Suchergebnisse

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.

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