Volume 2022, Issue 249

Most contemporary approaches to meaning presume the limitation of semiotics (Didi-Huberman, Gumbrecht, Belting). The question of what kind of “semiotics” is required has not been asked. However, without some general science of meaning it is impossible to reform theory without committing past errors or ignoring progress. In the interest of reconnecting contemporary interests in “presence” to long-evolving needs, I review the ossification and decline of one theory of semiotics that serves as the tacit model rejected today. I return to problems of the nature of the sign – whether it is “digital” or “analog” and conceived as “communication” or merely “meaning.” I then reconstitute a workable visual cognitive semiotics based on phenomenological premises.

How should one describe the irreducible relationships in photopoetry observed in intermedial literary photobooks? According to most authors, in literary photobooks, the verbal sign system is linked to the photographic image as a bidirectional interaction, creating a coupled system that can be seen as a new sign system. Mutually modulatory influences link verbal text and photography. But the nature of such influences needs to be explained in detail and with accuracy. What kind of relation are we dealing with? Many authors have tried to explain this phenomenon through several epistemic metaphors. The problem is that these metaphors are rarely subjected to any general theory of meaning. Surprisingly, this is not even mentioned as a problem. In this article, we propose a general semiotic model to describe the irreducible photography-poetry relation, derived from C. S. Peirce’s pragmatic theory of signs, and we also present some preliminary results of the analysis of Quarenta Clics em Curitiba , a photobook by Paulo Leminski and Jack Pires. Our purpose here is to introduce and explore this model to describe the photography-poetry relationship in coupled systems. This relationship is decomposed, in the functional roles occupied by poems and photographs, into a sign-object-interpretant relation. The triadic irreducibility that characterizes semiosis (à la Peirce) is the main property applied to photograph-poetry coupling in Quarenta Clics em Curitiba .

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River State, south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries.

This paper investigates how play practices affect players’ relationships with the urban environment through the bodily movement and performances that characterize them. Building on a definition of playful behavior derived by semiotics of culture, we investigate urban play from the perspective of motor praxology to outline how movement is central for the experience of the players. We then concentrate on the role of semiotic valorizations in different urban contexts, notably the famous typology of Metro users by Floch and different kinds of ludic mobility. Finally, we combine these two perspectives with the zemic model realized within existential semiotics in order to create a typology or urban players as well as urban playful enunciation modes.

This article is a semiotics-based attempt to explain artistic creativity of traditional East Asia and the Romantic West. Invoking the Greimas-Tarasti model, in which the modalities of “will,” “must,” “can,” and “know” are considered as a semiotic system, the author tries to examine how these modalities are manifested in discourses that define artistic subjectivities and actions. The concepts of the sublime and yūgen , authenticity and kokoro , formal communicational standards and kata , conventional beauty and hana are discussed side by side from a comparative perspective. However, the article tries to reveal cultural creative patterns not so much in terms of qualitative difference as in terms of a particular configuration of a universal system. In the subject–object conjunction-oriented metaphysics of Buddhism and Confucianism, the immanent subjectivity is treated as constituted through the body and social mediation. For this reason, as we will see from the analysis of Nō theater performance principles, individual kokoro can hardly be distinguished from impersonal kata . In the Romantic paradigm, longing for an initial (or final) subject–object conjunction is expressed in the ideal of organic synthesis, and artistic creation is considered as the best manifestation of such synthesis. However, this conjunction functions in most cases as an immanent aesthetic vision, and symbols can hardly become the “complete representation of true spiritual life.”

Résumé Cet article présente la notion d’implicite ethnosocioculturel et dresse, avec de nombreux exemples, une typologie des implicites ethnosocioculturels en discours à partir d’un corpus constitué des médiacultures. Onze formes d’implicites ethnosocioculturels ont été détectées dans différents types de discours. Ces formes permettent de distinguer les implicites pragmatiques, logiques et interpersonnels des implicites ethnosocioculturels qui, ces derniers, relèvent désormais d’une sémiotique patrimoniale. Le résultat de cette étude peut aider à combler certains déficits constatés dans la formation des traducteurs-interprètes en matière de bagage cognitif du sujet-interprétant.

Social distance, as a non-static cognitive attribute of acceptance among particular groups across different contexts, has been resemioticized during the coronavirus crisis and legalized worldwide to reduce global strain on healthcare systems and prevent deaths. Concerning this, brand designers have tried to persuade the brand community to benefit from products or services safely by staying away from others as much as possible instead of in-person contact. This research was conducted to discover the semiosis process of social-distancing resemioticization through creating values of brands during the post-coronavirus crisis. The corpus consists of 124 brands – all sampled purposely from 2019 to 2021 – which was investigated via a mixture of qualitative and quantitative methods using an integrated model in a functional perspective. All the results highlight the fact that, although brand designers have attempted to creatively resemioticize social-distancing during the coronavirus crisis as a means of increasing or enriching brand values, still some semiosis layers of brand discourse have been overlooked. Pertaining to this, the authors try to apply a new perspective of marketing semiotics to appraise consumer investments in light of a socio-cultural setting by conducting an inquiry about the semiosis of individual brand discourses to manage consumer perceptions regarding brand equity.

The first-person access to the self has been widely recognized by philosophers. But a competing idea arises, challenging the first-person givenness, from those who argue that self-interpretation and self-knowledge are acquired through the third-person perspective. I argue that these two dichotomous perspectives of the self can be mediated by the second-person perspective through dialogical semiosis of narrative. Peirce’s semiotic perspective on the self emphasizes the role of a semiotic subject that participates in sign processes as an interpreting agent. In this sense, the concept of self is acquired through semiosis of narrative and at the same time it is interpreted in narrative world, taking the role of character. It is character which makes a person identifiable as a person, since character is not substance but quality as a recognized pattern or type through time, which becomes a habit of act and thought, thus forming personal identity. Within this context, I argue that from the first-person perspective a deliberate subject of self as “subjective I” and from the third-person perspective a dynamic object of self as “objective I” are mediated by the relationship between self and other as an imaginary relation in narrative world, just like an imaginary line of identity, connecting word with thing. From the second-person perspective, oneself as another forms teridentity (co-identity) in textual world. I shall illustrate the interlock between the semiotic self and narrative identity through Peirce’s semiotic approach to the self and Ricoeur’s theory of narrative identity, analyzing the filmic narrative text of  Burning  (2018).

Résumé Le terme d’intimocide nous permet d’interroger une autre dimension, à côté de celles de génocide et d’ethnocide, de la violence infligée à des êtres humains. Atteinte violente à l’intimité, l’intimocide est une étape de l’extension du domaine de la mise à mort, il vise le dernier rempart du sens d’une existence, la détruire dans son for intérieur. Phénomène politique, lié au gouvernement d’une société et aux aspirations que ce gouvernement manifeste vis-à-vis de l’individu, l’intimocide est une stratégie de domination totale. Notre étude, au croisement des approches sémiotique et anthropologique, a pour but de différencier le terme d’intimocide des termes limitrophes, tout en cernant ses aspects, repérés dans des ouvrages de référence ainsi que dans notre propre observation participante du régime totalitaire communiste et du régime post-communiste.

Many caricaturists get the idea for their caricature from current issues of society. The philosophy of the caricature lies in the opinion it presents, which discusses society’s goals, culture, and crises, and it is represented in an ironic way to deliver its visual message. The fight for women’s rights, inequality, and discrimination are examples of issues concerning Saudi women that have been represented by several caricaturists. Hence, the aim of this paper is to investigate female and male caricaturists’ linguistic and semiotic representation of Saudi women’s challenging issues. Following (Kress and Van Leeuwen. 2006. Reading images: The grammar of visual design , 2nd edn. London: Routledge), a social semiotic multimodal approach to the analysis is adopted in this study, which is drawn from Halliday’s social semiotic theory. Twenty caricatures were carefully selected based on the content and the issues that are being discussed in the caricatures with a consideration of their relation to the aim of the study. The present study contributes to enriching Saudi women’s rights in relation to Saudi Vision 2030. The research is significant in that, in examining women/male caricaturists’ representations of the challenges and opportunities of Saudi women empowerment prior/after Saudi Vision 2030 in the workplace, social life, it contributes to understanding the supportive caricature discourse, basic social values for Saudi women, the pressures they undergo, and the success they have achieved so far in attaining their rights. The study findings show that both the semiotic and verbal elements of the caricatures were significant in delivering the messages for women’s rights in the new Saudi.

Western language philosophy studies meaning from diverse aspects, with a core concern for how meaning is formulated and interpreted. The artificial-language and natural-language schools are two camps in this philosophical undertaking, the former insisting on scientific logic and positivism in meaning verification while the latter emphasizing subjective intention and context in meaning interpretation. Semiotics provides another semantic perspective that tips toward the theory of the natural-language school. This article compares the semantic thought of analytical language philosophers with that of a Chinese semiotician – Yiheng Zhao, who defines meaning as the interpretative potential between any two signs, and, being the product of signifying activities, meaning should be stipulated as dynamic process instead of a static essence. Thus, the interpretation of meaning is totally free of the shackles of logical positivism and radical interpretation required by the artificial-language school. On the other hand, differing from the natural-language school, meaning in Zhao’s semiotic theory can be either expressive or communicative, which means meaning that has originated from an expresser does not necessarily need an interpreter like the utterer-audience binary in Grice’s theory. Compared with Anglo-American analytical language philosophers, Zhao shows more affinities in semantic thought with the continental philosophers – Husserl, Heidegger, Gadamer, Habermas, and Ricoeur.

Multi-modal metaphor is a new perspective in metaphor research developed in modern times. Beyond the metaphor research of language, it combines text, image, sound, and other modes and provides new insights and perspectives for metaphor research. Food advertisements often combine sound, images, and other forms to promote the products and increase consumers’ desire to buy, and they often contain metaphors of multiple modes. However, under the perspective of cross-cultural research, when the same food brand is advertised in different countries, the multi-modal metaphors are varied to appeal to different audiences. This article compares food advertisements in China and in the U.S. from the perspective of multi-modal metaphors, and analyzes the varied applications arising from different cultural influences. The research may act as a reference for advertising strategies on cross-cultural occasions.