Notion Of Circulation Research Articles

Thrifty Science: Making the Most of Materials in the History of Experiment by Simon Werrett

Reviewed by: Thrifty Science: Making the Most of Materials in the History of Experiment by Simon Werrett Lachlan Fleetwood (bio) Thrifty Science: Making the Most of Materials in the History of Experiment. By Simon Werrett. Chicago: The University of Chicago Press, 2019. Pp. 304. Hardcover $45. Thrifty Science takes the reader on a fascinating and novel tour of early modern science, wending its way through homes and gardens, auction houses, and instrument shops. In unpacking notions of thrift—in their many guises of maintenance, repair, repurposing, reuse, and exchange—Werrett asks how early modern scientific practitioners adopted and adapted the materials for their experiments. Here "thrift was as much moral as material" (p. 21) and reflected the way "experimenters were keen to explore a variety of uses of mundane material objects that were ready to hand in order to learn about nature" (p. 16). The book is foremost a contribution to the growing literature on the material culture and practice of science, with an analysis rooted in notions of circulation. At the same time, it speaks eloquently to recent work on the early modern home, convincingly locating many of the thrifty practices of science in ideas of oeconomy and the management of the household. Canonical figures like Robert Boyle, Robert Hooke, and Isaac Newton thus naturally appear, but the focus on the home also opens up a more diverse cast of men and women, including family members and domestic servants, as participants in early modern science. Werrett takes the classic question of "what is a scientific instrument" and reverses it, instead suggesting that it "might be more appropriate to ask what was not one" (p. 82). For the early modern English experimenters Thrifty Science traces, the answer seems to be very little. Indeed, while acknowledging the place of specific experimental apparatus (like the air pump) in this earlier period, Werrett argues that such devices were more the province of the nineteenth century. Instead, all manner of household items, including "kitchens, bedchambers, pokers, gun barrels, wineglasses, and stockings were 'made use of' or 'put into the service of' experiment" (p. 7). A particularly delightful example in this regard is Robert Symmer's use of his own silk stockings to develop a theory of electricity. The book deals primarily with the seventeenth and eighteenth centuries, though the final chapter extends into the nineteenth century. In this period, Werrett posits a transformation from "thrifty science" to "economic science," which entailed a greater focus on specialized, single-use instruments and "encouraged a different approach to material things, presenting them as complete rather than open-ended, as commodities to be consumed rather than continuously reworked" (p. 167). This was coupled with an increasingly rigid (and deliberately gendered) separation between the home and laboratory. Werrett concludes by deftly connecting these [End Page 1102] concerns to twentieth-century "Big Science," and reflecting on their implications for the present. Here "modern environmental practices" might be seen as "a re-recognition of thrifty practices that have been going on in one form or another for centuries," albeit with different motivations (p. 2). As such, re-engaging with oeconomic practices, and seeing material things as "incomplete" and "open-ended" may "offer ways to think about how we might be thrifty in the future" (p. 2). Thrifty Science's geographical focus is firmly on England (with occasional forays into North America), a scope that is freely acknowledged as "rather narrow" (p. 11). Werrett nevertheless rightly takes the time to collapse the received notion that the metropole was always the center of "the new" and of innovation—in contrast to those in the colonies who had to "make do" and find substitutes—as "a (mostly Victorian) fiction" (p. 12). However, this insistence on England is at times limiting, especially given that new imperial histories have shown that metropoles like London cannot be so easily separated from their empires. More about the thrifty use of materials between say England, Asia, and the Caribbean would thus have been welcome. Ultimately though, this amounts less to criticism of the present work than it does an opportunity for expanding its central questions into new contexts. The variety and depth of sources on display is prodigious, and...

<b>Gustave Monod e a renovação do ensino secundário francês

Este artigo tem por objetivo compreender as classes nouvelles, idealizadas pelo educador Gustave Monod e colocadas em marcha no sistema de ensino francês no imediato pós-Segunda Guerra. Para tanto, inicialmente explora a trajetória de Gustave Monod, destacando a sua vinculação à perspectiva pedagógica do Movimento da Escola Nova e a sua participação em organizações políticas de cunho pacifista e antifascista. O foco da análise é colocado sobre a participação decisiva de Monod na criação das classes nouvelles na rede pública de ensino da França, bem como na instituição do Centre International d’Études Pédagogiques (CIEP), na cidade de Sèvres, um espaço transnacional de intercâmbio de experiências de renovação educacional. Para nortear a pesquisa, utilizaram-se as noções de circulação e de apropriação cunhadas pelo historiador Roger Chartier e um corpus empírico formado por artigos e livros de autores franceses e brasileiros. A relevância do presente trabalho deve-se ao fato de que vários brasileiros realizaram estágio no CIEP na década de 1950 e apropriaram-se da experiência das classes nouvelles para produzir o modelo das classes secundárias experimentais que renovou o ensino secundário brasileiro.

On the Defensive: Reading the Ethical in Nazi Camp Testimonies by Sharon Marquart

Reviews 229 years in early modern France), approach to dramatic characterization (with a previously unheard-of depth of development, especially with respect to Figaro), and manipulation of dramatic convention (from comic language to recognition scenes) allows scholars to theorize the complex interactions Beaumarchais stages between theater and novel (Catherine Ramon), between “high” and “low” culture (Jennifer Ruimi), and with respect to classical comedy and tragedy (Marie-Emmanuelle PlagnolDi éval, Franck Salaün, Odile Richard-Pauchet). Particularly elegant contributions by Anne Richardot and Sophie Marchand underscore how genre-based criticism reveals Beaumarchais’s deep engagement with the core Enlightenment drive to question established hierarchies, both in terms of artistic categories and the conception of the individual in society. A more specific focus on particular thematic continuities across the plays confirms the role of La mère coupable in establishing the overall coherence of the trilogy. Jean-Pierre de Beaumarchais’s illuminating reading of the function of marriage across the plays (unlike the other essays, including the sparkling biographical sketch by the same author that opens the volume, this work was previously published elsewhere) serves as a fine counterpoint to Françoise Le Borgne’s reading of the role of husband, just as the notions of circulation and exchange link Florence MagnotOgilvy ’s analysis of money in Le mariage with Bénédicte Obitz-Lumbroso’s lively analysis of letters in all three plays.A bibliography on the trilogy and summaries of the volume’s chapters in both French and English conclude this useful, readable, and valuable collection. Louisiana State University Jeffrey M. Leichman Marquart, Sharon. On the Defensive: Reading the Ethical in Nazi Camp Testimonies. Toronto: UP of Toronto, 2015. ISBN 978-1-4426-5066-4. Pp. x + 220. The central theme of her project, Marquart tells us, originated in the unsettling experience of perusing L’album d’Auschwitz, a collection of photographs documenting the arrival, in 1944, of some 400,000 Hungarian Jews, of whom 350,000 “were gassed in assembly-line fashion hours after their arrival”(150).What strikes the author about several of the photos—also reproduced in her book—is a discrepancy between the captions provided by the editors and the effect the photos have on her. While the editorial comments offer a general description of the devious and highly efficient functioning of the machinery of mass slaughter devised by the Nazis (the victims are not aware they are standing in front of buildings housing the gas chambers, for example), Marquart finds that she is inevitably drawn to the individuals in the photos and cannot help but wonder “who these people were, what they might have been thinking in these moments” (158). Referencing Barthes’s theory on photographs and their impact, Marquart suggests that their powerful visual effect is due precisely to the contrast between a generalized, objectifying, even normalizing historical perspective offered by the captions and what Barthes calls the “punctum,” the visual shock of the photos brought about by the realization that “the people captured in them ‘are dead and are going to die’” (162). It is a contrast the author finds is often characteristic of Holocaust literature and, in particular, of the testimony of its survivors:“[M]y central aim in this book is that theoretical ethical knowledge cannot prepare us to respond to the ethical demands of atrocity”(26).What frequently happens is that attempts—wellintentioned as they might be—to rationalize and explain the Holocaust often lead to a defensive posture that ends up repressing or even ignoring the traumatic and traumatizing dimension of victims’ experiences. In making her case, Marquart contrasts the accounts of mainly two survivors. One is Jorge Semprún, whom she places among France’s and Spain’s “most famous authoritative intellectual witness writers” (9). Semprún’s intellectual approach is problematic, however, because it manages to turn witness testimony into self-centered“masterly narratives”that claim to speak for others. These are accounts that also tend to impose norms and values reflecting present needs or ideologies in terms of a universalizing logic or some artistic and creative designs. The other witness is Charlotte Delbo, a survivor and author whose work provides an implicit critique of the “well...

Stuart Hall’s encoding/decoding model and the circulation of journalism in the digital landscape

ABSTRACTNotions of circuitry are central to Stuart Hall’s conceptualization of how communities, cultures, and media constitute each other. This is very explicit in his encoding/decoding model from 1973. Hall here reserves the term “circulation” for a delimited process within a broader argument for a circular movement, or a “reproduction” of culture through media. In this broader view, however, Hall sees circulation as both technological and hermeneutical processes through which meaning and/or ideology move into and out of discursive form. The encoding/decoding text(s) refer on several occasions to “current affairs” but later applications of this model have somewhat neglected the sphere of journalism. This paper consequently situates Hall’s notions of circulation in relation to new modes of circulating journalism on participatory digital platforms. Given the status of Hall’s model, the overall goal of this re-reading is twofold: seeing Hall through contemporary issues puts into perspective key aspects of Hall’s thinking, while Hall’s framework in turn helps illuminate important characteristics of how journalism is ascribed meaning in a digital landscape. The paper ultimately argues that while Hall’s insistence on seeing the circulation of journalism within a broader circuit of culture is as important as ever, some of his main tenets and assumptions need to be rethought and supplemented in light of newer developments.

Repositioning Africa within the Global

Repositioning Africa within the Global Pedro Machado Africa has always been global. No matter how we define this spatial category—as a mode of connection, or a process of embeddedness within larger frameworks of historical and contemporary relation—Africa and Africans have engaged and shaped broader currents in the world. Jamie Monson, raising the idea of multiple Africas in her discussion of the future directions of African studies as an intellectual and political project within the American academy, highlights this understanding through the lens of diaspora and mobility to think about the continent and its peoples as constitutive of a world on the move. This is captured in the concept of transoceanic circulations, which she uses to frame a discussion of the material and commercial linkages that tied different parts of Africa to translocal and transregional economic and cultural exchange. But as a conceptual framework, the notion of circulation is sufficiently capacious to allow for the inclusion of mobilities that disassemble the artificial divides that intellectually construct and separate regions within Africa itself. In other words, the work that circulation does as an analytical concept is to help dissolve the equally bounded understanding of Africa as an area and East Africa, North Africa, and so on as regions. That scholars have devised projects and are carrying out research agendas that reflect this dissolution (slow though the process might be) is rightly recognized by Monson, as are the intellectual genealogies that have informed these perspectives.1 In suggesting that we take circulations and mobilities seriously, Monson gestures toward a process of disaggregation of the conventional category of Africa to which many scholars, practitioners, policy specialists, and even the public still adhere. But by tracing Africa’s myriad social geographies along their structuring circuits and networks, we can more fully develop a mental map of the continent very different from the one held by many. For instance, the itineraries of movement that historically have involved contractual obligations, commodity exchanges across the Horn, East Africa, Madagascar, Mauritius, adjoining islands, and the Red Sea would allow us to reposition these regions into a relational model, whose Indian Ocean boundaries were nonetheless fluid. This sort of rethinking aligns with the ways scholars have begun to reimagine other conventional geographical frameworks, such as the Middle East, in response to the oceanic and global history turn of the past decade.2 [End Page 88] The emphasis on global African studies as proposed by Monson is therefore highly suggestive of new ways to think about Africa in the American academy—ways that allow space for posing new research questions around contemporary and past developments and realities. Monson highlights the importance of moving away from seeing Africa as a research site from which data are extracted and toward a collaborative model of knowledge production, which connects with the work of researchers and scholars on the continent. These “connections,” she notes, “will strengthen and sustain us together.” While this may well be true, I think we need to recognize also that African institutions are not necessarily as interested as they once may have been in establishing partnerships with their American counterparts or other universities of the North. Indeed, this was hinted at in Monson’s recounting of the international symposium held at Peking University around a South–South dialogue. To add another, more recent example: “Re-Centering AfroAsia: Migrations in the Pre-Colonial Period, 700–1500 bce,” a large-scale multiyear project recently launched in South Africa, involves partners and colleagues from universities around the country and the region, and institutions and communities from India. Apart from my inclusion, not a single institution from the North was involved.3 I expect we will see more of these dialogues as Africans on the continent reimagine their historical trajectories, and the West becomes increasingly decentered as a privileged site of theoretical and empirical knowledge production. This is not to deny, necessarily, the engagement that African-studies institutions in the North can establish and maintain productively with African partners, as Monson is encouraging in her essay; however, this engagement requires a resource structure substantially different from the one that has steadfastly remained in place. Institutions in the United States remain tethered to a...

Migrations et recompositions des stratégies socio-économiques des familles rurales au Mozambique : une lecture institutionnelle des circulations contemporaines

À partir d’une étude de cas au Mozambique, cet article analyse le rôle des migrations dans les recompositions des stratégies socio-économiques des familles en termes de diversification des activités et de processus d’accumulation d’actifs. Les résultats, fondés sur une approche institutionnelle associée à la notion de circulation en géographie sociale, mettent en lumière les rôles décisifs des formes de migrations et de leurs dimensions institutionnelles dans les dynamiques de différenciation économique observées.

Journalism as Cultures of Circulation

The universe of journalism has always consisted of interspersed texts, practices and meanings. Yet, much journalism research has often isolated either texts and/or contexts and thus assumed relations between professional practices, informed (rational) readers and (conceived) core texts. It is, however, more important than ever to shift attention away from texts to the processes through which they are circulated. This is partly because the many cultural forms of journalism (textual, institutional, technological, material, behavioural and imagined) are undergoing significant changes, one of which is being interrelated in new and increasingly complex ways. To understand some of the related processes, this article proposes a notion of circulation that implies a close attention to the ways in which the various forms of this landscape travel, intertwine and connect and, in particular, to the ways in which these forms construct and maintain what is termed cultures of circulation. In order to approach such processes, this article traces the photographic mediation of a specific event with the overall aim of beginning a theorization of the landscape of journalism as interrelated cultures of circulation.

Urban Chroniclers in Modern Latin America: The Shared Intimacy of Everyday Life by Viviane Mahieux (review)

Reviewed by: Urban Chroniclers in Modern Latin America: The Shared Intimacy of Everyday Life by Viviane Mahieux Thomas Genova Mahieux, Viviane. Urban Chroniclers in Modern Latin America: The Shared Intimacy of Everyday Life. Austin: U of Texas P, 2011. Pp. 234. ISBN 978-0-292-70945-4. The crónica urbana, a Latin American literary-journalistic genre consisting of short reflections on city life, has garnered critical attention in recent years as scholars examine the form’s place in the region’s literary and cultural modernity. While most studies have concentrated either on the turn-of-the-nineteenth century or the postmodern era, Viviane Mahieux’s Urban Chroniclers in Modern Latin America: The Shared Intimacy of Everyday Life makes an important contribution to crónica studies by exploring how the genre mobilized modern class and gender identities to intervene in larger cultural debates in the 1920s and 30s, a period marked by the growth of the urban middle classes and the rise of the literary avant-gardes. Drawing on the work of Susan Rotker and Vicky Unruh, Mahieux explores the ways in which the chronicle in the 1920s and 30s worked to shape modern class and gender subjectivities by mediating between elite and popular cultures in the mass-media space of the newspaper. Urban chroniclers of the period combined avant-garde literary innovations with Latin America’s incipient mass culture in order to fashion a place for themselves in the region’s shifting cultural landscape during the early twentieth century. In chapter 1, “Cities, Publics, and Urban Chroniclers in Latin America: 1920s–1930s,” Mahieux explains how the period’s economic and technological modernization made it possible for chroniclers to reach a wider audience than they had a generation earlier. As a result, the chroniclers of the 1920s, unlike the letrados of the traditional Latin American literary and cultural establishment that Ángel Rama and Julio Ramos study, were “accessible intellectuals” who targeted their penetrating social commentaries to a broad audience comprised of readers from the same physical and economic location as themselves. Yet, according to Mahieux, even as the chroniclers of the 20s and 30s participate in mass culture—following the high cultural trends of the period described in Peter Burger’s Theory of the Avant-Garde—, they break with older bourgeois conceptions that view art and the artist as autonomous from the everyday social [End Page 176] and economic life of the community. These changes result in a “democratizing” of lettered culture to include popular and middlebrow, as well as elite elements (30). In chapter 2, “A Common Citizen Writes Buenos Aires: Roberto Arlt’s Aguasfuertes porteñas,” Mahieux explores how the chronicle registers the new class subjectivities that were emerging as a result of Argentina’s rapid development and heavy rates of immigration at the beginning of the twentieth century. Stressing working-class Arlt’s difference from elite Argentine avant-gardists such as Jorge Luis Borges and Oliverio Girondo, Mahieux examines the ways in which the chronicler uses the market and the notion of circulation (of people, goods, and texts) to fashion an identity for himself as a being simultaneously like and unlike his readers. Chapter 3, “Taking Readers for a Ride: Mário de Andrade’s Táxi,” focuses on de Andrade’s conversational style in the context of modernist São Paulo, where lifeways differed sharply from the traditionalism that still existed in some other regions of Brazil. Mahieux argues that, a reflection of Brazilian modernism’s interest in the vernacular, the dialogical nature of de Andrade’s chronicles helps bridge the gap between art and criticism while, at the same time, representing the country’s cultural heterogeneity. Chapter 4, “The Chronicler as Streetwalker: Salvador Novo Performs Gender,” explains how Novo in his chronicles subverts gender binaries not only through his transgressive sexuality, but through his willingness to engage middlebrow culture as a means of disrupting the dominant hierarchies of post-revolutionary Mexico. If high cultural canons of the time scripted official nationalism as “masculine,” Novo playfully registers the apolitical “feminine” culture of the cosmopolitan urban middle classes in his chronicles. This chapter, perhaps the strongest in Mahieux’s compelling book, serves as a transition from the...

On aerodynamic modelling of an insect–like flapping wing in hover for micro air vehicles

This theoretical paper discusses recent advances in the fluid dynamics of insect and micro air vehicle (MAV) flight and considers theoretical analyses necessary for their future development. The main purpose is to propose a new conceptual framework and, within this framework, two analytic approaches to aerodynamic modelling of an insect-like flapping wing in hover in the context of MAVs. The motion involved is periodic and is composed of two half-cycles (downstroke and upstroke) which, in hover, are mirror images of each other. The downstroke begins with the wing in the uppermost and rearmost position and then sweeps forward while pitching up and plunging down. At the end of the half-cycle, the wing flips, so that the leading edge points backwards and the wing's lower surface becomes its upper side. The upstroke then follows by mirroring the downstroke kinematics and executing them in the opposite direction. Phenomenologically, the interpretation of the flow dynamics involved, and adopted here, is based on recent experimental evidence obtained by biologists from insect flight and related mechanical models. It is assumed that the flow is incompressible, has low Reynolds number and is laminar, and that two factors dominate: (i) forces generated by the bound leading-edge vortex, which models flow separation; and (ii) forces due to the attached part of the flow generated by the periodic pitching, plunging and sweeping. The first of these resembles the analogous phenomenon observed on sharp-edged delta wings and is treated as such. The second contribution is similar to the unsteady aerodynamics of attached flow on helicopter rotor blades and is interpreted accordingly. Theoretically, the fluid dynamic description is based on: (i) the superposition of the unsteady contributions of wing pitching, plunging and sweeping; and (ii) adding corrections due to the bound leading-edge vortex and wake distortion. Viscosity is accounted for indirectly by imposing the Kutta condition on the trailing edge and including the influence of the vortical structure on the leading edge. Mathematically, two analytic approaches are proposed. The first derives all the quantities of interest from the notion of circulation and leads to tractable integral equations. This is an application of the von Kármán-Sears unsteady wing theory and its nonlinear extensions due to McCune and Tavares; the latter can account for the bound leading-edge vortex and wake distortion. The second approach uses the velocity potential as the central concept and leads to relatively simple ordinary differential equations. It is a combination of two techniques: (i) unsteady aerodynamic modelling of attached flow on helicopter rotor blades; and (ii) Polhamus's leading-edge suction analogy. The first of these involves both frequency-domain (Theodorsen style) and time-domain (indicial) methods, including the effects of wing sweeping and returning wake. The second is a nonlinear correction accounting for the bound leading-edge vortex. Connections of the proposed framework with control engineering and aeroelasticity are pointed out.

Alternative Economies: Authorship and Ownership in Elizabeth Stoddard's "Collected by a Valetudinarian"

As a successful Eastern correspondent for the Daily Alta California from 1854-1858, Elizabeth Stoddard used many of her columns to air what might be called cynical opinions on the contemporary woman's rights movement and its participants. In one column, for example, Stoddard mocks feminist-abolitionist Lucy Stone's insistence on retaining her maiden name after her marriage to Henry Blackwell, calling it instance of miserable egotism motivated only by a desire to gain notoreity [sic].(1) And after attending the Woman's Rights Convention of 1856, Stoddard asserts that she will tak[e] humble place in the ranks of Women's Rights and Women's Shall Haves only after she has done laughing at what she takes to be the ludicrous nature of the convention proceedings (pp. 328, 327). As Lawrence Buell and Sandra Zagarell note in their collection of Stoddard's work, although her temperament committed her to exploring and challenging the systems of power that disadvantaged her as a woman, Stoddard herself rarely invoked -- or displayed -- the of sisterhood.(2) It is perhaps surprising, then, to find precisely such operating in Stoddard's own by a Valetudinarian.(3) Published in Harper's New Monthly Magazine in 1870, Collected is intricate tale about Alicia Raymond, a little-known of genius (p. 289), and the who encounter her through a diary she leaves as inheritance. Written at a significant juncture in her career -- Stoddard had at this point virtually abandoned the novel form, where she met with a very limited readership, in favor of the short story -- Collected manifests a perhaps predictable interest in the nature of authorial vocation and literary audience.(4) What is less predictable is how Stoddard makes use of the bonds of sisterhood to frame her inquiries. by a Valetudinarian gives such a central salvific function. They help restore Eliza Sinclair -- the valetudinarian of the title and our first-person narrator -- to physical and emotional health. Eliza has, she tells us, gone traveling ... in search of something lost, i.e., health, and to appease a heart disquieted by grief' (p. 285).(5) In her search, she goes to an old village on our sea-board (p. 285), a place where neither laws nor could trouble a solitary stranger (p. 286).(6) Eliza's return to health originates on the periphery of larger, conventional social structures, in a world that resembles what historian Carroll Smith-Rosenberg has called the female world of love and ritual -- a world where men made but a shadowy appearance and looked to one another for support and intimacy.(7) Stoddard's story begins in such a world, but does not end there. Indeed, Collected suggests that this notion of a closed(8) world is, finally, limiting, and, at least for the woman writer, detrimental. In the text, a world of `heart' -felt friendship between women offers a point of entry into a crucially larger world.(9) Although we begin the story with sisterhood, we end with extended, affectively-connected, mixed-gender family where gifts -- specifically, the diary of one woman writer -- freely circulate. Through this notion of circulation, Stoddard's story comes to apply the model of kinship relations to the literary marketplace. She uses those relations to counter the anonymity of that marketplace, reimagining it as a site not of the acquisitive drives of what C. B. Macpherson has called the possessive individual, but rather of bequest and creative inheritance.(10) In so doing, Elizabeth Stoddard finds a way to solve a riddle that vexed so many of her male counterparts and continues to vex critics today: a riddle about the relationship between the true artist and a marketplace that seems inimical to his (or, less often, her) concerns. Taking their lead from various nineteenth-century writers -- Hawthorne, Melville, and others -- literary critics ranging from Michael Gilmore to Henry Nash Smith have defined the mid-nineteenth century as a period dominated by a hopeless conflict between the artists and the market. …

Buying into Signs: Money and Semiosis in Eighteenth-Century German Language Theory

The metaphorical field circumscribing analogies between language and money is undoubtedly one of the most productive in all of Western culture. Quintilian's admonition that one expend words as carefully as one spends money, Ovid's remark that words, like coins, are minted by public authority, Nietzsche's famous comparison ofeurrent words to coins that have lost their impression due to overcirculation, and Saussure's identification of linguistic significance with monetary value--what all these metaphors have in common is that they draw on issues of monetary practice to elucidate the operation and use of language.2 The historical extension of this metaphorical field is matched by its broad cultural dispersion throughout the European languages: comparisons between money and language are just as likely to be found among English or French as they are among German writers.3 The unusual vitality of this analogy between money and language is further reflected in the expansive semantic territory it encompasses. Aside from the common identification of words with coins, many other elements drawn from the sphere of finance, such as the notions of circulation, exchange, credit, banking, counterfeiting, investment, etc., are frequently applied as metaphorical vehicles for the illumination oflinguistic practices. The vitality and diversity of this metaphorical field gives the best indication that the analogy between money and language in particular, and between the realms of economics and linguistics in general, is underwritten by a wealth of substantive capital. Indeed, as Jean-Joseph Goux has argued, the coherence and organic nature of this relation indicates that what is at work here is not a mere analogy, but rather a deep-seated isomorphism between the domains of money and language.4