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This article demonstrates the broad applicability of the concept of symbol in human communication, beyond but including verbal language. The starting point is Charles Sanders Peirce’s understanding of symbolicity as signification grounded on habits. The goal is to be able to conceptualize mediality in general and media interrelations, particularly in relation to symbolicity. Informed by a multimodal view on media, the author provides a systematic overview of symbolicity within the context of communication among human minds structured around two crossing parameters: symbols being limited or widespread among people and symbols not being part of or being part of systems – languages. Based on this overview, I clarify the role of culture in language notions and conceptualize language in relation to mediality. I also suggest a way of more precisely describing similarities and differences between languages and media types, without either conflating or totally separating the two concepts. Finally, I investigate how the dependence of language and media type conceptions on culture affects the idea of intermediality. Together, these investigations and conceptualizations promote a more comprehensive understanding of symbolicity in general and a deeper knowledge of the role of symbolicity in human communication, including verbal language, and intermedial relations involving all kinds of different media types.

The article introduces the concept of the logonomic sign as an elaboration on Hodge and Kress’s promising yet under-examined ideas about logonomic systems. Logonomic signs are defined as socially devised signs that constrain multimodal semiosis by restricting who is able to produce what signs under what circumstances. Based on the Peircean categories, the functioning of logonomic signs is modeled as a three-phase process of (1) logonomic understanding (production of the meaning that is the Initial Interpretant of a logonomic sign), (2) logonomic actualization (production of the actual semiotic event that is the Dynamical Interpretant of a logonomic sign), and (3) logonomic reproduction ([re]production of the semiotic Habit that is the Final Interpretant of a logonomic sign). Based on Kull’s theory of evolution of semiotic systems, logonomic signs are theorized as mechanisms of retention and standardization of semiotic Habits. The mechanism of reproduction of logonomic signs is modeled as a sign in which past logonomic semioses function as Objects by being iconically represented by similar current logonomic semioses functioning as Representamens, and in which future logonomic semioses are produced as Interpretants. The methodological potential of the proposed concept is discussed in the context of the integrative transdisciplinary capacity of semiotics in social research.

The necessity of wearing masks in response to the spread of the Covid-19 took Europe and the USA by surprise. Legislation needed to be enacted to enforce the obligation on citizens not used to such practices. The authors investigate the semiotic function of masks, legislations enacted to enforce their usage in public places, and the mask-related discourse (MRD) with a view to seeing how societies reacted to this imposition. A broad semiotic perspective is provided to analyze different attitudes and types of MRD that have emerged in Poland, France, and the USA.

The article critically engages with the posthumanist discourse on anthropocentrism and human exceptionalism. It adopts an “integrational” approach to signs, language, and communication, as outlined in the works of Oxford linguist Roy Harris. Integrational linguistics is committed to a demythologized view of “language,” which it considers to exist only as part of the experience of human individuals and human collectivities. From an integrational point of view, language is not an “object” of scientific inquiry, but a complex of human activities that make such an inquiry possible in the first place. This paper argues that posthumanists falsely ascribe language to animals and to hypothetical extraterrestrials. Based on Harris’ concept of the supercategory, it is shown that the worldviews encapsulated in science, history, and religion only make sense because they are human worldviews. No other intelligent life could grasp the various supercategorical discourses, and how they relate to each other, the main reason being that language is a uniquely integrated mode of human communication. The article thus supports a radical anthropocentrism as the only intellectually viable philosophy on which to draw in our reflections on, and inquiries into both intraspecies and interspecies communication.

Despite its anti-religious character, totalitarian discourse, in the years 1949–1956 filling the entire space of Polish official culture, had its Catholic segment. Within this segment, there occurred a transformation of the religious net of concepts into semantic units of totalitarian language, a transformation of Catholic worldview narratives into Stalinist ones. This text aims to describe the semiotic mechanisms of such transformation. The relations between the initial semiosphere of language and the sub-semiosphere of its totalitarian variant are described. Presented here is a proposal for a theoretical description of the transformation of signs and texts of natural language into totalitarian ones, and an analysis of its possible strategies: renomination of signs, resemantization of texts, and incorporation of signs and texts from foreign semiotic fields. The material analyzed here comes mainly from the weekly magazine Dziś i Jutro and from other parts of the discursive field of Polish Catholic journalism, which tended towards the official discourse, including periodicals of the circles of Catholic priests ready to institutionally cooperate with the communist authorities.

In this paper, we describe a semiotic programme that proposes an alternative conceptual framework to understand the moral positionalities that people have in socio-material space. The study amalgamates moral character and signs and signification through a discussion of moral choice and value acts in an existential semiotic framework, as laid out by Eero Tarasti. The programme was triggered by a lived experience in a non-place, yielding the concept of semiotic space awareness – i.e.,  the value acts that work as signs of moral character in people’s socio-material space . It is the moral positioning of a subject in the socio-material and semiotic space in relation to other subjects. People’s positionalities primarily take place in the socio-material space, and the dimensions we discuss focus on how value acts are produced and interpreted in space and place. Our aim is to take the approach used in, e.g., proxemics to a universal metalevel in terms of its key, undivided semiotic ingredients irrespective of cultural variation. We then extrapolate by discussing how these value acts trigger potential tensions and conflicts that can be approached using semiotics as a foundation for analysis. More specifically, the moral character that people portray in their value acts is theorized and applied as an explanatory tool to understand the semiosis and its repercussions in Dasein . We also introduce affordance as an additional dimension in the interplay and modalizations between moral character and moral choice to understand value acts and semiotic space awareness in subjects’ Dasein and Umwelt .

This paper extends the fields of visual and object semiosis, style, and rhetoric by introducing the concept of critical object images. It identifies five of their rhetorical functions in literature and demonstrates the semiotic and rhetorical specificity and force of literary object images. Inter-disciplinary concepts and theories used in the study are introduced before the concept is tested and developed through analyses of object images with critical roles in the Victorian scenes of Virginia Woolf’s novels. The inductive analyses trace the semiosis and stylistic affordances (meanings) of the selected critical object images, with reference to three categories of kitsch inauthenticity, and their formal and cultural contexts, noting the rhetorical function(s) they serve. Multimodal stylistics and the semiotics of visual images and of objects are used in these analyses, and the unique contribution of critical object images as rhetorical elements in literature is uncovered and explained. The analysis of Woolf’s representation of selected objects shows how the critical object images function rhetorically, through their stylistic connotations (here of kitsch inauthenticity), to present unambiguous meanings that are not openly stated in the texts’ verbal discourse.

This study examines the visual representation of diegetic time in visual narrative stories, and explores why the invisible diegetic time flow could be expressed through visible elements, and how patterns and textures could be used to specify states of happenings. The study demonstrates that metaphorical relations between time and space are visually realized in visual narratives, leading to the representation of diegetic time and its related concepts on different levels of two-dimensional space. The segmentation of page space and the visual components within panel space are employed to build a diegetic timeline as well as specify temporal aspects of actions and states in visual narrative stories. Neuroscientific evidence which suggests that a common metric is used to compute magnitudes of time and space in the human brain might help explain why time as an abstract concept could undergo visual materialization in visual narratives.

Intersemiotic projection is one of the most common configurations in the knowledge construction process of academic comics. Although previous studies address some general features of intersemiotic projection, further research on interdependency relations of intersemiotic projection is needed in order to map out the whole system. This study, based on the social-semiotic approach to multimodal studies, proposes a systemic framework of image-text paratactic and hypotactic projection in academic comics. This framework identifies three sub-categories of paratactic projection and hypotactic projection, respectively: (1) Emergent, (2) Adjoined, (3) Sequential, (4) Compound, (5) Subsumed, and (6) Fused. The use of these projection configurations contributes to the realization of the communicative purposes of academic comics to evidence, exemplify, emphasize, explain, elaborate, and visualize the discussed knowledge. This research attempts not only to contribute to the theoretical development of multimodality from the social-semiotic perspective by refining and enlarging the multimodal hypotactic projection framework but also to provide an effective and applicable tool for comics analysis.

This study explores the semiotics of humor and political disaffection in the online feedback discourse evaluating party performance in a post-election era in Nigeria’s democratic practice. It examines the incongruities in multimodal digital humor as semiotic resources of subversive play to criticize a political party for its perceived weak program-to-policy linkage. Data for the study comprise some purposively sampled political internet memes which were deployed to express political disaffection at the party All Progressives Congress (APC) in the first half (2016–2017) of its four-year (2015–2019) tenure. The study applies Algirdas J. Greimas’ semiotic theory by drawing upon the notions of narrativity and modalities to read the selected political internet memes, which run profound social commentaries on the anxieties and frustrations of the ordinary citizens in a failing economy, thereby underpinning the thrust of the theory, which lies not only in the signification of texts but also in the signification of the living experience. The study reveals the power of signs evidenced in the deployment of objects, behaviors, practices, images, and symbols within the socio-economic sub/culture of the production of the internet memes to configure backlashes of democratic deficits relating largely to worsening poverty, hunger, struggle for survival, and political cynicism in an emerging democracy.

Against the background of studies on redundancy in law that completely omit the visual element in law and of studies on traffic signs that are laconic about their redundancies, the present study proposes more focused investigation into the redundancies of traffic signs. After presentation of the broader context of existing studies on traffic signs and on redundancy in law, and following a discussion of the direct inspiration for embarking upon research into this topic, the article moves to present and discuss six proposed types of redundancies of signs. Utilizing Franciszek Studnicki’s distinction between sign-types and sign-realizations, and given that traffic signs exist in various complicated relationships with each other, with written formulations in legal texts, and with the environments in which they are placed, the study comments on six types of redundancy: (1) sign-type–basic task(s) of road traffic law; (2) of sign-type’s elements; (3) sign-type–sign-type; (4) sign-type–legal text; (5) sign-realization–sign-realization; and (6) sign-realization–environment. Analysis of each type is supported through examples, various subdivisions, and additional lines of inquiry. The study has value for both strictly theoretical and more practical enterprises related both to traffic signs themselves and to the wider realm of visualization of norms.