Charles Sanders Peirce (1839-1914), the most important and influential of the classical American philosophers, is credited as the inventor of the philosophical school of pragmatism. The scope and significance of his work have had a lasting effect not only in several fields of philosophy but also in mathematics, the history and philosophy of science, and the theory of signs, as well as in literary and cultural studies. Largely obscure until after his death, Peirce's life has long been a subject of interest and dispute. Unfortunately, previous biographies often confuse as much as they clarify crucial matters in Peirce's story. Ketner's new biographical project is remarkable not only for its entertaining aspects but also for its illuminating insights into Peirce's life, his thought, and the intellectual milieu in which he worked.

Charles Sanders Peirce (1839-1914) is rapidly becoming recognized as the greatest American philosopher. At the center of his philosophy was a revolutionary model of the way human beings think. Peirce, a logician, challenged traditional models by describing thoughts not as "ideas" but as "signs," external to the self and without meaning unless interpreted by a subsequent thought. His general theory of signs -- or semiotic -- is especially pertinent to methodologies currently being debated in many disciplines. This anthology, the first one-volume work devoted to Peirce's writings on semiotic, provides a much-needed, basic introduction to a complex aspect of his work. James Hoopes has selected the most authoritative texts and supplemented them with informative headnotes. His introduction explains the place of Peirce's semiotic in the history of philosophy and compares Peirce's theory of signs to theories developed in literature and linguistics.

This book is an exploration of interrelationships among culture, language, and the individual unconscious (the dark matter of the mind ), how these feed into a sense of self, and implications for the notion of human nature. The first part of the book is concerned with perceptual and cultural bases of dark matter and the effect of dark matter on perception (especially vision) and the interpretation of discourse. The second part is concerned with the contribution of dark matter to languagewith language viewed as a combination of speech and gesture, and including issues related to translation. In the final part Everett addresses implications of his account, summarizing and extending arguments for replacing an instinct-based account of human nature with a culturally-based, dark matter view of the constructed self. Everett makes a powerful argument for the influence of culture on unconscious forces that underlie human behavior and the individual s sense of self, with much of the power of the argument coming from the deep insights he gained from living and working with the Pirahas of the Amazon. This is an important book that sits at the intersection of anthropology, linguistics, psychology, and philosophy, and it is enriched by a combination of the author s knowledge of these fields and his cross-cultural perspective. The book will make an important contribution to newly emerging directions taken by cognitive science. After decades of a field derailed by ethnocentric, instinct-based views of language and the mind, the cognitive sciences need such informed analyses of the relationship between culture, cognition, and language, as embodied in speech and gesture."

A book without words, recounting a day in the life of an office worker, told completely in the symbols, icons, and logos of modern life. Twenty years ago I made Book from the Sky, a book of illegible Chinese characters that no one could read. Now I have created Book from the Ground, a book that anyone can read. —Xu Bing Following his classic work Book from the Sky, the Chinese artist Xu Bing presents a new graphic novel—one composed entirely of symbols and icons that are universally understood. Xu Bing spent seven years gathering materials, experimenting, revising, and arranging thousands of pictograms to construct the narrative of Book from the Ground. The result is a readable story without words, an account of twenty-four hours in the life of “Mr. Black,” a typical urban white-collar worker. Our protagonist's day begins with wake-up calls from a nearby bird and his bedside alarm clock; it continues through tooth-brushing, coffee-making, TV-watching, and cat-feeding. He commutes to his job on the subway, works in his office, ponders various fast-food options for lunch, waits in line for the bathroom, daydreams, sends flowers, socializes after work, goes home, kills a mosquito, goes to bed, sleeps, and gets up the next morning to do it all over again. His day is recounted with meticulous and intimate detail, and reads like a postmodern, post-textual riff on James Joyce's account of Bloom's peregrinations in Ulysses. But Xu Bing's narrative, using an exclusively visual language, could be published anywhere, without translation or explication; anyone with experience in contemporary life—anyone who has internalized the icons and logos of modernity, from smiley faces to transit maps to menus—can understand it.