Suchergebnisse

Cover -- Contents -- List of Figures -- List of Tables -- List of Contributors -- Acknowledgements -- List of Abbreviations -- Introduction Susan Petrilli and Sophia Melanson Ricciardone -- 1 Semiotics in Philosophy and Critical Theory Vincent Colapietro -- 2 Semiotics in Anthropology and Ethnography Sally Ann Ness and Steve Coleman -- 3 Semiotics in History and Archaeology Marek Tamm and Robert W. Preucel -- 4 Semiotics in Theology and Religious Studies Massimo Leone -- 5 Semiotics in Ethics and Caring Susan Petrilli -- 6 Semiotics in Sociology and Political Science Risto Heiskala and Peeter Selg -- 7 Semiotics in Learning and Education Andrew Stables and Alin Olteanu -- 8 Semiotics in Picture and Image Studies Sara Lenninger and Göran Sonesson -- 9 Semiotics in Film and Video Studies Piero Polidoro and Adriano D'Aloia -- 10 Semiotics in Music and Musicology William P. Dougherty and Esti Sheinberg -- 11 Semiotics in Performance and Dance Nicoleta Popa Blanariu -- 12 Semiotics in Rhetoric and Poetics Per Aage Brandt and Todd Oakley -- 13 Semiotics in Literature and Narratology Stéphanie Walsh Matthews and Paul Perron -- 14 Semiotics in Structural Linguistics Anne-Gaëlle Toutain and Ekaterina Velmezova -- Index.

Abstract
This reflection on Göran Sonesson's writings and theoretical engagement in art is also a survey of a set of semiotic concepts related to this area. As a semiotician Sonesson wrote about varying sub-genres like fine art, photography, film and architecture. The reflection is also a personal recollection – as a colleague, friend and participant in the Lund circle of semiotics – of ideas and discussions highlighting the relation between semiotics, art theory and artistic practice. This reflection captures a couple of notions of importance in Sonesson's contributions to semiotic theory relating to pictoriality, art and culture, such as "secondary iconicity", "projected Ego, Alter and Alius", "sedimentation of impressions", "picture subject and picture object", etc. The reflection ends in stating the importance of the specifically Lifeworld-based semiotic contribution by Sonesson to art theory, a contribution perhaps yet to be fully appreciated, and how this contribution also corresponds with how practicing artists reach out to, but also goes beyond, the art world itself.

Abstract
This paper studies Charles Peirce's theory of esthetics from the point of view of his pragmaticism and the theory of signs. Esthetics is shown to be a theory of habits of feeling, which requires the notion of an esthetic interpretant. An argument is presented which establishes that, beginning with Peirce's theory of signs, pragmaticism supplies esthetic meaning to the works of art.

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

Cover -- Copyright -- Title -- Contents -- Introduction -- 1. Components -- What is Theory? -- Saussure and Peirce -- Linguistic Signs -- Agreement -- Linguistic Community -- Grammatology and Deconstruction -- Portfolio -- Exercises -- 2. How Meaning Is Formed -- Categories of Signs -- Semiosis -- Unlimited Semiosis -- Value -- Syntagm -- Paradigm -- Codes -- Metaphor and Metonym -- Portfolio -- Exercises -- 3. Reading the Sign -- The Reader -- Barthes -- Denotation and Connotation -- Convention and Motivation -- Language and Speech -- Myth -- Portfolio -- Exercises -- 4. Text and Image -- Digital and Analogue Codes -- Advertising Writing -- The Three Messages -- Anchorage and Relay -- Portfolio -- Exercises -- 5. Official and Unofficial Language -- Habitus -- The Production of Legitimate Language -- Capital -- Rules -- The Competition for Cultural Legitimacy -- Major and Minor Language -- Authorised Language -- Unofficial Language -- Unofficial Codes -- Visual Dialect -- Portfolio -- Exercises -- 6. Symbolic Creativity -- Hyperinstitutionalization -- Play and Identity -- Portfolio -- Exercises -- 7. The Political Context of Signs -- The Semiotics of Modernism -- The Politics of Pictograms -- The Politics of the Alphabet -- Portfolio -- Exercises -- 8. Junk and Culture -- Dirt and Taboo -- Rubbish Theory -- Semiotic Categories of Objects -- Rubbish as a Resource -- Portfolio -- Exercises -- 9. Open Work -- What is Open Work -- Information and Meaning -- Openness and the Visual Arts -- Openness and Information -- Form and Openness -- Portfolio -- Exercises -- Bibliography -- Index -- Acknowledgements and Picture Credits.

Frontmatter -- Table of contents -- Preface -- Section 1: Semiotics in the world and academia -- What the humanities are for - a semiotic perspective / Cobley, Paul -- Semioethics as a vocation of semiotics. In the wake of Welby, Morris, Sebeok, Rossi- Landi / Petrilli, Susan / Ponzio, Augusto -- "General semiotics" as the all-round interdisciplinary organizer - general semiotics (GS) vs. philosophical fundamentalism / Li, Youzheng -- Section 2: Semiotics, experimental science and maths -- Semiotics as a metalanguage for the sciences / Danesi, Marcel -- Mastering phenomenological semiotics with Husserl and Peirce / Sonesson, Göran -- Section 3: Society, text and social semiotics -- Farewell to representation: text and society / Marrone, Gianfranco -- Social semiotics: Towards a sociologically grounded semiotics / Lagopoulos, Alexandros Ph. / Boklund-Lagopoulou, Karin -- Section 4: Semiotics and media -- What relationship to time do the media promise us? / Jost, François -- Semiotics and interstitial mediatizations / Fernández, José Luis -- Section 5: Semiotics for moral questions -- Spaces of memory and trauma: a cultural semiotic perspective / Violi, Patrizia -- Media coverage of the voices of Colombia's victims of dispossession / Abril, Neyla Graciela Pardo -- Section 6: Questioning the logic of semiotics -- Sense beyond communication / Volli, Ugo -- Semiotic paradoxes: Antinomies and ironies in a transmodern world / Seif, Farouk Y. -- Section 7: Manifestoes for semiotics -- Semiosis and human understanding / Deely, John -- Culture and transcendence - the concept of transcendence through the ages / Tarasti, Eero -- Section 8: Masters on past masters -- From Peirce's pragmatic maxim to Wittgenstein's language-games / Gorlée, Dinda L. -- Semiotics as a critical discourse: Roland Barthes' Mythologies / Pezzini, Isabella -- Ricoeur, a disciple of Greimas? A case of paradoxical maïeutic / Hénault, Anne -- Index

In 1980–90s. Lotman's scientific interests were mainly focused on discovering the processes taking place in the semiosphere. He was interested in the relation of space and time as two semiotic languages irreducible to each other, the prob­lem of emptiness as an object and language of description, the role of explosions and unpredictable processes in the dynamics of culture, the function of historical memory in culture, etc. Many of these ideas turn out to be consonant with Berg­son's intuitive metaphysics with its concept of duration as the basis of creative evolution. At the same time, the name of Bergson is not mentioned in the works of Lotman. We can only speak of the intermediary channels through which Berg­son's ideas reached Lotman. He was greatly influenced by V.I. Vernadsky's doc­trine of the biosphere and I. Prigogine's theory of dissipative structures. Each of these scientists was influenced by Bergson. For Vernadsky, the idea of irre­versibility of time and duration as a creative process of life was important. Prigozhin, developing Bergson's ideas about the unpredictability, made the pro­cesses of irreversibility and instability an object of study. But his research was mostly on the chemical and biological level. Lotman extended the study of ran­dom processes to the level of cultural history. A comparison of Lotman's theoret­ical approaches to understanding the nature and function of art with Bergson's intuitive philosophy reveals an undeniable similarity, which allows the late Lot­man's scientific ideas to be considered within the philosophical paradigm origi­nating from Bergson.

Abstract
Along with the development of semiotic theories by Saussure and Peirce, there emerged another branch of semiotics, social semiotics, in the last few decades. In a way, it is a natural development of general semiotics, and is complementary with it. In contrast to general semiotics, it focuses on parole and the application of the semiotic theories to other fields. In the present article, it shows its features different from the Saussurian and Peircian semiotics,traces its path of development and proposes six characteristics which characterize it as appliable semiotics; social in nature, practical in orientation, resource for meaning-making, cross-discipline, variable and changeable, and multimodal. As appliable semiotics, social semiotics works with the following four aspects; resources for social interactions, liability to change along with the change of contexts, following certain semiotic principles, and performing two major functions; representational and interactional. The result of the application of social semiotics is multimodal discourses, whose areas of research include the following four aspects; discourse and social practice, genre, style and modality. Multimodal discourses are coherent in terms of the following four aspects; rhythm, composition, information-linking and dialogue. Finally, a relative comprehensive theoretical framework of social semiotics as appliable semiotics is designed and presented.