Band 2019, Heft 229 -

How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split into two functionally distinct systems that are characterized by music- and languagelike properties. Here, we demonstrate that when referential and emotional functions are introduced into an artificial communication system, that system will diverge into vocalization forms with speech- and music-like properties, respectively. Participants heard novel vocalizations as part of a learning task. Half referred to physical entities and half functioned to communicate emotional states. Participants then reproduced each sound with the defined communicative intention in mind. Each recorded vocalization was used as the input for another participant in a serial reproduction paradigm, and this procedure was iterated to create 15 chains of five participants each. Referential vocalizations were rated as more speech-like , whereas emotional vocalizations were rated as more music-like , and this association was observed cross-culturally. In addition, a stable separation of the acoustic profiles of referential and emotional vocalizations emerged, with some attributes diverging immediately and others diverging gradually across iterations. The findings align with Darwin’s hypothesis and provide insight into the roles of biological and cultural evolution in the divergence of language and music.

This study investigated various manifestations of gravestone inscriptions to find different types of moves in the formation of such inscriptions in two Iranian social classes. The sample of the study included forty epitaphs in two shrines in the north and west of Tehran. Each epitaph was then photographed for analysis. Swales’ genre move model was used to analyze the data. The moves involved word choice, content, graphics, socio-cultural values, and written communicative practices. Considering socio-cultural factors characterizing the social classes, the results revealed four moves in the epitaphs in the Shrine located in north of Tehran, and eight moves in the Shrine located in west of Tehran. Out of the total of eight moves observed, three were different in the two classes. Comparing these patterns of moves and their frequencies, various emotional, structural, lexical, gender-specific, and age-specific differences were observed.

The early Pleistocene hunt scene was instant: when an antelope jerked in the water edge, the first “drivers” of the hunt were already in motion; the moment of outburst after a long ambush lasted less than second. The sudden hunt movements were typical of every prey-abundant landscape since even earlier geological periods. The analysis of Laetoli footprints made by our evolutionary ancestors more than three millions years ago indicates that in a randomly chosen moment, the landscape was full of animals of different species. The language used in the attack moment has to be agitative, only vowels in clausure between two consonants. During the process of further development, those consonants became more and more similar to delimitators, the borders where intrasemiotic realities translate extrasemiotic environment. Speech is an old Paleolithic tool for directing hunters to the useful positions. It was rather an instrument of a leader than grooming “clicks” of kin’s females.

Résumé  Cet article présente l’analyse de textes produits par des étudiants du niveau universitaire apprenant le français au Nigeria. Les textes ont été recueillis dans une situation formelle. L’objectif a été d’évaluer les compétences à l’écrit en français (compétences pragmatique, linguistique, discursive) des étudiants à tous les niveaux du programme de Licence au département de Langues européennes à l’Université de Lagos. Les étudiants ont été invités à rédiger un texte sur le sujet – «  Narrez un évènement inoubliable que vous aurez vécu  ». Les résultats de l’analyse montrent que leur LM-Igbo, facilite le transfert de compétence vers le français plutôt que leur langue de scolarisation – l’anglais.

A number of studies have investigated glossolalia from different points of view, dealing with its various occurrences in the religious, psychopathological, and – more recently – also poetic and musical domains. The impossibility of fully understanding such a phenomenon through a purely linguistic approach has then increasingly emerged, pointing out the need to adopt a broader perspective. However, no extensive research has been developed on musical glossolalia – and especially on its non-religious forms – from such a point of view. The present paper aims precisely at filling this gap: philosophical discussion of existing literature and the semiotic analysis of particularly relevant case studies of glossolalia in the musical domain help us shed new light on the functioning mechanisms of such a phenomenon, hence suggesting effective tools for understanding how it acquires meaning and produces sense.

In this article, the authors try to review the Paris-Match cover page (No. 326 from 1955) analyzed by Roland Barthes and introduces a new model of analyzing sign system from a new semiotic approach based on the new definition of the context. This research is based on three layers of the context and shows that understanding the cover page of a magazine or any other kind of text is not only absolute but also somehow relative due to the different background knowledge of the audience. This means that human sees the Context A, or what is designed, in the situation of Context B, or situational context, and interpret based on their Context C, or background knowledge of the audience.

The purpose of this paper is to introduce a new perspective of analyzing advertising designs from a new semiotic approach based on a new definition of the context. In order to achieve this goal, we will first of all give a definition for advertising design, and then Peirce’s idea about signs and definition of the science called semiotics will be necessary for starting the discussion. This research is based on three levels of context and shows that understanding an advertising design is not absolute but somehow relative because of differences in the background knowledge of the receivers. The conclusion of this research is that people understand advertising design based on their three contexts, which means seeing a so-called Context A, or better, what is designed, the receiver of the message will use a so-called Context B, or the context of situation, and also receives a so-called Context C, or the background knowledge in order to interpret what is selected and combined in Context A.

This text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions, analyses) constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete (1998–2008). The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts” (texts, transcriptions, analyses). This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography.

In Ancient times, synesthesia was a form of perception sought after, as developed both by Pythagoras and by Aristotle. It was a degree of perception sought after for the perception of the divine. It was part of a definite aesthetics because art was supposed to permit access to synesthesia through very precise rules defined by Aristotle in his Rhetoric . Synesthesia was not an anomalous form of perception experienced by some writers only. It was supposed to be induced by certain masterpieces, thus connecting the reader’s experience of synesthesia with the writer’s. The hypothesis of the present paper is that Nabokov knew those theories and that his knowledge of Ancient sources was not limited to Plato whom he quotes repeatedly in his interviews, but also comprised Aristotle. Not only did Nabokov know about that theory, some interviews, and some of his novels reveal a game with those sources and a quest for the reader’s synesthesia. The present article focuses on the two first pages of The Gift as a skillful implementation of Aristotle’s theory on synesthesia.

This paper considers Canada’s young offenders in the context from which they enter the youth criminal courtroom. To determine how youth criminal justice courts violate the Canadian Youth Criminal Justice Act ( YCJA ), this analysis relates said context to several phenomena, including legal linguistics, oral language competency, literacy, communicative competency, non-verbal communication, the physical structure of youth courtrooms, and legal translation (Government of Canada eds. 2018. Youth criminal justice act . Ottawa: Government of Canada.). As a result of the standards of procedural communication upheld by the Canadian criminal justice system, young people’s rights, including the right to be respected regardless of cultural, ethnic, or linguistic differences, the right to be heard and to participate in proceedings, the right to be sentenced meaningfully, the right to privacy, and the right to be tried in a timely manner are abused in the youth criminal courtroom. Although insufficient structures of procedural communication cause these issues and are beyond the control of counsel, defense counsel are often blamed for their effects. Legal professionals must make important adjustments such as altering the formal speech required in youth criminal courtrooms, employing legal professionals with the role of translating legal jargon to young people in the courtroom, and closing youth courtrooms off from the public to reduce the YCJA violations occurring in youth criminal justice court. These adjustments are ultimately the responsibility of the Canadian criminal justice system.

This article discusses the ways in which “walking” in a place that exhibits institutional heritage (albeit is not set as a separate gallery) discloses individuality within institutional/hegemonic intent. Examining photographs taken in a place that, among other activities , comprises institutional heritage, the article adds to the literature by specifying a new mode of walking in heritage “sites.” Walking is regarded a semiotic resource; hence, the article’s insights relate to: (a) arguments in the institution, (b) definitions of “center,” (c) “attractors” in retailing and museums (as places which present heritage), and (d) the architecture of paths. The final section of the article considers heritage in educational institutions (the specific environment that the article discusses). It relates to the characteristics of classroom talk and offers recommendations for incorporating them in exhibitions dedicated to the heritage of education institutions, as a means to establish teachers’ professional identity.

The grounding of semiotics in the finiteness of cognition is extended into constructs and methods for analysis by incorporating the assumption that cognition can be similar within and between agents. After examining and formalizing cognitive similarity as an ontological commitment, the recurrence of cognitive states is examined in terms of a “cognitive set.” In the individual, the cognitive set is seen as evolving under the bidirectional, cyclical determination of thought by the historical environment. At the population level, the distributed “global” cognitive set is argued to be constrained to a manifold in which the cognition of individuals is determined only when their cognitive sets meet certain conditions in the world: a result seen as consistent with Lotman’s semiosphere. With these foundations in place, dimensional modelling of the semiosic field is inaugurated. Firstly, measures of cognitive similarity are formalized as cognitive “distance” and on this basis the concept of a semiotic vector is defined. Secondly, semiotic vectors are seen to shape a general pattern of oscillation in semiosis, and thus to imply zero points in semiosic potential. Thirdly, semiosic oscillation in individual agents is shown to be consistent with a novel diachronic or longitudinal interpretation of Greimas’ semiotic square expanded into a “semiotic pipe” in which cognition traverses an n-dimensional space structured by axes of oscillation. Finally, the expanded theory of finite semiotics is advanced as a useful basis for two new complementary disciplines: (1) a computational, mathematical science of “natural semiotic processing” (NSP) to trace and model semiotic vectors and oscillation; and (2) an ethical, rhetorical art of “technological influencing” (TI) to guide its inputs and applications.

This essay will analyze a single script, the television commercial that advertises the Fiat 500L in the United States, released in 2013. This commercial has stimulated wide debate both in Italy and the United States. It was generally well received by the press, even if it did attract some criticism on the part of those who simply read it as the latest version of a series of stereotypes of Italian mores. Without neglecting the functional dynamic of advertising (narratological structure and underlying rhetorical devices), this analysis will focus in particular on the decisive role played by Italianness and the Italian language.

It is a mystery how we just know to be in any context of our lives. It happens without our thinking. By this same token we never have to work out how to speak an English sentence that we utter. We just know to talk and do. This paper is an exploration of this mystery.

We all intuitively know what a diagram is, and still it is surprisingly difficult to describe it as a semiotic function or type. In this article, we present four groups of hypotheses in view of a clarification. We hypothesize: (1) That diagrams are signs of a distinct type, unknown to classical semiotics; (2) That the elementary graphs of a diagram are all derived from lines and points in topological mental spaces. The mind applies these diagrammatic spaces to referential spaces in many ways, but basically through conceptual integration (blending). The mind blends topology and reference, which makes the topology unnoticeable; (3) That elementary diagrammatic graphs constitute a natural, phenomenological, spatiotemporal, figurative and dynamic but informal geometry in the embodied, thinking mind; (4) That diagrammatic signs are the active components of the abstract mental figuration in working memory that accompany perception and deliver the schematizing ideas which invest and connect our categories and construe proper descriptive, narrative, patterns of inferential thought and programs of sensorimotor and social action.

The analysis explores the main arguments of Noam Chomsky’s short book, Media Control that also reprints the monograph “The Journalist from Mars: How the ‘War on Terror’ Should Be Reported.” The problematic is Aristotelian rhetoric and Enlightenment rationality (justice) in civic discourse ( Lógos ) as compared to the thematic of dialogic reasonableness ( Eulógos ). Chomsky’s assumption of, and critique of, “old rhetoric” [Aristotle’s rhētorikḗ ] is followed by a discussion of Chiam Perelman’s “new rhetoric” [presocratic poiētikḗ / epideiktikos / gērys ] and his “incarnate adherence” (giving voice to) concept of the Universal Audience as a function of Epideictic argumentation. This is also a critique of Stephen Toulman’s neo-Aristotelian model of rhetorical “warrant” and its connection to Charles S. Peirce’s normative semiotic of the “argument cycle.” Heidegger’s and Lakoff’s concept of discourse framing is associated with Michel Foucault’s rhetoric concept of an ethic of social discourse for the common good ( parrhesia ) in the age of Umberto Eco’s hyperreality media that displays Baudrillard’s simulacra, such as Donald Trump.

In recognition of the central place that the concept of tragedy holds in the historical understanding of culture and society, this paper features an analysis of its presence, current state, and value in the digital environments of the postmodern era, with special attention to videogames. Thus, the overcoming of a classic model of tragedy in the cybertextual condition is first determined, along with the discursive dimension underlying said overcoming. To this end a theoretical statement to the issue of tragedy is proposed, from the perspective of the cybertext as procedural rhetoric. This will establish the formulation of a semiotic analytical model that problematizes Greimas’ actantial system under the light of the digital and interactive reality of videogames. To avoid this constraint, we propose to attach a new variable to the base of the generative trajectory: the “configurative synthesis,” product of the so-called “gaming/playing function.” This addition will integrate the figures of the game and the player in the dynamic distinction of the “quasi-Actant.” Finally, a sample of 79 cases will be observed in regards to the implications of the cybertextual notion of tragedy to the narrative and discourse of videogames.

Studies on the functions of the sign to date have been inadequate in that they leave unanswered a basic question of semiotics: What are the functions of a simple sign that consists essentially in the relation between two relata? The answer to this question is to be found in the phenomenon called “signize.” For intentional signs at least, all the mental entities can be signized, but only certain kinds of them have a strong signizing value. When these mental entities are signized, they tend to be signized into certain kinds of images. The advantages of these images over those mental entities give rise to certain benefits that, in turn, result in the basic functions of simple intentional signs. These basic functions are the starting point of a systematic study of the hierarchy of functions of intentional sign.