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Frontmatter -- Contents -- Author bios -- Introduction: Turning to the visual in digital discourse studies / Thurlow, Crispin / Dürscheid, Christa -- 1 Towards an embodied visual semiotics: Negotiating the right to look / Jones, Rodney H. -- Part 1: Besides words and writing -- 2 "Emoji invasion": The semiotic ideologies of language endangerment in multilingual news discourse / Thurlow, Crispin / Jaroski, Vanessa -- 3 Beyond the binary: Emoji as a challenge to the image-word distinction / Albert, Georg -- 4 Evolving interactional practices of emoji in text messages / Panckhurst, Rachel / Frontini, Francesca -- Part 2: The social life of images -- 5 Revisualization of classed motherhood in social media / Leppänen, Sirpa -- 6 Making Let's plays watchable: An interactional approach to gaming visualizations / Schmidt, Axel / Marx, Konstanze -- 7 Intimacy at a distance: Multimodal meaning making in video chat tours / Cserző, Dorottya -- 8 Visual bonding and intimacy: A repertoire-oriented study of photo-sharing in close personal relationships / Venema, Rebecca / Lobinger, Katharina -- Part 3: Designing multimodal texts -- 9 Multimodality and mediality in an image-centric semiosphere - A rationale / Stöckl, Hartmut -- 10 Designing "good taste": A social semiotic analysis of corporate Instagram practices / Portmann, Lara -- 11 Diachronic perspectives on viral online genres: From images to words, from lists to stories / Pflaeging, Jana -- 12 Social media influencers' advertising targeted at teenagers: The multimodal constitution of credibility / Meer, Dorothee / Staubach, Katharina -- Index

The article suggests reconsidering the accepted understanding of pragmatics as a relationship between a sign (system) and an autonomous subject. The possibil­ity of this approach may be substantiated through Peirce's ideas. In his concept, despite the presence of an interpretant and an interpretation, there is no room for an interpreter. Peirce's understanding of sign as an algebraic relation did not require an appeal to thinking. However, the concept of interpretant should be as­sociated with interlocutors. In Peirce's unfinished conception, quasi-subjects (quasi-speaker and quasi-interpreter) arise, which are "melded" into a sign and are quasi-personified of the stages of semiosis. Peirce's chronologically last se­miotic conception demonstrates the possibility of semiotic operations, which does not imply an autonomous conscious subject. To develop this approach, we consider the processing of genetic information, where an interpreter and an inter­pretant are the same entity. Peirce's method to derive communicants not from an external environment but from the sign itself can be extended to semiotic mega-systems (semiosphere, culture, language) when the semiotic structure acts, in the words of Yu. Lotman, as a subject and the object on its own. Thus, we suggest addressing pragmatics as the relationship between the sign object system and the meta-system that regulates its actualization. The meta-system appears as a semiotic self that controls the process of generation (quasi-speaker) and inter­pretation (quasi-interpreter).

The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize "a pre-conceived merchandising industry" (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien's Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson's films, - role-playing games (RPGs), - the music industry – with reference to well-known songs and bands.Through comparative analysis of certain segments of the LOTR industry market and comments made by fans on digital platforms, the paper underlines the basic story elements of the Tolkien universe, as adapted to each above-mentioned variant and examines the role of fans in the digital semiosphere.

Urban motifs in Russian poetry have not yet become the subject of comprehensive investigation in terms of the evolution of poetic conceptualization of the world, the frequency, semantics and syntagmatics of the key lexemes — 'gorod' and 'grad'. Meanwhile, the analy­sis of the poetic, ethnic and linguistic picture of the world, closely connected with diachronic lexicology, phraseology and grammar, allows important conclusions concerning the history of the national semiosphere and conceptosphere based on the analysis of the works of outstanding representatives of culture and literature of a nation. In the article, the author analyzes the usage, frequency, valency potential, and the system of poetic senses of the lexemes 'gorod' and 'grad' using the poems of reformers of the Russian language and litera­ture of the 18th century — Kantemir, Trediakovsky, Lomonosov, Sumarokov, and, in com­pa­rative terms, against a wider temporal perspective, the preceding and subsequent texts of Rus­sian poetry. The lexeme 'grad' was often used in Classicist and Romantic poetry. From the 1830s onwards, it was used less frequently in its full version 'gorod'. The poets employed the lexemes 'grad' and 'gorod' to form tropes and figures of speech, striving to expand the tradi­tio­nal syntagmatics, especially in epithets. Lyrical texts retained sacred meanings and biblical allusions (sacred city, temple, heavenly garden, holy 'vertograd') in the development of urbanistic and battle themes.

The processes of globalization/glocalization in contemporary world give rise to s cross-cultural communication across the cultures (Gudykunst, 2003) where a crucial role is played by advertising. The current investigation is dedicated to cross-cultural aspects of Russian advertising and deals with the adverts created for Russian and foreign companies working in Moscow in late 2000s to mid 2010s. The study aims to highlight not so much economical or political components of cross-cultural advertising communications as their cultural constituents. The analysis of textual and visual content of the adverts based on the semiological approach (Barthes, 2013) showed that cross-cultural communication in advertising in Russia mostly involves "global symbols" (Urri, 2002), well-known touristic referents of concrete cultures. Symbols from the sign systems of different cultures are not only translated by advertising by means of semantic codes alien to them, but the signs and their referents are re-encoded in a substantial way. The postmodern cross-cultural game in advertising constructs the culture's external and internal self-representations on the basis of its external ethnic images which have developed in foreign cultures. Cross-cultural communication in Russian advertising creates a multi-layered blend of cultures and imparts new cultural meanings into authentic artifacts and images and the semiosphere of the intercommunicating cultures in general. DOI:10.5901/mjss.2015.v6n6s5p250

International audience ; The "city as excavation" poses a series of questions on the object itself, the city, which lead further than just piecing together archaeological material. A city such as Beirut cannot be reduced to its material dimension, nor can it be simply related to its economic functions. It is both signifiant and signifié, a coded object which its societies continuously appropriate, territorialize and reterritorialize according to numerous collective or individual stakes. Metaphorically, its invisible and deep roots can explain what happens on the surface of things. Today's city, both in its material and symbolical reality, is also a consequence of past actions; today's reality can be decoded once its invisible, underground foundations are exposed. Excavating the city gives sense to the present, a prerequisite, for urbanists at least, to plan its future. The "city as excavation" is thus at the centre of complex choices, all anchored in the semiosphere, and thus all ideologically motivated. Excavating the city is a deliberate decision with far-ranging consequences, not the least being nation-building strategies and economics. The text will examine how the "city as excavation", is part and parcel of complex strategies of Lebanese nation-building while at the same time being at the core of the speculative economy of the reconstruction project of the city's centre.

International audience ; The "city as excavation" poses a series of questions on the object itself, the city, which lead further than just piecing together archaeological material. A city such as Beirut cannot be reduced to its material dimension, nor can it be simply related to its economic functions. It is both signifiant and signifié, a coded object which its societies continuously appropriate, territorialize and reterritorialize according to numerous collective or individual stakes. Metaphorically, its invisible and deep roots can explain what happens on the surface of things. Today's city, both in its material and symbolical reality, is also a consequence of past actions; today's reality can be decoded once its invisible, underground foundations are exposed. Excavating the city gives sense to the present, a prerequisite, for urbanists at least, to plan its future. The "city as excavation" is thus at the centre of complex choices, all anchored in the semiosphere, and thus all ideologically motivated. Excavating the city is a deliberate decision with far-ranging consequences, not the least being nation-building strategies and economics. The text will examine how the "city as excavation", is part and parcel of complex strategies of Lebanese nation-building while at the same time being at the core of the speculative economy of the reconstruction project of the city's centre.

Intro -- Preface -- Contents -- Chapter 1: Minds, Moons and Cognition -- 1.1 The Ego of the New Plural -- 1.2 Mirroring -- 1.3 To Grasp, to Fit -- 1.4 No - thing and Nothingness -- 1.5 Intersubjectivity -- 1.6 Conversion -- References -- Chapter 2: Fluidity and Flow -- 2.1 Cognition and Flow -- 2.2 Plato´s Dialogues -- 2.3 Voegelin´s Flow -- 2.4 Immanuel Kant´s Desire -- 2.5 Stream and Flow -- References -- Chapter 3: Post-dialectics -- 3.1 Conversion and Dialectics -- 3.2 Negative Dialectics -- 3.3 Dialectics and Firstness -- References -- Chapter 4: Flow and Firstness -- 4.1 Divine Desire -- 4.2 The Road to Firstness -- 4.3 Peirce, Husserl and Firstness -- 4.4 Attitude -- 4.5 Cognition and Transcendence -- References -- Chapter 5: Interludes -- 5.1 Word -- 5.2 Types -- 5.3 Conversion -- References -- Chapter 6: The Non-Naïve-Natural -- 6.1 Natural -- 6.2 Digital -- 6.3 Self -- 6.4 Configurations -- 6.5 Conversions -- References -- Chapter 7: Plurality of the Natural -- 7.1 Is Cyberspace Platonic? -- 7.2 The Plural in the Natural -- 7.3 Barriers and Bridges -- 7.4 Conversion: The Story of the DAC´s -- References -- Chapter 8: Rearguards of Subjectivity -- 8.1 Mimetics and Modernity -- 8.2 Culture and Criticism -- 8.3 Knowledge and Truth -- 8.4 The Decay of the Aura -- 8.5 Complexities of the Plural -- References -- Chapter 9: Conversions Convert Us All -- 9.1 The Self and the Self-E -- 9.2 The Semiosphere of the Self -- 9.3 Are Interfaces Facial? -- 9.4 Mondial Reach -- 9.5 Climate and Change -- References.

Abstract
This article explores the nature and dynamics of mnemonic communities within the context of social media platforms and proposes to identify mnemonic communities using hashtag co-occurrence analysis. The article distinguishes between 'explicit' and 'latent' mnemonic communities, arguing that while some digital mnemonic communities may exhibit characteristics of offline communities, others exist latently as discursive spaces or semiospheres without direct awareness. On platforms like Instagram, hashtags function as semiotic markers, but also as user-chosen indexes to the content. As hashtags link the social and semantic aspects of community formation, hashtag co-occurrence analysis offers a robust framework for understanding and mapping these communities. This method allows to detect and analyse patterns of hashtag use that suggest the presence of networked community structures that may not be apparent or conscious to the social media users themselves. Additionally, a metric is introduced for determining the degree of 'latentness' of communities that quantifies the cohesion within communities compared to their external connections. The article demonstrates this approach by applying hashtag co-occurrence analysis to a dataset of Instagram posts tagged with #Juneteenth, a popular hashtag used to commemorate the ending of slavery in the United States. It identifies 87 mnemonic communities that reflect the diversity and complexity of how platforms facilitate memory-sharing practices and the role of semiotic markers in forming (latent) mnemonic networks.

The paper discusses semiotic aspects of higher human functions and a possibility and relevance of traditional search for their neurophysiological basis. The state of the art on the subject is reviewed and the lack of data on anthropological specificity for reasoning, thinking, language and its AI modeling is highlighted. Experimental neuroscience presumes that if we know the characteristics of neu­rons and their connections, we automatically understand what mind and con­sciousness are. However, it is evident that such a paradigm does not allow us to get relevant answers to the main questions. I argue that the problem should be dealt with not only within the field of neurophysiology proper. Rather, such re­search should involve exploring the 'archeology' of mental processes as they are revealed in arts as well as in other symbolic spaces. The paper discusses the ade­quacy of physiological methodology when it is employed to demonstrate brain mechanisms of higher functions. Besides, I explore the relevance of juxta­posing similar data from other biological and artificial intelligent systems. I view language processing, mind and reasoning and 1st person experience (qualia) as human specific features, and questions the possibility of direct testing these phenomena. The paper links genetic, anthropological and neurophysio­logical data to semiotic activity and semiosphere formation as the basis for com­munication. The paper discusses the place of humans in the changing world in the context of new cognitive dimensions.

Found in the works of Plato, Thomas Aquinas, Nicholas of Cusa and others, the concept of a "sphere" is one of the oldest models of the world's perfection. The concept of the sphere allowed describing both the movement of the Universe, human intellect, and God's all-encompassing gaze, which includes the large and the small, the dominant and the periphery, the phenomenon and its variants, opposite principles, order and chaos, the moving and the static. Attempting to outline non-linear and non-structurable semiotic processes, Yuri Lotman has introduced the concept of the "semiosphere" as related to the cultural codes. The same features can apply to the Shakespearean sphere. In modern culture it moves towards endless expansion by means of interpretation, reactualization and reconstruction, at the same time preserving Shakespeare and his works at its very core. Lotman's understanding of the "semiosphere" relies on the idea of infinite motion where the relations between the tradition and cultural heritage. In our study, Shakespeare and his texts act as this point of tradition. On the one hand, they are the productive (primary) discourse, which allows us to use the thesaurus approach. On the other, Shakespeare's texts are far more than a playground for presentism and modernization in line with the current political, social and ethical problem. They also become a field of new types of art, novel scholarly research methods and theories; they engage the context of the historical period and mark it as "Shakespeare's England". Hence, the modern interpretation of the concept of the sphere strives to combine the systemic and the structural with the force that dissolves them. A single point of reference helps to imagine the sphere as a whole. The Shakespearean sphere is a convincing proof of this combination. ; Концепт сферы — одна из самых древних моделей, отражающих совершенство мира, она встречается у Платона, Эмпедокла, Фомы Аквинского, Николая Кузанского и др. Этот концепт позволяет описывать как движение универсума, человеческого интеллекта, так и божественного всеохватывающего взгляда, которое включает малое и великое, доминанту и периферию, явления и его вариации, хаос и порядок, движение и статику.Ю. Лотман, стремясь описать нелинейные неструктурируемые семиотические процессы, вводит концепт семиосферы относительно культурных кодов и использует применительно к нему характеристики, в которых ранее описывались божественные проявления. Философские и семиотические характеристики сферы применимы и к изучению шекспиросферы. В современной культуре она стремится к бесконечному расширению за счет интерпретаций, реактуализаций и реконструкций, сохраняя своим ядром творчество Шекспира.С одной стороны, тексты Шекспира являются производящим (первичным) дискурсом, и здесь возможно применение тезаурусного подхода, который посредством как отсылки к источнику, так и его интерпретации позволяет выявить ядро культуры в его динамике. С другой стороны, тексты Шекспира становятся не только поводом для презентизма и модернизации в соответствии с текущими политическими, социальными и этическими проблемами, но и полем применения новых видов искусства, научных методов и теорий, а также втягивают в себя контекст эпохи, маркируя его как «шекспировское время».Современная интерпретация концепта сферы стремится к соединению системного, структурного и того, что их разрушает, к всестороннему охвату явлений с их сложными отношениями и динамикой, причем все это мыслится единым благодаря центральной точке отсчета, что можно убедительно продемонстрировать на примере исследования шекспиросферы.

Концепт сферы одна из самых древних моделей, отражающих совершенство мира, она встречается у Платона, Эмпедокла, Фомы Аквинского, Николая Кузанского и др. Этот концепт позволяет описывать как движение универсума, человеческого интеллекта, так и божественного всеохватывающего взгляда, которое включает малое и великое, доминанту и периферию, явления и его вариации, хаос и порядок, движение и статику. Ю. Лотман, стремясь описать нелинейные неструктурируемые семиотические процессы, вводит концепт семиосферы относительно культурных кодов и использует применительно к нему характеристики, в которых ранее описывались божественные проявления. Философские и семиотические характеристики сферы применимы и к изучению шекспиросферы. В современной культуре она стремится к бесконечному расширению за счет интерпретаций, реактуализаций и реконструкций, сохраняя своим ядром творчество Шекспира. С одной стороны, тексты Шекспира являются производящим (первичным) дискурсом, и здесь возможно применение тезаурусного подхода, который посредством как отсылки к источнику, так и его интерпретации позволяет выявить ядро культуры в его динамике. С другой стороны, тексты Шекспира становятся не только поводом для презентизма и модернизации в соответствии с текущими политическими, социальными и этическими проблемами, но и полем применения новых видов искусства, научных методов и теорий, а также втягивают в себя контекст эпохи, маркируя его как «шекспировское время». Современная интерпретация концепта сферы стремится к соединению системного, структурного и того, что их разрушает, к всестороннему охвату явлений с их сложными отношениями и динамикой, причем все это мыслится единым благодаря центральной точке отсчета, что можно убедительно продемонстрировать на примере исследования шекспиросферы. ; Found in the works of Plato, Thomas Aquinas, Nicholas of Cusa and others, the concept of a "sphere" is one of the oldest models of the world's perfection. The concept of the sphere allowed describing both the movement of the Universe, human intellect, and God's all-encompassing gaze, which includes the large and the small, the dominant and the periphery, the phenomenon and its variants, opposite principles, order and chaos, the moving and the static. Attempting to outline non-linear and non-structurable semiotic processes, Yuri Lotman has introduced the concept of the "semiosphere" as related to the cultural codes. The same features can apply to the Shakespearean sphere. In modern culture it moves towards endless expansion by means of interpretation, reactualization and reconstruction, at the same time preserving Shakespeare and his works at its very core. Lotman's understanding of the "semiosphere" relies on the idea of infinite motion where the relations between the tradition and cultural heritage. In our study, Shakespeare and his texts act as this point of tradition. On the one hand, they are the productive (primary) discourse, which allows us to use the thesaurus approach. On the other, Shakespeare's texts are far more than a playground for presentism and modernization in line with the current political, social and ethical problem. They also become a field of new types of art, novel scholarly research methods and theories; they engage the context of the historical period and mark it as "Shakespeare's England". Hence, the modern interpretation of the concept of the sphere strives to combine the systemic and the structural with the force that dissolves them. A single point of reference helps to imagine the sphere as a whole. The Shakespearean sphere is a convincing proof of this combination.

Intro -- Contents -- Foreword -- About the Author -- Prologue -- About the Author -- Chapter 1 -- Introduction -- 1.1. A Psychoanalysis of Quanta -- 1.2. Joyce, Beethoven and the World of Ants -- 1.3. Narkissos Speech Syndrome -- Endnotes -- Chapter 2 -- Holosemiotica -- 2.1. The Metaphysics of the Umwelten -- 2.2. The Class of Non-Anonymities -- 2.3. Semiotics in the Anthropocene -- Endnotes -- Chapter 3 -- Discourse on the Spheres -- 3.1. Ecological Babel -- 3.2. A Quantum 'We' -- Endnotes -- Chapter 4 -- Scales of Discussion -- 4.1. Effective Scalar Ethics -- 4.2. Ecological Correlations -- 4.3. Compound Expressive Potential -- Endnotes -- Chapter 5 -- The Transcendental Logos -- 5.1. Similes of Human Experience -- 5.2. The Archaeology of the Semiosphere -- Endnotes -- Chapter 6 -- The Densities of an Interregnum -- 6.1. Distribution Projections -- 6.2. First Order Similes -- 6.3. Extra-Semiotic Geometry -- 6.4. The Philosophy of a Square Inch -- 6.5. The Biosemiospheric Gaze -- Endnotes -- Chapter 7 -- An Ontological Semiosis -- 7.1. The Parmenidean Paradox -- 7.2. Cell Signaling -- 7.3. Eco-Poetic Depictures -- Endnotes -- Chapter 8 -- The QBS Proposition -- 8.1. Tat Tvam Asi -- 8.2. The Ecological Abstract -- 8.3. Quantum EcoDynamics -- 8.4. Special Theory of Infinity -- Endnotes -- Chapter 9 -- The STI: Special Theory of Infinity -- 9.1. The Distribution of Biological Ensembles -- 9.2. Communication Corollaries -- 9.3. Synaptic Calculations -- 9.4. Quantum Superpositioning -- Endnotes -- Chapter 10 -- Nāgārjuna and Aristotle -- 10.1. The Biology of the Mulamadhyamakakārikā -- 10.2. The Aristotle Mountains -- Endnotes -- Chapter 11 -- "Emerging Biointerfaces" -- 11.1. The Ad Infinitum Paradox -- Endnotes -- Chapter 12 -- The Convergence of Evolutionary Boundaries -- 12.1. The Community with Whom We Speak -- 12.2. Systems Architecture.

Intro -- Contents -- 1 Introduction -- 1.1 Semiotic Conception of Culture as Theoretic Frame of Research -- 1.2 Definitions -- References -- 2 Genesis of Culture in Space. Conception of Cultural Landscape in Context of Cultural and Philosophic Research -- 2.1 Culture and Space: Noosphere and Pneumatosphere as Basic Concepts -- 2.2 Semiosphere -- 2.3 Culture and Space: Discourse in the Humanities -- 2.4 Cultural Landscape: Category Analysis -- 2.4.1 Landscape as Frame of Culture -- 2.4.2 Cultural Landscape as Cultural Phenomenon -- 2.4.3 Noosphere Conception of Cultural Landscape -- 2.4.4 Cultural Landscape as the Process and Result of Semiosis -- 2.4.5 Morphology and Structure of Cultural Landscape -- 2.5 Conclusions -- References -- 3 Universal Categories of Culture in Landscape: Time and Transcendence -- 3.1 Temporal Semantics of Cultural Landscape -- 3.1.1 Rhythms of Time in Space -- 3.1.2 Cultural Heritage as Repository of Events in Historic Time -- 3.1.3 Mythological Time: 'Everything Comes Back Full Circle…' -- 3.1.4 Eternity Versus Timelessness -- 3.1.5 Morphology of the 'Landscape of Time' -- 3.2 Sacred Semantics of the Cultural Landscape -- 3.2.1 Mythological Archetypes of Developing of the Terrestrial Space -- 3.2.2 Sacred Landscapes, Space and Ritual -- 3.3 Conclusions -- References -- 4 Cultural Landscape as a Metaphor -- 4.1 Cognitive Theory of Metaphor and Understanding of Landscape -- 4.2 Orientational and Ontological Metaphors, the Landscape and Beyond -- 4.3 Iconicity of Metaphor and Cultural Landscape -- 4.4 Space/Landscape as Semantic Challenge -- 4.5 Cultural Landscape as Metaphor -- 4.6 City as Metaphor -- 4.7 Poetic Metaphors of the Cultural Landscape and Cultural Space -- 4.8 Conclusions -- References -- 5 Cultural Landscape as a Sign System -- 5.1 A Sign and Sign Situation in Relation to Cultural Landscape Realities.

In 1995, M. Billig's "Banal Nationalism" was published for the first time. This pioneering work initiated a new way of studying "nation" and "nationalism". Somewhat later, the concept of "Banal nationalism" was clarified and supplemented by the concept of "Everyday Nationality", that together compose "Everyday Nationalism's" research.
The study, which is directly based on M. Billig's "Banal nationalism", examines how elites mobilize elite (state) symbols, nationalist discourses, and other material and immaterial elements that form the usual landscape and semiosphere of the territory. Instead of this, "Everyday Nationhood" try to show, how people reinterpret elite symbols and nationalist discourses or create their own versions of nationhood enacted as everyday practices.
Actually, among the elements that serve as a daily reminder of people's place in the "world of nations" are language and language practices, as well as small deictic words ("domestic policy" / "foreign policy", "us" / "them", "here" / "there", etc.), which are used by mass media and other services that we read, listen, watch, etc. Finally, ideas, that seem banal to us, turn out to be ideological constructs of nationalism.
The idea of "language" should also be considered a historical construct of nationalism. The concept of "language", at least in the sense that it seems obvious to "us", is an "invented permanency" created in the era of the nation-state. Language does not create nationalism as nationalism creates language; or, rather, nationalism creates "our" common view, that there are "natural" and indisputable things called "languages" we speak.