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The contributions to this volume of Digital Age in Semiotics and Communication deal with various translation phenomena such as intermediality, film adaptation, film colorization, remediation and various technospheric phenomena such as cinefication, audiovisual and digital mass culture, digital transformation, cyberspace, and digital image. The first group of articles shows that those phenomena are characteristics of a rich interesemiotic space. As Torop (2020: 269) states, "in intersemiotic space, the original text and all of its translations comprise a mental whole, which is all-encompassing for collective cultural memory and selective for every individual reader. In the context of culture, intersemiotic space is also a space of transmedial translation". The new cultural texts (metatexts) resulting from intersemiosis is expected to carry additional connotations1, a characteristic of particular semiotic interest. The second group of articles reveals the advantages of the semiosphere of digital culture. As Bankov (2022: 26) highlights, "in digital culture, language is no longer the lord of semiotic phenomena; the latter is the communicative disposition of the culture holders. The language is there, together with an incredible variety of visual, audio, kinetic and other expressive forms". A significant innovation is that other expressive forms could also be interactive.2 Τhis interaction seems to be the essential different characteristic in relation to the study of other cultural texts, an element that justifies the use of the term platfospehere in the context of the semiosphere.3

Abstract
The mariners of the 20th century, travelling around the world and working in multinational and multicultural environments, have been the vehicles'of a particular ideal of globalization. Their experiences and rare knowledge, which constitute-and expressed through-forms of life composed of similar language games (social discourse, argot and maritime terms) are registered in different literary traditions and collective imaginaries. The semiotic systems, where significations of maritime everyday life are embodied, are the product of procedures of condensation and expansion of meanings, which are to be found in maritime literature. This paper aims at examining on the one hand the intertextuality in Alvaro Mutis' Abdul Bashur, Dreamer of Ships, the Colombian novelist who lived in several countries of the world and in Nikos Kawadias' poetry, the Greek poet who travelled all over the world, and on the other hand the semiotic modalities that construct the maritime semiosphere in different literatures. Methodological tools to be used are Wittgenstein's philosophy of language on forms of life, Fontanille's and Zilberberg's comments on this theory and on Lotman's semiosphere and Aristotle's Poetics. The universality of maritime semiotic systems in the literature to be presented is going to prove that social and professional groups develop common practices and idioms independently of national contexts and represent a very fine example of globalization-and of course-before our post-modem era.

Статья посвящена исследованию шоу-дискурса как феномена современной политической культуры и практики. В статье рассматривается четырехфазовая модель шоу-дискурса: фаза стратегического проектирования, фаза перформанса, фаза обратной связи, фаза интеграции в глобальную семиосферу. ; The article is devoted to the analysis of the show-discourse as a phenomenon of contemporary political culture and practice. The article observes the four-phased structural model of the show-discourse: the phase of strategic projection, the phase of performance, the phase of back relation, the phase of integration into global semiosphere.

The article analyzes the linguistic structures of video games, their formation in a historical perspective and explication of the current semiosphere of video game cybertexts. The history of the formation of the graphic code system of video games is reconstructed. The significance of the technical factor (computing capabilities of hardware game devices) in shaping the diversity of the spectrum of video game icons is highlighted. Parallels in the visual semiotics and aesthetics of cinematic animation and video games are noted. Particular attention is paid to the analysis of the procedural cluster of video game semiotics.

This paper discusses four nation branding post-communist campaigns initiated by the Romanian Government, from a cultural semiotic perspective, as developed by the Tartu-Moscow-Semiotic School. In so doing, it focuses on analyzing advertising and national identity discourses inside the semiospheres. Moreover, the paper investigates how elements of neoliberal ideology are addressed in the governmental campaigns, considering the "marketization of public discourse" (Fairclough, 1993). Nation branding in post-communist Romania is a distinctive phenomena, compared to other countries, especially from Western Europe. In transition countries, nation branding is often mentioned because of the constant need to reconfigure national identity by dissociating from the communist past (Kaneva, 2012). In Romania, nation branding is also a public issue discussed in the media, connected to the ways in which the international press portrays the country or to the migrants' actions. In this context, Romania's nation brand represents a cultural space and the campaigns mobilize cultural symbols as systems of signs necessary for the existence and functioning of advertising discourses.
Using a semiotic analysis linked to the field of cultural semiotics (Lotman, 2005/1984), this article analyzes four nation branding campaigns initiated by the Romanian Government (Romania Simply Surprising – 2004, Romania Land of Choice – 2009, Explore the Carpathian Garden – 2010, and Discover the Place Where You Feel Reborn – 2014), considering elements such as semiotic borders, dual coding and symbols. The results show that the campaigns are part of four different semiospheres, integrating discursive practices both from advertising and public diplomacy when communicating the national image to the internal (citizens) or external (international) audiences.

Introduction: political semiotics as a theory, methodology and method of relational political analysis -- Chapter 1: The 'Relational Turn' in the Social Sciences -- Chapter 2: Relational approach to the political: power, governance, and democracy -- Chapter 3: Three concepts of semiotics -- Chapter 4: A framework of political semiotics: political logic of the semiosphere -- Chapter 5: Political semiotics and the study of the political: power, governance and democracy -- Chapter 6: Political semiotics as a constitutive explanation and abductive research logic -- Chapter 7: From methodology to methods and applications: introducing political form analysis -- Chapter 8: Application of relational political analysis: political semiotic explanation of the constitution of digital threats -- Conclusion: The Subject and Agenda for Relational Political Analysis.

It is postulated that there is no progress or true cultural evolution, but an incessant leveling between opposites where there is no static equilibrium, but a tension without interruption. A tension that constantly animates the semiosphere. There are stages of cultural and social changes that throughout history have resulted from the dialectic tension between transparent rhetoric and the rhetoric of opacity, where achievements and failures have crystallized. Among them, the way in which the building of the Reichstag in Berlin, closed in its architectural structure, opens after the Cold War by installing a glass dome at the top, or the WikiLeaks case as a revolutionary act of transparency before a government tending to the concealment of information.

Abstract
Recently, in most foreign language course books, rubrics of units, activities, and exercises are codified resulting in a peculiar coexistence of semiotic systems to produce or to accentuate meaning, creating thus polysemiotic signs. In this paper, I study the polysemiotic signs of English and French in foreign language course books published in Greece which are composed of verbal and visual signs within the context of Groupe M. Such a relation of semiotic systems also includes intersemiotic and interlingual translation. My main result is that course books are characterized by an increasing visuality that permits reference to a common cultural framework or semiosphere that enables the polysemiotic signs used in course books to be understood by students learning a foreign language.

Abstract
The aim of this paper is to provide a brief sketch of the cultural phenomenon of tea from the point of view of Cultural Semiotics as developed by Juri M. Lotman and the Tartu- Moscow School of Semiotics. Tea, either as a beverage, tradition, ceremony, fashion product, or a 21st century cultural practice, is a product developed by human communication. Thus, it involves a complex meaningweb and meaning-production. To account for it as such, we must posit that it constitutes several semiotic models that explain and construct the context of tea in our social reality. Thus, we may say that tea is a meaning-generating mechanism, which presupposes it is inside a cultural space called semiosphere

The fourth volume in the Approaches to Culture Theory series is a contemporary Estonian anthology in culture theory. Most of the authors are members of the research groups of the Centre of Excellence in Cultural Theory: archaeology, cultural communication studies, contemporary cultural studies, ethnology, folkloristics, religious studies, landscape studies, and semiotics. These scholars have revised their recent work to highlight current topics in culture theory in Estonia and use theoretical analyses to advance the self-description and self-understanding of culture. Contributors include Aili Aarelaid-Tart, Martin Ehala, Halliki Harro-Loit, Tiiu Jaago, Anne Kull, Kalevi Kull, Kristin Kuutma, Valter Lang, Art Leete, Kati Lindström, Mihhail Lotman, Hannes Palang, Rein Raud, Raul Tiganik, Peeter Torop, Ülo Valk, and Tõnu Viik.

AbstractGrounded on archival files, the general development of Jakobson's tripartite division of translation (intralingual, interlingual, and intersemiotic) and its current situation in the academic world is recovered to reveal its influence on linguistics, semiotics, and translation studies worldwide, and to point out the significance of criticizing the triadic division in terms of the broad sense of translation as a term and the classifications of signs. Gideon Toury (1986), Umberto Eco (2001), Peeter Torop (2002), Dinda Gorlée (2010), Zhonglian Huang (2015), Hongwei Jia (2016b and 2016c), and others criticized this division and constructed their own systems, but these have their own problems and limitations. Therefore, it is necessary to construct, with reference to Lotman's idea on semiosphere, a new division system (intra-semiospheric, intersemiospheric and supra-semiospheric) for translation semiotics.

Abstract
This article presents a consideration regarding semiosis and the theoretical problems faced in semiotics in cases where the approach to the phenomenon is taken under limiting conditions such as a singular focus on subjects or objects in semiosis. These problems, exemplified as disjointed components of the Tartu-Moscow school can be faced and overcome given a complex approach as the paradigm established by the combination of parts given in Tartu-Moscow semiotics through its heritage of complex subject-system relations in the semiosphere. The implications of this thought are considered as a potential solution to the issues of limiting semiosis to either a singular or dual reference of signification, creating a coherent tool for the analysis of semiosis beyond the vague definition of the action of signs.

This book delves into the concepts of general and spatial semiotics, discussing the differences and interactions between semiotic means of diverse types and levels. It introduces an integrative model ("the sign prism") which unites many famous schemes of sign connection. It considers the human as a being included in a self-created semiosphere of signs and interacting with a sphere of natural signals and indexes available also to animals. The majority of the text is devoted to spatial semiotics, and its distinctions from temporal ways of sign connection. Its specific categories and particular visual-spatial codes are considered here as the peculiar means of communication and thinking. An essential feature of the book is the application of the author's concepts of spatial semiotics to research of structures and the historical changes of visual arts.

This unique book, inspired by the work of Umberto Eco - one of the greatest semioticians of all times - provides a compelling overview of current developments in semiotic research, bringing together various academic voices and critical reflections on the nature and function of signs, signification, and communication. Contributors, including Eco himself, discuss the status quo of the discipline, its scope, theoretical orientations, and methodological approaches, shedding light on the cognitive and philosophical complexity of the meaning-making process and form–meaning interfaces. The book is an outcome of the SIVO Signum-Idea-Verbum-Opus project initiated by Umberto Eco's keynote address during his visit at the University of Łódź in 2015. More theoretical insights and further explorations into contemporary semiosphere can be found in Current Perspectives in Semiotics: Texts, Genres, and Representations, published simultaneously by Peter Lang

The article investigates the socio-cultural meaning of the face in relation to its natural and biological features, focusing on the particular domain ofmating habits. After surveying the role of the 'face' in the sexual behaviors of several non-human animals, and especially of primates, the article ponders on the crucial role that the face plays in the seductive discourse which precedes and accompany mating in all human cultures and also in many primates' behaviors. It, then, deals with the transformation that these seductive patterns of signification and communication undergo in the passage from face-to-face intercourse to digital dating. Here, the gap between the necessarily realistic representation of one's bodily face and the idealized version of it allowed by digital picture editing widens, to the point that new epistemic parameters start to circulate throughout the digital semiosphere.