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CooRTweet: A Generalized R Software for Coordinated Network Detection
No full textThis paper introduces CooRTweet, an innovative R package designed for detecting and analyzing coordinated behavior. CooRTweet’s distinctiveness lies in its essential architecture, derived from a minimal definition of coordinated behavior that captures its core elements in an abstract way. This approach makes it possible for the tool to be applied to the widest range of cases, from mono-modal network analysis on a single social media platform, to multi-modal and cross-platform network analysis, and to any types of objects shared by a network, whether singular identical objects (e.g., the same tweet), similar objects (e.g., clusters of similar images), or complex objects (e.g., a combination of hashtags, images, and emojis). Additionally, it offers a comprehensive view of coordinated activities that include both explicit coordination and organic forms of content sharing. The comprehensive architecture of CooRTweet provides flexibility and a broad scope for analyzing coordinated activities across various digital landscapes. This positions it as a distinctive resource for researchers investigating coordinated communication online. More generally, CooRTweet provides a valuable example to methodologists and research tool developers of how software tools for research can be developed in a generalized and thus flexible way. This is particularly important for social media research, given how quickly new APIs are being released, modified, and even shut down. This paper aims to provide an introduction to CooRTweet and the analysis of coordinated behavior, demonstrating the software’s application through a case study of cross-platform coordinated behavior during the 2021 German elections
Kantone als medienpolitische Innovationslabore? Ein Vergleich kantonaler Medienförderung in der Schweiz
Full text linkIn der Politikwissenschaft gilt die dezentrale Struktur föderaler Staaten als Möglichkeit, komplexe politische Massnahmen im kleineren Massstab zu testen, bevor sie landesweit umgesetzt werden. Auch für die Medienpolitik könnte dies zutreffen, es fehlt jedoch an entsprechender Forschung. Dieser Beitrag untersucht, welche Massnahmen zur Förderung von Medien einzelne Kantone konkret ergreifen und wie die entsprechenden medienpolitischen Prozesse auf kantonaler Ebene abliefen. Basierend auf teilstandardisierten Experteninterviews und einer qualitativen Inhaltsanalyse von Dokumenten wurde die Medienförderung in den Kantonen Bern, Freiburg, Genf, Graubünden und Waadt untersucht. Obwohl Medienförderung derzeit ausschliesslich in diesen fünf Kantonen existiert, zeigen die Befunde eine grosse Spannbreite implementierter Massnahmen, verfügbarer Fördersummen und Zuständigkeiten. Im politischen Prozess bestehen Gemeinsamkeiten mit Blick auf die Initiierung durch parlamentarische Vorstösse und auf die Notwendigkeit von Fördermassnahmen, die bis weit in die politische Mitte hinein Unterstützung erhalten. Nichtsdestotrotz zeigen sich auch Unterschiede mit Blick auf die Einbindung verschiedener Stakeholder in den Entscheidungsfindungsprozess und rechtliche Grundlagen für die Umsetzung. Diese Erkenntnisse können wichtige Impulse für die eidgenössische Ebene, insbesondere mit Blick auf die Implementierung von Massnahmen zur digitalen Transformation, liefern
Roger Blum. Das Blatt der Patrioten. Geschichte der «Basellandschaftlichen Zeitung». Verlag Baselland, 2024, 440 Seiten. ISBN: 978-3-85673-808-2
Full text linkBlum legt mit seinem Band eine quellengesättigte, anschaulich geschriebene, reich illustrierte und gut lesbare Geschichte der Basellandschaftlichen Zeitung vor, die im Titel des Buchs als «Blatt der Patrioten» bezeichnet wird. Im Vorwort erklärt er, das Buch sei auf Initiative der Familie Lüdin entstanden, die das Blatt über 150 Jahre lang herausgegeben hat – bis es 2010 an die Familie Wanner verkauft wurde. Zugleich betont Blum, ihm sei «jedwede inhaltliche Freiheit vertraglich zugesichert» worden. Für Blum ist die Geschichte der heutigen bz und deren langjährigen Verlegerfamilie deshalb besonders spannend, weil das Blatt über Jahrzehnte eine klare politische Linie vertrat. In der Bevölkerung sei es schlicht als «d Lüdi-Zytig» bekannt gewesen – ein publizistisches Sprachrohr mit Wirkungskraft, das die politische Kultur des Baselbiets mitprägte
Planetary Health: Integrating Perspectives From Health and Environmental Communication
No full textGiven the strong links between individual and environmental health, health communication strategies may also hold potential to tackle environmental challenges. This special issue compiles findings from six studies that explored how health and environmental communication can inform planetary health interventions that benefit both the natural environment and individual health. Three of these studies examined strategies that target individual pro-environmental behaviour. In sum, some approaches shown to be effective in health communication (e.g. risk-based communication, value framing), were not effective in two studies included here. Two studies suggested environmental challenges may require a broader focus than a single-behaviour perspective and one found identity and self-efficacy as crucial drivers of behavioural spillover. An additional three studies investigated both individual and social factors to address environmental challenges. The importance of social identity was confirmed in these studies. Moreover, these studies argued that behaviours should not merely be considered from a rational decision-making perspective, but also include emotional drivers, social reactive decision-making and misperceptions of social norms. Where health communication often (and sometimes inadvertently) tends to focus on the individual and reasoned processes, when it comes to communication to increase pro-environmental behaviours, social and emotional influences certainly need to be considered too
The Metamorphic Voice of Barbara Strozzi: Performing Irresolution in Text and Song, La Contesa del canto e delle lagrime (1638)
No full textQuesto saggio esamina l’autocostruzione autoriale di Barbara Strozzi nei suoi libri musicali a stampa, con particolare attenzione alla resistenza che dimostra verso la risoluzione, esemplificata da La Contesa del canto e delle lagrime (1638), una disputa ideata per lei dai membri dell’Accademia degli Unisoni di Venezia. Attraverso l’analisi delle dediche, delle scelte poetico-musicali e delle molteplici personae vocali, il saggio mette in luce l’interesse di Strozzi per l’ambiguità, l’inadeguatezza espressiva e l’affetto irrisolto. Invocando modelli autoriali come Saffo ed Euterpe, Strozzi adotta una voce metamorfica — al tempo stesso compositrice, interprete, critica, lettrice e ascoltatrice — che sfugge a identità estetiche o di genere fisse. Le analisi di Lagrime mie, Giusta negativa e L’Astratto mostrano come Strozzi metta in scena l’insufficienza tanto del canto quanto del pianto nel veicolare la perdita, il desiderio e l’agire artistico. Lungi dal rafforzare la logica accademica del dibattito, con le sue nette vittorie e sconfitte, Strozzi valorizza l’irrisolutezza come modalità generativa. Le sue opere emergono così come luoghi di rivendicazione autoriale, che mettono in discussione quelle rappresentazioni maschili che la ritraggono come musa anziché artefice.
This essay examines Barbara Strozzi’s authorial self-fashioning across her published books of music, focusing on how she resists the impulse toward resolution epitomized by La Contesa del canto e delle lagrime (1638), a debate scripted for her by members of the Accademia degli Unisoni in Venice. Reading her dedications, musical-poetic settings, and vocal personae, the essay foregrounds Strozzi’s concern for ambiguity, expressive failure, and unresolved affect. Invoking authorial models like Sappho and Euterpe, Strozzi speaks with a metamorphic voice — at once composer, performer, critic, reader, and listener — who eludes fixed aesthetic or gendered identities. Analyses of Lagrime mie, Giusta negativa, and L’Astratto reveal how Strozzi dramatizes the insufficiency of both song and tears to mediate loss, desire, and artistic agency. Rather than reinforce the academic logic of debate, with its clear winners and losers, Strozzi privileges irresolution as a generative mode. Her works emerge as sites of authorial reclamation that challenge male-authored portrayals of her as a muse rather than a maker.Questo saggio esamina l’autocostruzione autoriale di Barbara Strozzi nei suoi libri musicali a stampa, con particolare attenzione alla resistenza che dimostra verso la risoluzione, esemplificata da La Contesa del canto e delle lagrime (1638), una disputa ideata per lei dai membri dell’Accademia degli Unisoni di Venezia. Attraverso l’analisi delle dediche, delle scelte poetico-musicali e delle molteplici personae vocali, il saggio mette in luce l’interesse di Strozzi per l’ambiguità, l’inadeguatezza espressiva e l’affetto irrisolto. Invocando modelli autoriali come Saffo ed Euterpe, Strozzi adotta una voce metamorfica — al tempo stesso compositrice, interprete, critica, lettrice e ascoltatrice — che sfugge a identità estetiche o di genere fisse. Le analisi di Lagrime mie, Giusta negativa e L’Astratto mostrano come Strozzi metta in scena l’insufficienza tanto del canto quanto del pianto nel veicolare la perdita, il desiderio e l’agire artistico. Lungi dal rafforzare la logica accademica del dibattito, con le sue nette vittorie e sconfitte, Strozzi valorizza l’irrisolutezza come modalità generativa. Le sue opere emergono così come luoghi di rivendicazione autoriale, che mettono in discussione quelle rappresentazioni maschili che la ritraggono come musa anziché artefice.
This essay examines Barbara Strozzi’s authorial self-fashioning across her published books of music, focusing on how she resists the impulse toward resolution epitomized by La Contesa del canto e delle lagrime (1638), a debate scripted for her by members of the Accademia degli Unisoni in Venice. Reading her dedications, musical-poetic settings, and vocal personae, the essay foregrounds Strozzi’s concern for ambiguity, expressive failure, and unresolved affect. Invoking authorial models like Sappho and Euterpe, Strozzi speaks with a metamorphic voice — at once composer, performer, critic, reader, and listener — who eludes fixed aesthetic or gendered identities. Analyses of Lagrime mie, Giusta negativa, and L’Astratto reveal how Strozzi dramatizes the insufficiency of both song and tears to mediate loss, desire, and artistic agency. Rather than reinforce the academic logic of debate, with its clear winners and losers, Strozzi privileges irresolution as a generative mode. Her works emerge as sites of authorial reclamation that challenge male-authored portrayals of her as a muse rather than a maker
Students and ChatGPT: Insights from the University of Zurich
Full text linkThe widespread adoption of generative Artificial Intelligence (AI) tools like ChatGPT in higher education has sparked global debate about their impact on student learning. While ChatGPT’s potential to enhance academic performance is recognized, concerns remain about overreliance and ethical risks. This report presents insights into how students at the University of Zurich (UZH) use and experience ChatGPT in academic contexts. Drawing on data from a global survey initiative, I analyzed responses from 446 UZH students across disciplines. The report outlines patterns of use, perceived cognitive and educational capabilities, emotional responses, and concerns about ethical implications. Quantitative analyses reveal that ChatGPT is widely used for tasks like summarizing, proofreading, and coding, with notable differences by study field and learning setting. Most students perceive ChatGPT as helpful and report positive emotional experiences, yet remain cautious about its reliability and motivational benefits. Frequent users tend to evaluate the tool more positively and express fewer concerns. Our findings highlight a complex balance between opportunity and risk. While generative AI holds promise for enhancing learning and skill development, institutions must provide clear guidelines, foster AI literacy, and ensure ethical integration. These efforts are essential for preparing students to navigate AI-enhanced academic and professional environments responsibly
How individuals in Switzerland negotiate their everyday digital technology use—Insights from a mixed-methods analysis (Dissertation Summary)
Full text linkDigital technologies pervade the lives of many people in Switzerland. This increasing digital datafication brings opportunities but also risks like algorithmization, dataveillance, and related to this, threats to subjective well-being. In my dissertation, I argue that individuals cope with such risks by engaging in different practices. To investigate these practices, I use a mixed-methods research design. Using representative surveys, I show that social inequalities are related to digital skills and internet usage over time, and also that being aware of a risk, feeling affected by it, and having the necessary skills are crucial for applying self-help strategies to cope with it. Using qualitative interviews, I show that individuals’ dataveillance imaginaries play a central role in the self-inhibition of digital communication, and also that resistance to digital technologies can be a way to deal with their omnipresence. From these findings, I derive an integrated conceptual framework, which illustrates that internet users actively negotiate their use of digital technologies through digital practices and sheds light on the factors associated with this process. By doing so, this dissertation advances critical discussions around individuals’ digital technology use and provides the basis for evidence-based policy strategies aiming at a more inclusive digitized society
Metaphor in Vico and Coseriu
No full textIn strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu and Vico on this specific issue (metaphor) has yet been initiated (although it is already implicit in Coseriu and has been, in some way, suggested by Borcilă and, indirectly, by Kabatek and Faur).
This contribution aims to fill the gap. It, therefore, provides an overview of how Vico and Coseriu conceive of metaphor and sketches the corresponding models of understanding. It then compares the two models, highlighting lines of continuity/discontinuity. By tracing the punctuated trajectory of the idea of metaphor from Vico to Coseriu, this study seeks to implicitly ‘recover’ an essential segment of the tradition of thought on this fascinating topic (metaphor). The research concludes by inviting reflections on how integrating Vico and Coseriu more systematically could shed new light on more recent theories. It may eventually open new avenues for the so-called “cognitive paradigm”, in a broad sense (as defined in contributions by Lakoff/Johnson, Fusaroli/Morgagni (eds), Zlatev/Jacobsson/Paju, and Zlatev). It could strengthen a line of inquiry opened, in one sense, by some scholars (such as Danesi, Gensini, and Trabant), who have linked this paradigm to Vico, and, in another sense, by other scholars (Faur and Faur/Zlatev), who are making an effective attempt to put the same paradigm in dialogue with Coseriu.
In termini strettamente quantitativi, la metafora non occupa un luogo privilegiato nell’opera di Coseriu; a questo tema egli ha infatti dedicato espressamente un solo contributo, La Creación metafórica en el lenguaje – La creazione metaforica nel linguaggio (1956). Tuttavia, il modo in cui viene delineata rivela un modello teorico estremamente complesso che tradisce una profonda comprensione del concetto. La presente ricerca solleva la questione circa le origini delle idee di Coseriu sulla metafora. Nel suo articolo del 1956, Coseriu fa esplicito riferimento a Cassirer, ma il modo in cui concepisce la metafora presenta una serie di sorprendenti somiglianze con il modello delineato, qualche secolo prima, da Vico, in diverse opere: De nostri temporis studiorum ratione – Il metodo degli studi del nostro tempo (1709]), De antiquissima italorum sapientia – L’antichissima sapienza degli italici (1710), le “Risposte” (1711–1712), e Scienza Nuova (1744). Sebbene Coseriu non menzioni Vico nell’articolo del 1956, lo riconosce spesso tra le voci che più hanno ispirato la sua visione del linguaggio. Ci sono riferimenti a Vico in tanti lavori di Coseriu, tra cui Forma y sustancia en los sonidos del lenguaje – Forma e sostanza nei suoni del linguaggio (1954), Sincronía, diacronía e historia – Sincronia, diacronia e storia (1958), Sprache und Dichtung – Linguaggio e poesia (1963–1964), Geschichte der Sprachphilosophie – Storia della filosofia del linguaggio (1969/1972), Von den universali fantastici – Sugli universali fantastici (1995) e le due interviste condotte rispettivamente da Saramandu (1996) e Kabatek/Murguía (1997). Ci sono già lavori significativi sulla metafora in Vico, a partire dall’articolo pionieristico di Di Cesare del 1986 e proseguendo con i contributi di altri studiosi di chiara fama (tra cui Danesi, Price, Valagussa, Trabant e Verene). Rilevanti ricerche sono state condotte anche sulla visione di Coseriu sulla metafora (principalmente da Borcilă e Faur). Ma non è stato ancora aperto alcun dialogo sistematico tra Coseriu e Vico su questo specifico tema (la metafora) (sebbene già implicito in Coseriu e sia stato, in qualche modo, suggerito da Borcilă; indirettamente, anche da Kabatek e Faur).
Questo contributo intende colmare questa lacuna. Offre quindi una panoramica del modo in cui Vico e Coseriu concepiscono la metafora e ne delinea i corrispondenti modelli di comprensione. Confronta poi i due modelli, evidenziandone le linee di continuità/discontinuità. Ripercorrendo punto per punto la traiettoria dell’idea di metafora da Vico a Coseriu, questo studio mira implicitamente a ‘recuperare’ un segmento essenziale della tradizione di pensiero su questo affascinante tema (la metafora). La ricerca si conclude invitando a riflettere su come l’integrazione più sistematica di Vico e Coseriu potrebbe gettare nuova luce su teorie più recenti. Potrebbe eventualmente aprire nuove strade per il cosiddetto “paradigma cognitivo”, in senso lato (come definito in lavori di Lakoff/Johnson, Fusaroli/Morgagni (a cura di), Zlatev/Jacobsson/Paju e Zlatev). Si rafforzerebbe così una linea di ricerca aperta, da un lato, da alcuni studiosi (come Danesi, Gensini e Trabant) che hanno collegato questo paradigma a Vico, e, dall’altro lato, da altri studiosi (Faur e Faur/Zlatev), che stanno facendo un tentativo efficace di mettere lo stesso paradigma in dialogo con Coseriu.In strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu and Vico on this specific issue (metaphor) has yet been initiated (although it is already implicit in Coseriu and has been, in some way, suggested by Borcilă and, indirectly, by Kabatek and Faur).
This contribution aims to fill the gap. It, therefore, provides an overview of how Vico and Coseriu conceive of metaphor and sketches the corresponding models of understanding. It then compares the two models, highlighting lines of continuity/discontinuity. By tracing the punctuated trajectory of the idea of metaphor from Vico to Coseriu, this study seeks to implicitly ‘recover’ an essential segment of the tradition of thought on this fascinating topic (metaphor). The research concludes by inviting reflections on how integrating Vico and Coseriu more systematically could shed new light on more recent theories. It may eventually open new avenues for the so-called “cognitive paradigm”, in a broad sense (as defined in contributions by Lakoff/Johnson, Fusaroli/Morgagni (eds), Zlatev/Jacobsson/Paju, and Zlatev). It could strengthen a line of inquiry opened, in one sense, by some scholars (such as Danesi, Gensini, and Trabant), who have linked this paradigm to Vico, and, in another sense, by other scholars (Faur and Faur/Zlatev), who are making an effective attempt to put the same paradigm in dialogue with Coseriu.In strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu and Vico on this specific issue (metaphor) has yet been initiated (although it is already implicit in Coseriu and has been, in some way, suggested by Borcilă and, indirectly, by Kabatek and Faur).
This contribution aims to fill the gap. It, therefore, provides an overview of how Vico and Coseriu conceive of metaphor and sketches the corresponding models of understanding. It then compares the two models, highlighting lines of continuity/discontinuity. By tracing the punctuated trajectory of the idea of metaphor from Vico to Coseriu, this study seeks to implicitly ‘recover’ an essential segment of the tradition of thought on this fascinating topic (metaphor). The research concludes by inviting reflections on how integrating Vico and Coseriu more systematically could shed new light on more recent theories. It may eventually open new avenues for the so-called “cognitive paradigm”, in a broad sense (as defined in contributions by Lakoff/Johnson, Fusaroli/Morgagni (eds), Zlatev/Jacobsson/Paju, and Zlatev). It could strengthen a line of inquiry opened, in one sense, by some scholars (such as Danesi, Gensini, and Trabant), who have linked this paradigm to Vico, and, in another sense, by other scholars (Faur and Faur/Zlatev), who are making an effective attempt to put the same paradigm in dialogue with Coseriu.In strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu and Vico on this specific issue (metaphor) has yet been initiated (although it is already implicit in Coseriu and has been, in some way, suggested by Borcilă and, indirectly, by Kabatek and Faur).
This contribution aims to fill the gap. It, therefore, provides an overview of how Vico and Coseriu conceive of metaphor and sketches the corresponding models of understanding. It then compares the two models, highlighting lines of continuity/discontinuity. By tracing the punctuated trajectory of the idea of metaphor from Vico to Coseriu, this study seeks to implicitly ‘recover’ an essential segment of the tradition of thought on this fascinating topic (metaphor). The research concludes by inviting reflections on how integrating Vico and Coseriu more systematically could shed new light on more recent theories. It may eventually open new avenues for the so-called “cognitive paradigm”, in a broad sense (as defined in contributions by Lakoff/Johnson, Fusaroli/Morgagni (eds), Zlatev/Jacobsson/Paju, and Zlatev). It could strengthen a line of inquiry opened, in one sense, by some scholars (such as Danesi, Gensini, and Trabant), who have linked this paradigm to Vico, and, in another sense, by other scholars (Faur and Faur/Zlatev), who are making an effective attempt to put the same paradigm in dialogue with Coseriu.In strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu and Vico on this specific issue (metaphor) has yet been initiated (although it is already implicit in Coseriu and has been, in some way, suggested by Borcilă and, indirectly, by Kabatek and Faur).
This contribution aims to fill the gap. It, therefore, provides an overview of how Vico and Coseriu conceive of metaphor and sketches the corresponding models of understanding. It then compares the two models, highlighting lines of continuity/discontinuity. By tracing the punctuated trajectory of the idea of metaphor from Vico to Coseriu, this study seeks to implicitly ‘recover’ an essential segment of the tradition of thought on this fascinating topic (metaphor). The research concludes by inviting reflections on how integrating Vico and Coseriu more systematically could shed new light on more recent theories. It may eventually open new avenues for the so-called “cognitive paradigm”, in a broad sense (as defined in contributions by Lakoff/Johnson, Fusaroli/Morgagni (eds), Zlatev/Jacobsson/Paju, and Zlatev). It could strengthen a line of inquiry opened, in one sense, by some scholars (such as Danesi, Gensini, and Trabant), who have linked this paradigm to Vico, and, in another sense, by other scholars (Faur and Faur/Zlatev), who are making an effective attempt to put the same paradigm in dialogue with Coseriu.In strict quantitative terms, metaphor does not occupy a privileged place in Coseriu’s work, being effectively addressed in a single study, “La Creación metafórica en el lenguaje” – “Metaphorical Creation in Language” (1956). However, the way he outlines it reveals a highly complex theoretical model that betrays a deep understanding of the concept. The current research raises the question about the origins of Coseriu’s ideas on metaphor. In his 1956 article, Coseriu makes explicit reference to Cassirer, but the way he conceives metaphor presents a series of striking similarities with the model outlined, a few centuries earlier, by Vico, in several works: De nostri temporis studiorum ratione – On the Study Methods of Our Time (1709), De antiquissima italorum sapientia – On the Most Ancient Wisdom of the Italians (1710), “Risposte” – “Responses” (1711–1712), and Scienza Nuova – New Science (1744). Although Coseriu does not mention Vico in his 1956 article, he often recognises him among the leading voices that inspired his views on language. There are references to Vico in many works, including Forma y sustancia en los sonidos del lenguaje – Form and Substance in the Sounds of Language (1954), Sincronía, diacronía e historia – Synchrony, Diachrony, and History (1958), “Sprache und Dichtung” – “Language and Poetry” (1963–1964), Geschichte der Sprachphilosophie – History of the Philosophy of Language (1969/1972), “Von den universali fantastici” – On the universali fantasctici (1995), and the two interviews conducted by Saramandu (1996) and Kabatek/Murguía (1997), respectively. There is significant work on metaphor in Vico, beginning with Di Cesare’s 1986 trailblazing article and continuing with contributions by other well-read scholars (such as Danesi, Price, Valagussa, Trabant, and Verene). Valuable research has also been conducted on Coseriu’s views on metaphor (mainly by Borcilă and Faur). However, no systematic dialogue between Coseriu an
