Volume 2012, Issue 192

This research on the morphogenesis of the city uses conjointly morphodynamic semiotic theory and structural theory of the urban form to elaborate the existence of a non-trivial topology, stemming from a process of stratification. The basic thesis of this work is the following: On the one hand, the form of a city emerges from the choice of its physical site; on the other hand, it modifies itself through geo-historical actualization. The theory of urban form proposes a global theory of the engendering of forms and their relationships to spatial positions. Morphodynamic semiotics adopts a dynamic conception of the modal phenomenon. These theoretical influences offer our study a morphogenetic conception of meaning that is reconstituted through spatial stratification. This model thus proposed enables us to reconstitute the form of the city in general.

This study analyzed several body writing artworks by a poet/artist whose poems served as the inspirations for his artistic compositions. One of the poems served as both a catalyst for the artworks as well as a motivated element in the artworks that helped to signify the artist's meaning. Through semiotic analysis of the artworks, relationships between the poetic text, the body text, and the body writing construct were explored. These artworks conveyed a multiplicity of meanings that seemed both superimposed and refracted, one upon another like the reflections in a mirrored room. The inscribed text on the body served as both a linguistic and artistic element that imparted a multi-faceted level of meaning to the artworks as a whole.

Résumé Deux listes de termes d'adresse issues d'une publicité imprimée centrent notre propos. Il s'agit d'interroger leur “grammaire” en ceci que les listes possèdent une organisation morphologique, syntaxique, sémantique et pragmatique que l'on doit dégager, compte tenu également du contexte de la publicité. Les termes d'adresse désignent parallèlement la femme et l'homme selon une hiérarchie marquée par le parcours entre la formalité et la familiarité produisant une impression d'ordre chronologique. En effet, on commence par les appellatifs de la distance officielle et de la déférence, qui précisent l'identité de manière objective, et on finit par ceux de l'intimité la plus privée, qui qualifient de façon affective. Ce faisant, la métamorphose lexicale sert à évoquer une histoire.

In this paper, we demonstrate an empirical basis for Roentgen semiotics in vision science. We first observe that the triad of phases in the process of Roentgen diagnosis, previously termed detection, localization, and identification, originate at the cellular level in well-described visual pathways in the brain. We then demonstrate that the phenomenology of local Roentgen signs is derived from the physiology of cells in the detection, localization, and identification pathways. Furthermore, we infer that a fundamental duality principle in the interpretation of local Roentgen signs may be derived from a similar duality principle that governs the physiology of cells in the detection pathway. In this way, perceptual phenomenology of the mind is determined by cellular physiology of the brain.

Considerable evidence has demonstrated that people are not only sensitive to the information contained in concrete imagistic gesture, but furthermore, that they combine this gestural information with the accompanying speech in order to understand the full semantic meaning that a speaker conveys in a message. There is, however, very little experimental evidence concerning how people deal with more abstract metaphoric gestures and whether they extract meaning from these gestures and combine this with the information in the accompanying speech. The two studies reported here investigated this issue by comparing and contrasting the effects of metaphoric gesture-speech matches and mismatches on both semantic communication and social judgment. The studies found that individuals do combine the information contained in metaphoric gestures with that contained in speech and that the meaning of the utterance is demonstrably affected by the presence of a gesture-speech mismatch. The second study found that in messages in which there are gesture-speech mismatches, participants seemed to like the speaker less and were less likely to believe what they said. The implications of these studies for a range of domains, including advertising and politics, are discussed.

For over a century, the increasing separation between philosophical hermeneutics, which has moved away from texts, and philology, tempted by positivism, may have caused regret. Formal and cognitive linguistics have developed partial models, thus abandoning the historical comparative methodology characteristic of cultural studies to such an extent that they have lost contact with philological and hermeneutical issues. In contrast, corpus linguistics has developed a digital philology, and is confronted with the hermeneutics of software output. But a text model must still be developed that reflects not only textual semiosis (as a normed pairing between content and expression) but also the poles of Viewpoint (genetic and hermeneutic) and Guarantee (as much for content, in terms of legitimacy, as for expression, in terms of authenticity). This will allow the articulation of internal and external linguistics (as pragmatics cannot), and also the reconciliation of philology and hermeneutics, mediated by text semiotics. As the document is a philological concept, the text a linguistic concept, and the complete work the object of hermeneutics, textual semiosis is the ideal way to understand and describe the articulation between these levels of objectivity and the disciplines attached to them.

This paper shows how the method of cohesion analysis in film provides a strong foundation for constructing coherent filmic narrative across different spatial and temporal settings. Until now the unit of a fine-grained systematic analysis of film viewers' narrative comprehension has been anchored in the shot. This paper provides a semiotic descriptive tool of filmic cohesion for analyzing elements within and across shots, i.e., how viewers comprehend the presenting and tracking of dominant narrative elements such as characters, objects, and settings as a film unfolds. In addition, this paper also reviews the Neo-Formalist exploration of cinematic cohesion and then demonstrates how the semiotics-oriented method suggested here can support more systematically and even strengthen the Neo-Formalist account. Most importantly, this article will explicitly show the potential of this tool for providing empirical accounts of filmic narrative construction by analyzing scene transitions in Wong Kar Wai's film 2046 (2004).

Résumé Cet article traite de la question des rapports entre la dynamique de l'intrigue et la représentation de l'étranger dans sa dimension temporelle. A la suite de Bakhtine, il s'agira de montrer que le récit littéraire produit un “chronotope” dans lequel la représentation s'abaisse “au niveau d'une réalité actuelle, fluide et inachevée” (1978 : 472). On défendra l'idée que, loin de n'être qu'un dispositif commercial aliénant le lecteur, la tension narrative, qui représente la part dynamique de l'intrigue littéraire, produit un espace temporel orienté permettant le déploiement de l'étranger. Cette réflexion visera par ailleurs à entamer un dialogue interdisciplinaire entre, d'une part, la poétique de l'intrigue telle que l'articule la narratologie contemporaine et, d'autre part, une réflexion philosophique visant la description phénoménologique de l'étranger.

Speakers use pointing gestures for many discursive functions. This project analyzes pointing gestures made by five people during a dinner conversation. I describe functions discussed in previous studies and note them in these data. I also identify an additional purpose: pointing at the last speaker to indicate agreement with his or her statement. This project adds to the growing body of research on pointing gestures and has implications for professionals in myriad of fields. I mention the specific application to sign language interpreters, who may miss vital non-verbal cues when unable to see the speaker for whom they interpret.

This paper seeks to explore the various verbal (linguistic) interactions within the intersemiotic environment of the museum exhibition space. Drawing on notions of intertextuality in the social semiotic tradition such as those developed by Lemke, it begins with a theoretical account of intertextuality in the bilingual museum, before focusing more specifically on two case studies from museums in the PRC and Hong Kong in which Chinese language Source Texts are accompanied by corresponding English language Target Texts. In each case the paper considers the particular relations that obtain between these co-spatially situated Source Texts, the strategies through which such intertextual usage is mediated in translation, and how the intertextual relationships of the Source Text cluster are reconfigured in the correspondent Target Text cluster. A number of factors are identified in the translation process, including discoursal shifts, re-prioritization and redistribution of Source Text material across different Target Texts, and the use of alternative types of lexicogrammatical repetition that seek to create a different form of recapitulation in translation, whether to correct perceived shortcomings in the original ST relationships, or for reasons of cultural or museological convention.

Codes are mechanisms in which signs are actualized. They relate various sign sides to each other. These sign sides can be represented as heterogeneities (diversity, relations, differences), some are organized with the help of various differences – identities formulated in a specific way. The basis of the codes of visual perception and art are primarily the heterogeneities of the elements perceived directly (contours of objects, sizes, directions of movement, light and color irritants, etc.). A structure, conceived of as a manner of connection, is a principle for constructing a kind of a whole and is the center of an organized heterogeneity.

From a semiotic point of view, the experience of sudden change can involve either an excess of signs or an absence of signs, both of which lead to an incapacity to form coherent representations and, thus, understandings. The comparative study of ethnographic and historical accounts of sudden change requires attention to contextual contingencies, the role of semiotic markers, degrees of heightened consciousness, and modes of symbolic indirection.

Michel Foucault's theory of moral subjectivity, as a trained relation of the subject to itself, contains a latent semiotic theory of self-knowledge. The formation of the moral subject is seen by Foucault as a sign system, given the name of technology, and placed in a broader context of semiotic and non-semiotic paths to knowledge. In such a framework, signification as a technology, the self as a binary opposition, and the in-between space of binaries emerge as important methodological elements in self-knowledge. Furthermore, a semiotic argument comes forth about the epistemological role of culture in the modeling of knowledge at large.

Peirce divided hypoicons into images, diagrams, and metaphors. For diagrams, he developed a logical theory of graphs: many-dimensional linguistic expressions analyzing meaning by virtue of iconicity of logical form. He neglected the logic of images as well as metaphors, however. Metaphors relate to non-standard meanings that combine complex diagrammatic representations. Images are elementary constituents of qualitative space. I will argue that the interpretation of images corresponds to the interpretation of non-logical vocabularies. This raises the question of whether images are also linguistic, in other words whether the simple qualities they partake of are the simple qualities of some propositional content. I will argue that Peirce favored a picture theory of language that takes images to interpret elementary characters of objects that constitute propositions. He did not ascribe images with properties of propositions, as that would have rendered them non-hypoiconic signs.

This article will engage with the current disasters in Japan from the perspective of semiotic anthropology. Disaster seems to produce two moments of the sign: signa naturalia and signa data. The translation of the sign mirrors the architectonic of the signified of disaster, which is mediated by a token-level instantiation of signifiers that initially appears either absent or in excess. The conceptualization of disaster as a zero sign, that is, unlimited possibility, allows an investigation of “a struggle of interpretants” in stipulating the interpretative grounds of the signified amid regenerative processes of social regularity. It is this very exact moment of translation that the sustained continuity reveals its culture-specific “deep social grammar.” Disaster or “shaking grounds” has the presenting effect of cultural palimpsests. These unearthed palimpsests enable a heightened metasemiotic awareness of institutional and ideological regimentations, on the one hand, and token-level recontexualizations, assimilations, and hybridizations of the depository of signs in society in the post-disaster contexts, on the other. The article concludes with an attempt to synthesize Peircean semeiotics and Saussurean semiology by assessing the two distinct modes of semiosis, culture and trauma, upon a sudden threat of the experience of discontinuity.

The theme of Faust, the scholar who barters his soul to the devil, has undergone many transformations since it first emerged in the primitive theatres and chapbooks of the sixteenth century. The various strands of the Faust myth are reflected in the musical treatment of the story that became a recurrent feature of Romanticism, especially in its most popular and universal genre of opera. It may seem surprising that Meyerbeer, the master of historical French grand opéra, should have an association with Goethe's great drama, but in fact the elements of the Faust legend are consistently at play in the scenarios of his operas. These operas share deeply in concerns that can be identified as overtly Faustian, especially in the mixture of modes that characterize their thematic and dramaturgical conception. Meyerbeer's operas are about religion, freedom of choice, destiny, and the nature of individual assent in the context of personal and other socio-political determinants. This piece seeks to examine the recurrent Faust motif, both as surface theme and as structural subtext, with significant implications for the scenic topoi and musical forms that Meyerbeer, working with his great librettist Scribe, used in realizing his very considerable existential and eschatological concerns.

This paper examines how measures of both explicit and implicit attitudes to the environment relate to unconscious patterns of eye movements towards or away from iconic images of environmental damage and climate change. It found that those with a strong positive implicit attitude towards low carbon products spent significantly more time attending to negative images of climate change than positive images of nature in a ten second interval, and this occurred even in the first 200 milliseconds of looking. Those with a strong positive implicit attitude towards low carbon products also spent significantly more time attending to negative images of climate change in the first 200 milliseconds compared to those with a weaker implicit attitude. Measures of explicit attitude did not predict eye gaze towards the negative images in this way. In other words, there is a statistical association between implicit attitude (rather than explicit attitude) and how people focus their attention on iconic images of environmental damage and climate change. The study discusses the implication of this empirical finding for those attempting to mobilize consumers in the fight against climate change.

An interview on a Hebrew language television show serves as the stage for a semiotic reading that documents a particular type of language contextualization. Drawing on Peirce and Jakobson, the analysis of the interview reveals that it is characterized by a repeating indexical icon that comes to organize meaning in real-time through a kind of poetic parallelism. This type is then juxtaposed to approaches that presume a pre-existing social or cognitive background as the organizing frame against which meaning in context emerges. On the assumption that the documented type may be far more common than expected, the implications for theorizing contextualization in social interaction are critically evaluated.

The paper studies semiotic values in advertisements appearing in German Catholic periodicals in Silesia in the second half of the nineteenth and early twentieth centuries. The study is grounded in the Tartu School of Semiotics and shows shifts and hierarchies in the semiotic valuations of particular commodities. Collected advertisements were classified into four main groups: (1) books, (2) church art, (3) church and devotional accessories, (4) everyday life commodities. We motivate the claim that the group (2) of the advertisements in the Catholic press we analyzed was the driver for the introduction of the remaining two categories of ads, hence the study of this group is pivotal for our analysis. The parameters of center, periphery, and “border,” as between the sacred and the profane are also taken into account, within the structural interrelation of S r (religious system) (cf. Zaliźniak et al. 1975 [1962]) and S c (commercial code). Assuming the usefulness of explanatory mechanisms, in conclusion a heuristic interpretation is provided in terms of the relations of semiotic primes.

This study investigates some cases related to the interpretation of law in Right of Abode cases heard by the Court of Final Appeal of Hong Kong, and discusses the sharp contrast between the different versions of interpretation of the same legislative expressions as the same signs in similar cases heard by the same court. This study does not aim to find out the legislative intent of legislation, but to investigate the process of meaning-making in general and the intent seeking in these cases in particular from a socio-semiotic perspective. The study concludes that meaning-making in legal settings is neither purely a jurisprudential operation nor the choice among different canons of legal interpretation. It is rather the dialogue demonstrated in various forms, such as power negotiation and interest weighing. The study, therefore, argues that legal interpretation is a social practice and meaning-making in legal settings is an enterprise of social dialogue and power negotiation; in other words, legal interpretation is in a sense an inter-semiotic operation between law and its interfaces with society and politics.

The article proposes a phenomenological and semiotic theoretical framework for the intelligibility of the meaning of belonging, one of the most fundamental concepts in present-day cultures and societies. After defining belonging as a spatial enunciation that brings about 1) the frontiers of a space of belonging; 2) the consequent opposition between an environment of belonging and one of non-belonging; and 3) the relation between, on the one hand, the subject of enunciation and, on the other hand, the opposition /environment of belonging/ versus /environment of non-belonging/, the article articulates a typology of “figures of crossing,” in which belonging is manifested through the narrative dialectics between placement and displacement. In the theoretical framework of tensive phenomenology and semiotics, four macro-regimes of belonging are singled out: “sedentary estrangement,” “nomadic belonging,” “nomadic estrangement,” and “sedentary belonging.” Moreover, four semantic paths dynamically representing the transition between these regimes are identified: “exile/invasion,” “cosmopolitanism/curiosity,” “acclimation/tolerance,” and “alienation/suspicion.” In the conclusion, the theoretical framework developed by the article is proposed as instrument for the analysis of the “rhetorics of belonging” in present-day cultures and societies.

Liquor consumption involves drinking, socializing, and networking. This article compares two alcoholic beverages, namely, Wuliangye from China and Absolut Vodka from Sweden, with the aim of identifying the means by which the Chinese brand can better succeed in its internationalizing efforts. The article first reviews theories of high- versus low-context cultures as well as cultural branding. Through analysis of the graphic and packaging designs of the two liquor brands, it then examines the impact of their cultural branding strategies on the creation of their iconic identities. The Chinese brand expresses the idea of competition with Europe or the United States in the production of quality liquor through the creation of a strong brand identity in the global marketplace, which is realized in its new slogan – “Wuliangye for China, for the World.” Against this backdrop, the article explores the extent to which the production and branding of quality Chinese liquor can be perceived as a symbolic effort toward bringing China forward culturally. It concludes with a discussion of the findings' implications for branding specialists and communication designers.

In Umberto Eco's semiotics, the encyclopedia is a multidimensional space of semiosis. It is a complex system of shared knowledge that governs the production and interpretation of signs inside communicative contexts. Every semiotic act involves the elements that form the encyclopedia. By means of several examples and comparisons with different semiotic theories, my paper aims to show how semiosis is governed by semantic categorizations, pragmatic rules, and narrative frames that the encyclopedia articulates and makes operative for interpreters and producers of signs.

This paper examines the progenitors of the semiotic concepts in current Second Language Acquisition (SLA) theory as well as some concepts that could further inform recent trends in SLA theory and practice. Through the connections between recent ecology models of language learning (e.g., Kramsch 2002, 2006, 2010) or an “ecological-semiotic perspective” (e.g., van Lier 2002, 2004) and fundamental concepts in semiotic theory such as the signifying order (Danesi), multimodality , (Kress), modeling systems theory (Sebeok), and Umwelt theory (von Uexküll), this paper also considers a recent draft of an ACTFL position statement on the Use of the Target Language in the Classroom .

This paper tries to elucidate Peirce's notoriously obscure definition of metaphor ( CP 2.277) in the context of his general theory of signs. It is argued that Peirce defined metaphor not as a proposition, but as a genuinely original iconic (meta-)sign that represents a novel sign relation and, hence, novel thought. The adequacy of this approach is discussed against the background of rival theories of metaphor. This shows, inter alia, 1) that metaphors can and must be interpreted like ordinary signs (which in particular allows for paraphrases); 2) how they get conventional and how they can be revived; and 3) that they are intrinsically independent of linguistic levels (e.g., words) and media (e.g., natural language). Peirce's theory thus turns out to be a reasonable explanation of a central semiotic phenomenon and, hence, promises to serve as a powerful tool for modern literary and cultural studies.

The accompanying article aims to develop Eero Tarasti's inceptual theory of existential semiotics into a fully functioning if rudimentary model for semiotic analysis. It consists of the presentation, analysis, and critique of several of the essential but nebulous formulations that Tarasti offers, and the development on this basis of a tool for existential semiotic analysis: an existential version of Greimas' semiotic square. The particular concepts concerning which Tarasti is taken to task are transcendence, endo-/exo-signs, and understanding. In each case, the analysis and critique follows the same lines: revealing how Tarasti's implicit opposition to structuralism belies a fundamental misappropriation of the existential tradition and demonstrating how it is possible to develop his initial insights both into a more faithful appropriation of existentialism and into a more fundamental structuralism. On the foundation of the clarified concepts of transcendence, subjectivity, and understanding, an existential semiotic square is then developed that, while remaining rudimentary, will at least support basic existential semiotic analysis. Examples are given to demonstrate its functionality.