line of demarcation identical to the paradigm shift separates the new epistemes in a way that the critical insight should differ drastically on both sides of the line. Michel Foucault sorts these historical epistemes as Renaissance and Classical epistemes, then he included the Modern episteme as a latter historical era, and the line of distinction between one episteme and another is the critical insight that the involved mentality adopts. When it comes to the source of the influence of human behavior, the change in perspective in the consideration of the source of the influence is clarified in the comparison between the pre-Freudian versus the post-Freudian understandings of human beings. It means that with the consideration of two major depressions, the pre-Freudian thought believed that the driving forces of human beings are external. Whereas the post-Freudian understanding reconsidered the influence on human behavior as ramifications of the sub-consciousness that eventually affect the consciousness of human beings. This paper examines Philip Ridley's Mercury Fur (2005) in terms of the Russian Formalist's defamiliarization aspects. The deployment of such techniques implicates the advancement of the dystopian irregularities on the stage over the regularly implied didactic methodologies. The use of the Foucauldian epistemes distinguishes the deployed defamiliarizing aspects as identified with a difference from the de Sassurean sign analogy. The paper concludes with the defamiliarized elements as the focal points of the plays that adopt Thanatos as their methodology.

Purpose Metaphor is the foundation upon which all scientific disciplines, from basic to applied, construct the mental models used in theory development and organizing research phenomena. The authors posit that a navigational science metaphor might provide a useful framework, or at least an additional “waypoint,” with which to evaluate extant accounting theory and further discourse in accounting research and practice. This study aims to critically examine the base metaphors of accounting theory and practice through the lens of navigational science. Design/methodology/approach The supreme dominance of the Positive Accounting Theory paradigm (Watts and Zimmerman, 1986) is critically evaluated using a navigational metaphor as a literary device for cognitive estrangement. Findings The authors suggest that accounting, as both a practical and academic field, might benefit from the multifarious approach of navigational science in the computation of longitude, particularly with regards to the use of external (societal) referents, moving toward a more “heteroglossic” model of accounting (vid. Macintosh and Baker, 2002) as a means of “situating” accounting research and practice with regards to said external referents (cf. Bayou et al., 2011). Originality/value This work brings together existing streams of literary theory and epistemology in accounting, and views them through the lens of a navigational science metaphor. Cognitive estrangement, a well-established device for reorganizing perplexing problems in any science, is used to reimagine an accounting science as navigational situating.

In the article, Rabih Mroué’s performance-lecture (2017) is discussed as an example of counterfactual mobilization for the purposes of political critique in contemporary art and theatre. I scrutinize Mroué’s references to the modern history of Lebanon and—drawing upon a cultural analysis of this performance—discuss the artist’s rendering of the instrumentalization of Lebanese collective memory by competing factions in the country’s political scene. Drawing upon existing readings of Rabih Mroué’s oeuvre offered by Charles Esche and Shela Sheikh, I posit that the artist reveals the arbitrary quality of the representations of the past through defamiliarization ( ), and that his method bears an affinity to Jacques Derrida’s notions of deconstruction and decolonization.

The article explores an aspect of spiritual intelligence characterized as a lifelong search for meaning. Slow knowing involves wrestling with perplexity. Periods of such tarrying gradually facilitate an unfolding of meaning. More than just the content of one's knowledge, it is the relationship, the how or manner of one's relationship with meaning that grounds the spiritual generativity of the seeking. Slow knowing is presented as an existential orientation, a lifelong process akin to ongoing conversion. Part 1 distinguishes such slow knowing from other senses of slow in current discourse (Kahneman's fast/slow thinking framework, and meditative concepts of slow mind). Part 2 explores slow knowing through the lenses of lectio divina and the use of metaphor in religious language. Slow knowing is characterized as having both individual and social dimensions. The article concludes with the concern that the conditions needed for slow knowing—and thus for spiritual intelligence—are undermined by the hasty pace of contemporary life.

This article explores three aspects of Masterman's language work and applies them to questions of spiritual intelligence: metaphor, coherence, and ambiguity. First, metaphor, which is ubiquitous in ordinary language, both leads and misleads in religious and scientific understanding. Masterman's case for a “dual‐approach” to thinking, both speculative and critical, is explored and tied to concepts of moral‐spiritual development per Pierre Hadot and Hannah Arendt. Second, Masterman's work on machine translation presents semantic disambiguation as an emerging coherence wherein one gradually hones in on meaning through features of ordinary language (like redundancy and repetition). This is applied to the problem of comprehending difficult spiritual language, and tied to spiritual stretching and spiritual cartography. Third, Masterman's work with thesauri, rather than relying on words as having fixed meanings, appeals to a concept of semantic spaces, nebulae of variously interconnected meanings. This is constructed into an exhortation to reambiguate overfamiliar religious language, to reinvest one's quotidian surroundings with spiritual meaning through defamilarization.

Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of “what” and “how” to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of “coping” with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification.