Band 2021, Heft 238

The paper develops a new holistic theory of the word by integrating semiotic, linguistic, and psychological perspectives and introduces the Cogitative-Sensory Word Model, the CogSens Model, that unites the human mind and body. Saussure’s two-sided sign is replaced by a Peirce-inspired three-sided conception in which the expression unit mediates two content units, namely, an idea content connected to the human mind and an image content linked to the human body. It is argued that it is the word that makes human language a unique tool of communication. Moreover, it is demonstrated how words interact with grammar to create an utterance. Finally, it is suggested that speech perception, i.e., fission of idea and image content, is the mirror image of speech production, i.e., fusion of idea and image content.

This study examines the symbolic use of stone beyond its basic function as a construction material in architecture. It investigates the meaning of stone using Iraqi Kurdistan residential architecture as a case study. The theoretical framework of the study is developed through the content analysis method, by applying Hershberger’s basic model of meaning, and by exploring Krampen’s writings on semiotics in architecture. The relevant theoretical framework was tested through systematic physical observation of selected houses in Iraqi Kurdistan and by using the inductive reasoning method. The study recognises that stone, beyond being a construction material, conveys the symbolic meaning of “power,” “wealth,” and “belonging” in contemporary houses of Iraqi Kurdistan. Based on that, a meaningful situation model was created to evaluate the phenomenon. The model can also be useful in analysing similar cases and research situations.

This paper affords a critical and historical reappraisal of Bakhtin’s theory of polyphony. It addresses the issue of the subjectivity of interpretation in the reception and formulation of this highly influential theory in literary semiotics. Following a revaluation of three major patterns of interpretation of polyphony that have emerged in the global field of literary theory since 1929, as well as Bakhtin’s shift in emphasis in 1963, we find that Bakhtin’s theorizing of polyphony, based on his seemingly inconsistent interpretation of Dostoevsky’s novels, was defined by his own subjectivity as well. An obvious consequence of such subjective predispositions in both the reception of Bakhtin’s theory and his own treatment of Dostoevsky’s polyphonic novels is that they have instigated a type of perpetuating availability bias in approaching the theory of polyphony. This revelation is key to understanding the wholeness of the theory of polyphony from a diachronic perspective. By tracing the cultural and intellectual sources of Dostoevsky’s polyphonic creation, this paper attempts to reframe and restore the Bakhtinian idea of polyphony to its fullness, which we believe can be encapsulated in one phrase: harmony without uniformity .

The article presents two concepts of indexicality. The first, more standard and narrow, identifies indexicality with systematic (meaning controlled) context-sensitivity. The second, broader (derived from the work of Jerzy Pelc), conceives indexicality in terms of the potential variability of the general semiotic characteristics expressions (with respect to the context of use). The text introduces the concept of a pragmatic matrix that serves for a schematic representation of contextual variation. I also recapitulate briefly the views of Jerzy Pelc on the meaning (manner of use) and use of expressions, and briefly indicate its relationship approaches with contemporary debates around contextualism and status of non-sentential speech acts. Finally, the relationship between the broader notion of indexicality and the directival theory of meaning is analyzed.

Résumé La sémiotique a inventé ou utilisé plusieurs modèles logiques pour représenter la structure élémentaire de la signification. Le carré sémiotique est sans doute l’un des plus célèbres de ces modèles. Il faut se demander, devant l’importance des phénomènes triadiques, si les modèles dyadiques sont (toujours) adaptés à leur description ou s’il ne faudrait pas se tourner (aussi) vers des modèles triadiques. Or, les modèles triadiques de la structure élémentaire de la signification nous apparaissent bien moins nombreux. À notre connaissance, seule la sémiotique de Peirce et le templum de Boudon occupent cet espace autrement laissé vacant. Nous voulons ici à la fois présenter et exemplifier le templum et le compléter, en nous inspirant du carré sémiotique, pour le faire évoluer vers un « prisme sémiotique ». Nous proposerons également d’autres modèles logiques, comme le pentalemme et le cube sémiotiques. Au passage, nous étudierons plusieurs questions et problèmes – dont la décidabilité – entourant les modèles logiques. Nous ferons quelques applications sommaires de certains modèles, sur le temps, l’espace et la transcendance principalement.

In this article, I theorize the soundscape of Dene “myth”—stories and songs that are both philosophically and literally true—by defining an interpretive template for listening actively to these ecologically and spiritually powerful expressions. I offer two central and interlinked concepts for figuring the soundscape: (1) narrative revitalization and (2) animal grammar. Together these concepts describe the power of animal stories to live: and to enable life. As a key premise of my analysis, I accept Dene “myth” as true.

Epistemic Logic is our basic universal science, the method of our cognitive confrontation in reality to prove the truth of our basic cognitions and theories. Hence, by proving their true representation of reality we can self-control ourselves in it, and thus refuting the Berkeleyian solipsism and Kantian a priorism . The conception of epistemic logic is that only by proving our true representation of reality we achieve our knowledge of it, and thus we can prove our cognitions to be either true or rather false, and otherwise they are doubtful. Therefore, truth cannot be separated from being proved and we cannot hold anymore the principle of excluded middle , as it is with formal semantics of metaphysical realism. In distinction, the intuitionistic logic is based on subjective intellectual feeling of correctness in constructing proofs, and thus it is epistemologically encapsulated in the metaphysical subject. However, epistemic logic is our basic science which enable us to prove the truth of our cognitions, including the epistemic logic itself.

In the course of his painstaking study of ancient verse, Ferdinand de Saussure came up with an intriguing theory about the phonetics of the poetry he scrutinised. He postulated that the “jeux phoniques” he detected in the texts he analysed was proof that their authors were attempting to “parasite” the surface level meaning of their verse with a “hypotexte.” This hypotexte consisted of “anagrams” of “mots thèmes” whose phonetic properties were “isosyllabically diffracted” throughout the rest of the host text. Today it is generally accepted that Saussure was wrong about this. Few however maintain that what he discerned in the phonetic depths of the verse he auscultated was no more than the figment of a fertile imagination. But if this be so, what exactly had he detected? This paper maintains that what Saussure stumbled upon was the trace of a contribution made to ancient verse by melodically and metrically organised sounds. This was inevitable. Virtually all the texts he probed were “carmina sacra” that were composed to be sung and accompanied by music. This musical accompaniment had a decisive impact on the phonetics of the “lexemic” words in the Poetry that has survived. This is so because sung verse cannot “euphoniously” accommodate a musical accompaniment unless its phonetics constituents are selected, concatenated and intoned in such a way as to follow the melodic contours and rhythm patterns that modulate their articulation. In addition, the point of making verse consist both of melodically organised arrangements of sound and of organisations of sound in which one can recognise ordinary words was not simply ornamental. The real point was to bi-nature what one was hearing. In other words, the goal was to “over-signify” the usual meanings of the “logocentric” words in the verse with a separate but complementary meaning and narrative encoded in melodised tones and metered rhythms. Why qualify the accompanying music as “acousmatic voices”? Because the music in question was added to song to give a voice to whichever tutelary divinity the song was performed to honour. That’s what makes “acousmatic voices” an especially apt epithet for characterising the melodically and rhythmically structured bodies of sound Saussure so presciently discerned in the phonetic depths of the poésie phonisante he probed. The point of their being in poetry was to give a voice to the agencies to whom the object or occasion of verse is beholden for its Being-in-the-world.

Charles S. Peirce’s and Sigmund Freud’s theories may be used to interpret Jean Cocteau’s film La Belle et la Bête (1946). This film has a specific set of codes which connote its filmic language. Cocteau uses fetishistic objects as symbols and icons to reflect the psychological meaning of the film’s narrative. Peirce’s icons and symbols include the connection a person may make through the conventions and expressions of language a person links with the object or idea being observed. Peirce’s semiotic theory functions as a theory of communication. His theory refocuses on culture. Freud’s theories can be linked with ideas produced by Peirce in forming sign relations with the interpretation of the film and the role of imagination in the film. Especially important are Freud’s ideas of repression, conscious and unconscious as they relate to Cocteau’s filmic narrative and the film’s main character Belle.

To be successful, collaboration at work requires its participants to have a common sense about what is happening and where things are heading. But how can collaborators have such a sense in common if what is going on continuously changes? This study investigates the joint communicative work participants in collaborative activity do to remain aligned on how things are going and where things are at for the purpose of maintaining a ground in common. Our test case for illustrating this joint work is the fluid and constantly changing world of software development. Our study uses a transactional approach to show how software developers working together continuously make available what they are attuned to, which constitutes their common ground that allows actions and talk to make sense. The common ground enables a common, inherently shared sense of what is happening and how things are going. Rather than having “meaning” in themselves, signifiers (words, gestures, body movements, cursor movements) create and are part of the common ground against which they make sense. Signifiers are motivated by and produce an accented visible that is available to all group members; and this accented visible (including the signs) makes for the common ground.

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings.

Face-to-face interaction is a primordial site for human activity and intersubjectivity. Empirical studies have shown how people reflexively exhibit a face orientation and work to establish a formation in which everyone is facing each other in local participation frameworks. The Face has also been described by, e.g., Levinas as the basis for a first ethical philosophy. Humans have established these Face-formations when interacting since time immemorial, but what happens when one of the participants is present through a telepresence robot? Based on ethnomethodology, Peircean/Goodwinian semiotics, multimodal conversation analysis and video data from a Danish residential rehabilitation center, the article shows the ways in which participants manage to interactively, cooperatively, and moment by moment achieve an F-formation in situ. The article contributes a detailed analysis and discussion of the kind of participant a telepresence robot is, in and through situated interactions: I propose that we term this participant the RoboDoc, given that it is an assemblage of a doctor who controls a robot. By focusing on the affordances of mobility, the article contributes to a renewed understanding of the importance and relevance of establishing Face-orientations in an increasingly technofied telepresence world.