Volume 2019, Issue 231 -

During his campaign for president in 2016, Donald Trump repeatedly instructed his supporters and event security to remove protesters from his rallies, most often, by issuing a directive to “get them out”. These occasions, far from being a distraction from the political process, emerged as potent rituals of participation and the activity of removing protestors became a tool of interactional messaging. Specifically, activities of ejecting protestors were semiotically and discursively elaborated so as to cast them as the virtual realizations of a larger political project of “making America great again.” Various aspects of this include the way these events came to signify about Trump’s persona and the brand of leadership he promised, about immigration reform and border control, about the possibilities for political participation and about a more diffuse struggle against the supposed tyranny of political correctness. Moreover, supporters who responded to the the instruction by attempting to remove protestors were interpellated by it as agents in the local scene of action and were thereby written into the larger populist narrative that Trump articulated.

In view of the recent criticisms of Janar Mihkelsaar the authors explicate their position on what political semiotics is and why it is important for both semiotics and the social sciences. Some further research trajectories are also discussed in moving from semiotic theory of hegemony to fully developed subdiscipline of political semiotics that would be part of the “relational turn” in political analysis more generally.

Silent Book and Sí por Cuba are paradigmatic examples of photobooks. Those two works are analyzed in this article based on intermedial studies and on C. S. Peirce’s semiotic. As a result, we observe properties and material components of the book working as iconic processes of the photos and of the relationship between them. It constrains interpretive semiotic behavior and reveals certain characteristics of those photographic images. In addition to identifying and presenting examples of it, we demonstrate how the pairing of two or more photos enables semiosis in which the referenced object is developed by the relations between photographs.

This essay assesses Quentin Meillassoux’s numerological approach to Mallarmé’s problematic but formally innovative poem “Un Coup de dés,” using a semiotic methodology to reveal the deficiencies of that approach from the viewpoint of literary theory. Section 1 describes my expanded version of Michael Riffaterre’s semiotic theory of the structure of modern poetry. Poems are generated by two underlying propositions, each of which governs the structure of a set of symbolic images on the textual surface. These “matricial” propositions are linked by a syntagmatic relation. The primary text functions as subject-sign of the Peircean semiotic triad; its object-sign is an intertextual model. The interpretant of these two textual signs is assembled by the reader and has a sociolectic counterpart – or context – which has similar lexical content but contrasting internal structure. This contrast may produce a change in the preconceptions of the reader. Section 2 examines Meillassoux’s approach to Mallarmé’s poem, which is preoccupied with a “number” supposedly encrypted in the text. This is not convincingly related to the propositional structure of the poem. In Section 3, the text is interpreted using a semiotics-based methodology. The poem is generated by two matrices: one concerning the “Master” versus the storm, and the second concerning the power of Chance. The relation linking the matrices is clarified. This analysis is compared with that of Meillassoux throughout. Section 4 resumes the differences between Meillassoux’s concentration on the “number” and the “siren,” and my analysis which centres on the relation between the Master (symbolising traditional poets and their preferred metre) and the Constellation (symbolising the wide range of new future poetic metres and formats). Meillassoux’s approach turns out to be unconvincing.

In this article I have attempted to use Umberto Eco’s semiotics of the text in order to analyze the famous “parable of the banquet,” which has come down to us in three versions from the gospels of Luke (14,15–24), Matthew (22,1–14) and Thomas ( logion 64). In particular I have tried to consider (i) the socio-cultural context, or in other words the Sitz im Leben of the community within which the parable was written; (ii) the narrative structure of the parable, with the narrative nodes that stimulate the reader to cooperate in the work of interpretation and to draw inferences; (iii) the way in which the Model Author is portrayed in the text; (iv) the kind of Model Reader who is prefigured in the parable. The analysis has shown how in the parable of the banquet, the original level (deriving directly from the preaching of Jesus) characterized by a salvationist and social slant is always overlaid with another level that is hortatory, pedagogical or ecclesiological, and which takes on different connotations according to the different contexts. Generally the Evangelists are suggesting to their communities that they make changes in their behavior ranging from renunciation of wealth to the resetting of social ties, from a stance of constant vigilance to the practice of an active faith, from healthy detachment from worldly frivolity to a rigorous asceticism. Thus the editorial layers reveal differing narrative nodes in function of particular interpretative responses, different Model Authors and different Model Readers.

The meta-semiotic ideology that underpins most contemporary semiotics seems at odds with the one that underlies the attempt at planning and creating a new language. Semiotics, as well as modern linguistics, has increasingly evolved into a substantially descriptive endeavor, excluding any consistent normative purpose. Faithful to the epistemology of Ferdinand de Saussure, semiotics does not primarily aim at either pointing at some supposed flaws of such or such language or at proposing some new linguistic forms meant to fix them. The article analyses linguistic utopias from the perspective of present-day semiotics.

Due to the logical problems of unclear boundaries, staggered parallels, disordered standard, etc., existing in Jakobson’s intralingual, interlingual, and intersemiotic translations, the first triadic division of translation in terms of semiotics has been criticized since the 1980s. However, most of the previous semiotic research in China and the world at large still stays on the interlingual translation (in the narrow sense) of literary texts, neglecting semiotic transformations as a sign activity and semiosis between tangible signs and intangible ones in the same and/or different period(s) of time, within the same ethnic culture or across the distinctive ethnic cultures. Hereby, it is necessary to refer to and redefine the term “semiosphere” introduced by Yuri Lotman in 1984 and the literatures after, to revise intrasemiospheric translation, intersemiospheric translation, and suprasemiospheric translation introduced in Jia(2016b. A translation-semiotic perspective of Jakobson’s tripartite of translation. Journal of PLA University of Foreign Languages 5. 11–18; Jia 2017. Roman Jakobson’s triadic division of translation revisited. Chinese Semiotics Studies 13(1). 31–46), and to elaborate on their nature, structure, content, and connotative significance. This is not only conducive to building translation semiotics as a subfield of general semiotics, but also to broadening the theoretical visions of applied semiotics and translation studies, and verifying the theoretical validity of general semiotics and translation semiotics in interpreting and explaining the semiotic transformations in translation as a special sign activity.

Dinner times provide rich opportunities for overt and covert socialization. Drawing upon a larger corpus of 35 video-recorded family meals involving the three-year-old Zoe and her parents, this conversation analytic study describes how Zoe displays such agency through the practice of “voicing control” – momentarily sounding and acting like an adult by performing a range of controlling acts such as leading, instructing, advising, assessing, and mediating. I argue that by playing with such activities bound to the category of a higher position than hers, the child manages to grow “a head taller” in the Vygotskyan sense. The findings contribute to the budding literature on documenting socialization in naturalistic settings with a specific focus on the child’s role in such socialization.

Semiotics constitutes an untapped and interdisciplinary source of enrichment for the discipline of International Relations (IR) theory. We propose two visual metaphors to that effect to interpret the figure depicting the central claim of structural realism ( SR ) offered by late Kenneth Waltz who is one of the most disputed, read, and inspiring IR theorists. The figure is the tenor of both metaphors. The vehicles are two paintings by Mark Rothko, namely, “Green and Tangerine on Red” and the “Number 14.” The metaphors generate innumerable meanings for the tenor and eliminate the criticism that SR is a static and an ahistorical theory. Thus, they benefit the Discipline characterised by academic cleavages on the meaning of theory, science, and production of knowledge.

The research question of the present paper is what relation exists between biology and cultural semiosis and I examine as a token of this question the relation between the physiological senses of proprioception and the cultural concepts corresponding to them. While the origins of semiosis are biological, the origin of proprioceptive concepts is debated. Against the biological view that the proprioceptive senses define directly the concepts corresponding to them, there is an opposite view supporting that these concepts are culture-specific. The concept of “classification system” is counter-proposed as the structural framework for the study of proprioceptive concepts. The paper discusses the senses and concepts of proprioception on the basis of a large corpus of anthropological and archaeological material concerning the semiotic systems of precapitalist societies and with the help of a set of metalinguistic spatial concepts. These metalinguistic concepts are up vs. down, front vs. rear, and right vs. left. The senses corresponding to them lead to the senses and concepts of spatial orientation and presuppose a point of reference, closely related to the sense of equilibrium. My conclusion is that the cultural concepts corresponding to these senses are not directly extrapolated from the senses themselves, but are culture-specific and each time integrated within a different cultural and social environment.

Previous attempts to find meaning in emotional responses to music often begin with analysis of dynamic tonal patterns, with observation of the emotional behavior of listeners or with self-reports of emotional feelings. In this study, we begin with a somewhat detailed description of physical processes in the human auditory system that lead to the activation of processes in the autonomic nervous system, which produce embodied emotional responses to environmental challenges. We then propose an answer to the question: Why were some of the same embodied responses that were originally adapted to meet the challenges of self-preservation and self-perpetuation in the course of human evolution coopted to serve as responses to perceived dynamic patterns in music? We find that a likely answer to this question involves uncertainties in the possible outcomes of antecedent or consequent musical events.

Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.

Today, the convergence of video-based Internet Communication Technologies (ICTs) is challenging centralized control over cultural topologies. Accordingly, this paper proposes a theoretical prism for the analysis of the sociopolitical impact of online audio-visual communication. More precisely, this study discusses how topological visibility (i.e. culture-based, highly centralized and spatially organized visibility structures) and networked visibility (i.e. occurrence-based, decentralized and network organized visibility structures) interact in today’s digital landscape. To this aim, four examples divided into two clusters will be discussed. The first cluster (i.e. Occupy Movement and BlackBerry Riots) will describe the functioning of topological visibility, while the second cluster (i.e. NO DAPL drone activism and Aleppo residents’ live-streaming) will illustrate how technology-enhanced mediability may create networked spaces of appearance. The paper concludes by arguing that networked visibility does not neutralize the relational nature of the human gaze but rather forces and expands the culturally-defined boundaries of its legitimate social existence.

The need for a comprehensive semiotic understanding of poetic translation is at the heart of the present paper. This task is framed in terms of a multidisciplinary theoretical framework termed semiosic translation that I apply in this article to the translation of Holocaust poetry. This type of poetry is characterized as a distinct sign system that poses a number of challenges to both translators and semioticians. One of the most conspicuous problems is the ineffability of nothingness, which is particularly evident in the poetry of Paul Celan. Building on the notions of abductive inference (Charles S. Peirce) and rule-following (Ludwig Wittgenstein), I introduce a method for the translation of two key poems Schwarze Flocken (‘Black Snowflakes’), corresponding to Celan’s early period, and Weggebeizt (‘Worn down,’ a poem written in 1963). The semiotic method applied shows that the underlying Firstness of Holocaust art (an anti-semiotic sign system) is the driving force behind Celan’s poetry. It is also suggested that iconicity and indexicality are not peripheral semiotic processes but central elements to elucidating how the translation across sign systems takes place.