Volume 2020, Issue 236-237

The article proposes a reflection on cultural sign production in social contexts dominated by the socially generalized fear of the unknown other and the obsession for vulnerability avoidance. This phenomenon has been reflected in the generalized tendency of reliance upon contractual trust, where the coherence of the signs legitimating a trustful relationship is maintained by external agencies backed by authoritative forums (e.g., religious, legal, political) and sanctioned by well-defined rewards and punishments. In contrast with the contractual model of trust, I propose a different model, covenantal trust. Taking as a point of departure Levinas’s phenomenological interpretation of the responsible self-opening toward the “sign of the giving of signs” which involves covenantal elements, I advance toward proposing a more active involvement of the participants in the process of joint production of signs. This dynamic involvement is made possible thanks to essential elements of the covenant, such as summoning and response. The covenantal approach aims at proposing a semioethical solution to the social challenges emerging from frustrations of members of both marginal and external communities for being treated distrustfully.

The self is presented as a semeiotic matrix with the three categories each articulated with a fitting semeiosis.

This article aims to examine the relationship between image and narrative by means of Peirce’s first trichotomy of qualisign-sinsign-legisign or, for the purposes of the current argument, image-diagram-metaphor. It is argued that narrative, as an extended metaphor, can be examined in three modes: in the image; schematically, in the imagination; and allegorically or in a thought experiment, through hypothetic interpretation. The article outlines two kinds of diagrammatic reasoning emphasized by Peirce: corollarial deduction in which the image is ‘literally seen’ and the reasoning steps are manifest in its conclusion; and theorematic deduction where the conclusion in a diagram is subject to a hypothesis which transforms the image into something new. Demonstrating the breadth of diagrammatic reasoning with reference to the 2018 film, The Shape of Water , the article seeks to explore how allegory and diagram are mutually cooperative, based on three ontological modes: the expressive, the cognitive, and the symbolic. Its primary focus, then, is not so much on the story events of the narrative, as the way that they are visualized and characterized as the fairy story unfolds. It is suggested that the interpreting activity involved in allegory and diagram ties interpretation to metacognition, ultimately (re)recognizing the image in The Shape of Water in an attempt to ascertain the meaning of love.

The article focuses the possibility of elaboration of a cross-disciplinary methodological approach to formation of the semiotics of power. Four possible forms of relation of semiotic research to the problem of power are revealed upon the basis of Drechsler’s typology. The approaches of Mandoki and Siefkes to formation of the methodological basis of the semiotics of power are analyzed and compared. The author designates the perspective directions of a further research and formulates methodological prerequisites for realization of the specified directions.

In this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now.

This article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.

Music may have a strong influence on literature. Many novels have reflected this by thematizing music in many different ways. However, this engagement can also adopt the form of an imitation or a formal presence that does not actually require the text to say anything about music. This paper aims to explore some aspects of musical imitation in literature that have not been analyzed in depth. Departing from the approach developed by Werner Wolf, I propose a distinction between imitating and imitated elements that applies to any case of study. Furthermore, at the core of this article, I advocate for a fourth dimension that the imitation of music in literature may have and that should be added to word music, formal and structural analogies, and imaginary content analogies. I call this fourth category “graphic analogies.” It implies an imitation whose imitating element is the graphic, written aspect of the linguistic signifier. Finally, this leads to the idea that, in the case of the imitation of music in literature, there is not a necessary correlation between imitating and imitated elements.

For the better part of the past decade, global social movements have drawn popular attention to the power of image production and acts of representation, particularly the ways ubiquitous cameras challenge the exercise of power This essay lays out a theoretical schema for interrogating a broader “politics of visibility” at work in the early twenty-first century, most readily apparent through the activities of smartphone-enabled and visually-savvy activists. As new media technologies have opened up new strategies of representation, these modes of representation have been incorporated into existing media practices that delimit the ways in which the consequentiality of various movements and political projects can be understood. Theoretically revisiting the concept of visibility, this essay critiques the relationship between technology and the production of knowledge in media studies before arguing that the visibility of an event presages a consequentiality partially determined by the ways in which it is rendered perceptible and thus, intelligible.

Our everyday life is increasingly permeated with digital objects that carry out smart and complex functions. The latest (but certainly not final) advancement of smart digital applications – is to be identified the creation of a field, at once conceptual and material, of things denominated smart objects (henceforth SOs). This technological evolution is so pervasive that it is referred to as smartification . Smart objects have some distinctive features including in particular varying degrees of agency , autonomy and authority . There is no doubt that the SO category is extremely broad, various and intrinsically fuzzy, it is evident that the phenomenon is by no means easy to define: which objects are really smart and which are not? But above all: what do we mean in semio-linguistic, and not psychological nor merely phenomenological terms, when we attribute the qualifier smart to an artifact? What is clear is that a new, or at least different (and controversial) relationship is developing between objects and subjects, or rather between human beings and objects inhabiting the spaces of social action: that is, a new system of objects, to cite Baudrillard (1968), or a new “society of objects” (see Landowski and Marrone 2002). In this paper we will focus on a type of smart physical device designed to interact with its users in the domestic sphere, assisting them in a variety of tasks – such as for example Amazon Echo, capable of connecting to Alexa, an intelligent personal assistant based on machine learning , or the more recent Google Assistant. Our semiotic-oriented – or, more precisely, potentially socio-semiotic/ethno-semiotic – analysis will deal with these issues theoretically by concentrating on the problem of identity , which is anthropologically, but also and above all philosophically, sensitive. We shall look at the impact of technological devices on the perceptive/cognitive systems of human beings, starting with a reflection on the practices of interaction, signification and interpretation that also involve digital objects with a possible impact on everyday life.

Having shown previously how a culture type can be given a unitary description in terms of a semiotic “lens” constrained by one of the Peircean Categories (“Shamanic” culture, by Firstness), we apply this methodology to a more “fine-grained” level of analysis, by comparing the Tamil and Sinhalese cultures under the assumption that one of them (Sinhalese) is in fact a “hybrid” culture-sign. Having shown in previous work that the greater South Asian microculture may be characterized as a Firstness of Thirdness (13), in this paper we provide evidence from a variety of semiotic contexts, including language, art, and religion, that the novel or “intrusive” sign in Sinhalese culture is Firstness of Secondness (12), resulting in a hybrid culture sign that may be described as 12 × 13.

Biologist Richard Dawkins coined the term “meme” by which he meant a unit of culture. Dan Dennett continued by defining a meme as a bunch of bits of information. This paper explores the “meme” and how it is semiotic, both in its technical sense and in its popular sense and explores how memes signify both in terms of classical semiotics and also in terms of post-structuralist thought.

The discipline of translation studies has been recently challenged with powerful incentives from other sciences. This tendency has become visible especially in the context of more and more interdisciplinary or multidisciplinary methodologies, which have changed the profile of translation research to a considerable degree. It has also shifted the perspective with which scholars perceive key concepts of the discipline, many of which have become rather unpopular if not completely outdated. However, it seems true that instead of rejecting old terms translation scholars should try to reconcile the old and new by adopting more general frameworks that would allow them to re-interpret or re-write the existing knowledge. Moving intellectual investigations beyond the level of natural languages, semiotics may offer this framework. The article is an attempt to show the potential of a semiotics-based model of interlingual translation and to support the hypothesis that every act of translation is semiotic by nature. To this end it outlines the most significant ideas of semiotic approaches to translation studies and semiotics, with special attention to translation semiotics and semiotics of culture. This in turn helps to draft a working model of interlingual translation and its constraints.

The paper focuses on the issue of intermedial references, the matters of conditions, necessity and relevance of their interpretation. It discusses the question of semantic value of an intermedial reference rather than of its aesthetic, pragmatic, modal or other aspects. It considers the lack of coherence between the theoretical propositions of intermedial studies, grounded in the studies of intertextuality, and the practice of analysis. In theory, every intermedial reference configures semantic dialogue between qualified media (configurations), thus requires conceptualisation. Yet, the practice of analysis reveals that some of them perform exclusively aesthetic function and invite to keep reception within the limits of perception. Therefore I make an attempt to define the criteria of textual request for conceptualisation/interpretation set up in a text as such. I propose to revise the relevant insights of different intertextual and semiotic approaches, to perform their revision, modification and extension, to articulate possible solution and exemplify it by filmic references to painting.

Glitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.

Pelkey’s anchoring of the semiotic square in embodiment is excellent news for cognitive literary theory, a dynamic field still in search of itself. However, his validation of the square, though theoretically unexceptionable, suffers in the execution, for his interpretation of the country song “Follow your Arrow” is less successful. The present article benefits from Pelkey’s validation as it organizes a tool of cultural-semantic analysis (CS-tool) as a ‘deviant’ semiotic square. The article then shows how this particular semiotic square allows us to analyze the song in terms which build on Pelkey’s analysis, but also arrive at more satisfying results. Where Pelkey sees liberation in the song and the square, the tool uncovers manipulation in the former and closure in the latter. The article then assesses the complementarity of and differences between the two squares: Pelkey works on a local sentence-level through direct implicature, thus following the narrative/authorial voice of the poem. The CS-tool starts from a position of higher abstraction requiring a less defined, but still sufficient and more wide-ranging, three-step implicature. This allows the tool to step back from the song’s authorial voice and uncover its manipulations. The article closes by discussing the deviant features of the present square.

The paper is a study of how graphic narratives (graphic novels and the comics) represent time in external visual space as well as in inner (mental) representations. Peirce’s semiotics is the main tool of research. After a survey of various approaches to the study of time in narratives in general and in graphic narratives in particular, an outline of the various aspects of the embodiment of time in space in general is given before the forms of the embodiment of time in the space of graphic narratives is examined in detail. Signs of time are signs that represent time as their object and create mental representations of time as their interpretant. On this semiotic premise, the paper proposes a reinterpretation of Genette’s theory of time in narratives. A comparison with narratives in prose reveals that narrative time in graphic narratives evinces marked discontinuities in their spatial representation. The paper distinguishes between time as continuity, time as age, and points in time. It concludes that time as continuity is typically embodied in the form of spatial diagrams whereas time as age and points in time are mainly of the nature of indexical signs. The insights into the forms of embodiment of time in space derived from these premises are applied to examples from recent graphic novels and some traditional comics.

This article investigates the origin of editorial images, with a focus on the mental processes that enable cartoonists and illustrators across cultures to come up with novel ideas. It provides the most compelling evidence to date that recycling, where artists regularly recycle pictorial and compositional ideas they have developed earlier, is the origin of ideas. Recycling theory is thus compatible with a variety of ongoing research programs. Among these are Turner’s work on blending (2014), Musolff’s research on scenarios (2016), Langacker’s ideas on constructional schemas (1991), Johnson’s work on image schemas (1987), and van Dijk’s proposals concerning discourse complexes and intertextuality (2014). More specifically, the present study gives cognitively plausible answers to the perennial questions: To what extent does recycling shape and constrain the human way of thinking? Is it bound to certain cultural traditions? Does it characterize the style of certain artists or artistic movements? How does it contribute to discourse? Are the products of recycling always imaginative and creative? Is it a mode of efficiency? The theoretical insights are applied to 440 editorial images of Egyptian and British origin. This investigation will aid both semiotics scholarship and cognition studies based on multimodal stimuli.

This article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition.

In this response paper, I trace the origins of semiosic translation and explain why Jia’s interpretations are theoretically problematic. I also demonstrate that the view of translation endorsed by Jia is untenable from a cognitive perspective, since both perception and action are affordances of the living organisms and hence are not restricted to the “thinking mind” within a Lotmanian semiosphere. Finally, since translation is not a special case of semiosis, I show that semiosic processes, and not individual signs, are the source of all types of translations.

Among the categories of the telecom and internet frauds, the online romance scam is of particular concern for its sharp rise of victim numbers and the huge amount of cost. A social semiotic approach could be used to investigate the victim identity of the online romance scam from the aspects of the (re)construction and interpretation of discursive practices. The range of papers in this section shows that the study of text, context and the way that people use semiotic resources to produce communication, to create and manage events and to interpret them.

It has become common to find diagrams and flow-charts used in our organizations to illustrate the nature of processes, what is involved and how it happens, or to show how parts of the organization interrelate to each other and work together. Such diagrams are used as they are thought to help visualization and simplify things in order to represent the essence of a particular situation, the core features. In this paper, using a social semiotic approach, we show that we need to develop a much more critical sense of how these diagrams and flowcharts can easily abstract, conceal and substitute actual causalities, work roles and relationships. We demonstrate this using the example of a series of interrelated flows-charts used to implement a new system of target-based learning in preschool/kindergartens in Sweden – a system which works highly in favor of a rapidly privatizing education sector. Here, the flow charts shape how school processes and learning are presented to devalue the former system and value the new.

The aim of the paper is to present the diachronic changes taking place in legal languages and discuss whether the translators, who for some reason use as an equivalent an obsolete term, may produce a target text which is communicatively ineffective. The research methods applied encompass: the parametric approach to the interlingual comparison of legal terminology for translation purposes, the analysis of pertinent literature on translation and translation errors, the analysis of comparable texts for the purpose of observing diachronic changes in terminology. The diachronic change in terminology most frequently is the result of the amendments of legislation or repealing one act and replacing it with a new one. The terminological changes are especially frequent when the change in the political system occurs and the need appears to adjust the legal system to the new political ideology and principles. For that reason, the authors have analysed in detail three Polish acts on copyright enacted under three different political regimes that is to say (i) after the First World War when Poland regained independence after 123 years of occupation (Act of 29 March 1926 on Copyrights [ Ustawa z dnia 29 marca 1926 r. o prawie autorskiem ]), (ii) under the communist rule in Poland that lasted from 1945 until 1989 (Act of 10 July 1952 on Copyrights [ Ustawa z dnia 10 lipca 1952 r. o prawie autorskim ]), and finally (iii) after the collapse of communism in Poland and the period of transition into the democratic and free market society (Act on Copyrights and Related Rights of 4 February 1994 [ Ustawa o prawie autorskim i prawach pokrewnych z dnia 4 lutego 1994 roku ]). Apart from the main Polish corpus of above-mentioned acts, the authors have also provided examples from some other languages to confirm that the diachronic changes take place everywhere and miscommunication problems resulting from using an obsolete term in translation may occur in any pair of languages. In the last part of the paper the problem of the scale of miscommunication resulting from the usage of obsolete terminology in the target text is discussed.

The present study attempts to investigate and analyze the relationship between the language used by the Hui nationality, its social situation, and identity construction from a sociosemiotic perspective, and makes a further discussion on the process of identity construction via language convergence, divergence, and maintenance. It goes further to put forward the distinction between social identity/ethnic identity and group identity/personal identity as well as the roles that language convergence and divergence have played within these identity constructions, proposes that language convergence and divergence are the two crucial language strategies utilized by people in code switching, therefrom constructing a dynamic balanced identity system recursively.

Human cognition affects the result of symbolic activity. Evidentiality is a linguistic concept which encodes the source of information and expresses the attitude and confidence of speaker. This paper collects 31 judgments from the Supreme People’s Court (SPC) and local people’s courts in the People’s Republic of China (P.R.C) as the research corpus, and analyzes the evidentiality in four aspects: information source, lingual form, evidential function and speaker’s attitude of the information. It is found in this study that: 1) The information sources are divided into four types as cultural belief, sensory experience, verbal rumor and inferential hypothesis; 2) Lingual form consists of three categories: vocabulary, phrase and compound sentence; 3) Evidentiality in court judgments performs four functions: support with citation, induction with description, paraphrase with less responsibility and summarization with reasoning; 4) The reliability of evidentiality presents a two-tier structure based on different information sources. From the perspective of Peirce’s semiotics, the paper analyzes the judicial practice of court judgments with actual data and proposes some suggestions.