Band 2005, Heft 157

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level.

The construct of ‘alexithymia,’ formulated in the late 1960s, described the inability to express one’s feelings as a deficit in the signifying-abilities of men and women. In this study, the profile of the alexithemic serves as a point of reference for a discussion concerning language and consciousness and the cognitive/neuroscientific turn in the past decades. The objectives of this paper are to show that the cognitive/neuroscientific turn profoundly affected the understanding of alexithymia in particular and the relationship between language and consciousness in general. As the dominant cognitive/neuroscientific models of consciousness ignore the social embeddedness and the importance of the signifying abilities of human beings, this paper presents alternative models of consciousness and issues of intersubjectivity by proposing a variation on a model from René Thom’s ‘catastrophe theory’ and Uexküll’s theory of ‘autoambience.’ These models, predicated upon social embeddedness and semiotic ability, explain how certain circumstances, such as are often identified as ‘depression,’ can be catalysts of productive outcome. In particular, the notion of ‘play’ in René Thom’s catastrophe theory underscores the primacy of ‘language play’ as a combinatorial signifying activity with a restorative function that is exemplified in the notion of fiction in the work of David Lodge.

Cet article vise à définir précisément la forme que prend l’action quand elle fait l’objet d’une mise en intrigue par un récit, de manière à éviter certaines dérives dans l’interprétation du phénoméne de la narrativité et de sa fonction anthropologique. Deux formes de dérives ou de réductionnisme sont d’abord envisagées : d’une part, la narratologie structuraliste a eu tendance à analyser de manière autonome les structures actionnelles formant la ‘fable’ des récits, ce qui l’a amenée à perdre de vue la fonction que remplissaient ces actions au niveau de l’interaction narrative et à généraliser la théorie de l’action ainsi dégagée ; d’autre part, les travaux d’orientation cognitiviste, bien qu’ils aient ‘décloisonné’ l’analyse des structures narratives, ont eu tendance à se fonder sur un modèle schématique de l’action planifiée à la fois trop général et trop simpliste pour parvenir à cerner la fonction proprement narrative que remplissent les actions narrées. L’auteur propose de mettre en évidence, au niveau de l’interaction discursive, la fonction que remplissent certaines formes d’action narrées dans la mise en intrigue, notamment par le biais des effets de suspense et de curiosité qu’elles contribuent à produire. La mise en évidence du rôle fondamental que jouent les actions polémiques dans la dynamique du récit permet de conclure en opposant deux points de vue complémentaires sur l’action : alors que les approches ‘narratives’ mettent en évidence la singularité de l’événement narré, son caractère inédit, surprenant ou sous-déterminé, d’autres formes d’analyse ou de textualisation de l’action cherchent au contraire à cerner la règle ou la régularité derrière l’apparente ‘nouveauté’ de l’événement.

When conducting interart studies, difficulty arises comparing art forms due to differences in discourse between genres. The problem becomes compounded when certain art works extend their mode of communication beyond the boundaries of their genre. Interpreting such works tends to result in subjectivist readings that cannot be justified according to any predetermined analytical model. Rather than negating the subjective response, this article proposes that an artwork is realized within the mind. In examining critical responses to Caravaggio’s painting ‘Beheading of St. John the Baptist’ and Beckett’s play ‘Not I’ according to a cognitive aesthetic, one discovers a rationale for considering the painting as stimulating a feeling of motion while the play evokes a feeling of stasis, contrary to their respective genres.

Yonatan Ratosh (1909–1981), a renowned Hebrew poet, made his living as a translator. His translations and lists found in his lexical legacy, contain thousands of his suggestions for new Hebrew terms. Among them many instances stand out that manifest some sort of similarity between the concept and the term proposed by Ratosh, thus raising the issue of iconicity. This paper takes a closer look at these instances, integrating theoretical aspects of iconicity and issues concerning lexicon in general, and Ratosh’s means of lexical innovations in particular. Specifically, we first look at image (onomatopoeia, sound symbolism, and also metalanguage) and diagram (matters of order, diminutive and echo-words). We then move beyond the dyad to consider metaphor. After that discussion we point out the asymmetry caused by omitting folk etymology, metonymy, and ellipsis. We propose, then, that semiotics should restrict iconicity only to intrinsic relations within the sign itself, hence image and diagram, thus not contaminating iconicity with cases of secondness, thirdness, or endless conventionalism.

Different situations — like school and workplace — demand different forms of knowledge. Even more important, in particular for lifelong learning, are forms of knowledge we need for managing movements between those situations. To develop a better understanding of how to ‘navigate’ knowledge boundaries, this paper analyzes, firstly, interviews with scientists interpreting familiar and unfamiliar graphs. Our goal is to identify those forms of knowledge that should receive special attention in education. Secondly, the article elaborates — based on Peirce’s semiotics — an epistemologically reflected semiotic model to describe the role and conditions of knowledge necessary for crossing knowledge boundaries.

Cet article remet en question une définition de la fiction parue en 1988, dans un ouvrage intitulé « Contribution à une étude du concept de fiction » (Peter Lang). Etant fondée sur la théorie des actes de langage, cette définition présentait en effet l’inconvénient de ne pouvoir s’appliquer qu’aux fictions verbales. Une nouvelle définition est donc proposée dans cet article, faisant apparaître clairement la fiction comme un concept de nature pragmaticosémiotique : une fiction est une représentation, verbale ou non verbale, qu’un auteur produit consciemment dans le but de la transmettre à un destinataire. En transmettant cette représentation, l’auteur de la fiction adopte une attitude spécifique, consistant à inviter le destinataire à imaginer un monde fictif dont les caractéristiques sont compatibles avec celles du monde décrit dans la représentation. Sur la base de cette définition, l’article recense des exemplifications de fictions aussi diverses que possible, selon la nature de leur support de représentation et selon leur fonction, puis il pose la question du rôle des fictions dans notre vie quotidienne et, en particulier, sur la manière dont elles nous apprennent quelque chose sur le monde réel.

Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a stage, there has been a broadening of the alleged gap between theatre and cinema, in which the spectator’s experience is mediated by images of actors projected on a screen. I reconsider here both the initial and eventual approaches, reflecting my own intuition that, without ignoring fundamental differences, a feature film is a recording of a fictional world formulated in the medium of theatre. It has to be decoded and interpreted, therefore, as a theatrical text, since a recording does not change the nature of the recorded text. Consequently, differences between cinema and theatre are fundamentally the result of technical constraints and advantages. I support these theses by a thorough analysis and critic of Roland Barthes’ seminal article ‘Rhetoric of the image’ on still photography.

Elements of notation are variables and sentences are sequences of different variables. Both listening and reading are processes, which makes a sentence a stream of variations of a single variable. Thus, a simple sentence is a one-dimensional object, measured along the stream of variation. A sentence with coordinated or subordinated material effectively encodes multiple streams which makes a complex sentence a two-dimensional object with that second dimension measured across the multiple streams. A single symbol does not vary and is therefore a zero-dimensional object. Processes exist in time and the dimensions of notation are therefore abstract dimensions.

This paper posits Peirce’s logical category of abduction as a necessary component in the learning process. Because of the cardinality of categories, Thirdness (or reason) always contains in itself the Firstness of abduction. In psychological terms, abduction can be interpreted as intuition or insight. The paper suggests that abduction can be modeled as a vector on a complex plane. Such geometrical interpretation of the triadic sign helps to clarify the paradox of new knowledge that haunted us since Plato first articulated it in his Meno dialogue. Some implications for the actual teaching practice are addressed, and the value of practical knowledge affirmed.

The libidinal economy could be exploited by both political movements and advertising campaigns in a pictorial space that is related to the social space at any historical moment. The arrangement of desires in a propaganda poster of the Chinese Cultural Revolution is, in light of political semiotics, the same as in a campaign poster in a consumer society today. The same libidinal economy is rooted in our political unconsciousness and remains to be the deep structure of our political performance. A critical image analysis or a political semiotic critique of this libidinal economy that rules us in the Chinese Cultural Revolution and in consumer society today is necessary and urgent.

This essay argues that the pervasive twentieth century understanding of meaning — a sign stands for an object — is incorrect. In its place, it offers the following definition, which is framed not in terms of a single relation (of standing for), but in terms of a relation (of correspondence) between two relations (of standing for): a sign stands for its object on the one hand, and its interpretant on the other, in such a way as to make the interpretant stand in relation to the object corresponding to it own relation to the object. Using this definition, it reanalyzes key concepts and foundational arguments from linguistics so far as they relate to anthropology and psychology. Such terms include: concept, intentional state, motivation, ground, iconicity, speech community, norm, performativity, joint-attention, embodiment, intersubjectivity, agency, role, functionalism, pragmatics, social construction, realism, and natural language.

Skateboarding has been a hallmark of adolescent experience in suburban America ever since its beginning in the 1950s. Skateboarding has become an underground subculture, providing the youth population a novel outlet for self-expression and independence. Transworld Skateboarding magazine displays the ideological characteristic of the skateboard movement through their unique populist syntext, distinctive signification system, and extensive textual convergence. However, while expressing adolescent resistance against homogeneity, the magazine also reflects the influence of popular culture on skateboarders. This idiosyncrasy of Transworld Skateboarding magazine reflects popular culture’s constant struggle between the need for hegemonic provision and resistance of mainstream conformity.

This essay presents and discusses the ways that prior experience constitutes a logical black box in Umberto Eco’s discussion of serial forms in ‘Interpreting Serials’ by using the complex adaptive system model for how complexity arises and is sustained over time, as proposed by John Holland. In exploring how Holland’s model can account for some aspects of Eco’s past experience, it becomes evident that a modification of both theories to accommodate multiple, contradictory potentials simultaneously suggests we consider meaning as a range of potentials rather than as a singular choice. Even though the model proposed here is incomplete and tentative, it is suggestive of possible strategies for justifying interpretations without precluding their rejection or revision at a later time. Individual interpretations are justified not by comparison to an external truth but by the existence of other possible interpretations with shared characteristics that nevertheless contradict each other.

In his books on the cinema, Gilles Deleuze describes the sign as an expression of semiotic matter. Importantly, expression is a process whereby semiotic matter is molded into form (sign), but this process is not rightfully guided by any structure transcendent to semiotic matter itself. It is the result of matter’s self-modulation. Using an early essay of Deleuze’s called ‘How do we recognize structuralism?’, I take a closer look at the cinema books and unpack exactly what is involved in the process of expression, and the implications of expression for established ideas of the sign and meaning in semiotics.

The visual bias of all written or notated forms of language is examined. These include writing, math, science, computing and the Internet which together with speech form an evolutionary chain of six languages. The proposition that Google might be the seventh language is explored.

It is commonly accepted that theatrical fictional worlds could serve as a potent tool for increasing man’s understanding of his own world. This research connects insights that have been developed in such diverse areas of thought as semiotics of theater and drama, philosophical logic and ontology, epistemology, and philosophy of science, so as to establish a model that suggests an explication of this epistemic effect and thereby a new observation of the theatrical enterprise. The theory advanced in this study states that fictional worlds are a kind of thought experiment through which spectators’ theories about their own world may be tested, amended or even invented.

When someone is trying to teach us mathematics, he will not begin by assuring us that he knows that a + b = b + a. —Wittgenstein (1969)   Wittgenstein reminds us that the avenue toward belief isn’t through logic alone. We do not know those things that we have only reasoning to support. We feel sure of those things which by experience, and belief have come to exist within us, with an ‘absence of doubt.’ To consider the impact of knowing on behavior, it could be said that we act, from what we know . The purpose of this paper is to consider how we come to know on a multi-model level, as exemplified by both a semiotic theory base and a situated example of how the notion of an individual Umwelt can house particular ‘knowledge’ and act upon it. PTSD, or Posttraumatic Stress Disorder, is a diagnosis, which can be given when individuals suffer negative and long lasting effects that stem from traumatic experience.

The paper distinguishes two forms of intercultural exchange, negotiation between cultures at a personal level and global exchange. In the first case, Ostensive Definition appears to be crucial. The paper attempts an intersemiotic rehabilitation of OD in response to Wittgenstein and Quine. In global intercultural exchange the ‘universal grammar’ of digital reason appears to be the crucial component to be analysed. Both forms of negotiation, the paper argues, rely on Vorstellung as an essential ingredient. Yet Vorstellung is missing from the traditional theorisation of both OD and the digital bitstream. The paper concludes with a ubiquity thesis of Vorstellung .

Les ‘sciences de l’esprit’ (Geisteswissenschaften) deviennent sciences de la culture. L’article montre, à l’exemple des études littéraires en Allemagne, les essais de transformation de ces disciplines, l’échec de l’approche sémiotique et l’essor de la science de la culture. Celle-ci tend à négliger ses bases sémiotiques. Ainsi, elle invoque Giambattista Vico comme son père fondateur sans pour autant tenir compte de la dimension sémiotique de la philosophie de celui-ci et de la culture en général. Face à cet oubli l’article plaide pour un nouveau rapprochement de sémiotique et sciences de la culture.

L’article examine la question des racines pulsionnelles du narratif en analysant le statut et la fonction du concept métapyschologique de pulsion dans les thèses sémiotiques de Jean Petitot (Morphogenèse du sens [1985] et Physique du sens [1992]). Cette question est d’ordre épistémologique et concerne la présence de thèses lacaniennes dans une théorie sémiotique qui affirme la morphogenèse du sens à partir d’un substrat naturel. L’article explique comment les critiques que Petitot adresse au structuralisme lacanien en 1981 s’insèrent dans une réinterprétation bioanthropologique et naturaliste de la métapsychologie freudienne et comment cette réinterprétation précède et prépare la refondation morphodynamique de la sémiotique greimassienne. Après avoir discuté les arguments que Petitot présente pour faire de Lacan un précurseur du ‘tournant morphodynamique,’ l’article se centre sur la redéfinition de pulsion comme prégnance sémique. Il expose les avantages théoriques de cette notion, mais aborde également l’antinomie qu’elle contient. La conclusion en est que la redéfinition de la pulsion comme prégnance sémique escamote la nature sexuelle de la libido et projette sur la sémiotique morphodynamique l’ombre de ‘l’illusion archaïque.’

This paper uses some recent ideas in biology as starting point to explore analogous concepts and tendencies in semiotics and biology, leading to reflections on interdisciplinarity itself within the framework of theories of chaos and complexity. It sees affinities between the biological concept of species and the semiotic category of discipline. It finds many suggestive parallels with semiotics from the recently emerging synthesis of evolution and development (‘Evo-Devo’), built around the discovery of ‘homeobox’ genes which are present in many very different lineages, opening up possibilities for ‘deep’ homologies between species, and providing a powerful model for semiotic homology.

What is luxury? The concept has never received proper attention in social theory. It seemed as if luxury was a highly economic concept that did not need any further investigation. Primary and secondary needs are considered to form the basis of the luxury concept. Luxury has been viewed as useless and superfluous because it belongs to the realm of desires instead of elementary needs. This definition has often been used to stigmatize the use and demonstration of luxury. The needs-wants dichotomy was severely criticized a few decades ago. Luxury touches more than the question of necessity in society. This article attempts to outline the formulation of a definition of luxury. We leave the classic concept of luxury in favor of a more socio-semiotic approach of the concept. The bounds between luxury and some specific product property will be cut through. There is no such thing as a luxury good comparable to categories like ‘cars,’ or ‘clothes.’ Luxury is defined as a specific kind of sign value, produced in specific narratives and used in processes of stratification. As a sign, it becomes apparent that luxury is a relative concept. Every social group can be said to have its own luxury. Every social group has in fact a different kind of luxury, which means that a Cartier is no luxury in some cases where a television is highly exclusive in other cases.

1. Setting the stage Dinda Gorlée’s seminal On Translating Signs (Rodopi 2004, hereafter OTS ) explores translation of texts under the guise of ‘semio-translation.’ In her previous book, Semiotics and the Problem of Translation (1994, hereafter SPT ), Gorlée originally coined the term semiotranslation , which subsequently gained some notoriety in translation theory circles. She sees no need to give up the term, in fact including it in hyphenated form in the subtitle of the book under review. For, semio-translation ‘retains an ongoing excitement and creates a niche in semiotic and translationtheoretical scholarship’ ( OTS : 11). The author perpetuates its use with the hope that ‘it will remain a vital and fruitful challenge to future researchers everywhere, especially those who pay no mind to the noise of passing scholarly genres and fashions’ ( OTS : 11–12). Thus OTS can be effectively read as a continuation of SPT .

Giambattista Vico’s ‘Nova Sciencia’ (1725) can be read as an early program of qualitative research in humanities. By discussing Vico’s theory of metaphor, Vanessa Albus (2001) presents Vico as a predecessor of modern neurolinguistics and semiotics. Moreover Vico anticipates in metaphorical terms the flexible rules of actual ‘grounded theory’ as ‘lead lesbian ruler’ or Peirce’s logical principle of ‘abduction’ as ‘salto.’ One may ask whether this is an ‘open agenda of modernity’ complementary to Toulmin’s (1992) hypothesis of a ‘hidden’ one represented by Montaigne.