Band 2023, Heft 252

Résumé Cet article propose une réflexion théorique et méthodologique permettant de décrire et d’interpréter les textscapes à des fins d’analyse communicationnelle. L’objectif consiste à tester le concept sémiotique de textscape linguistique pour analyser la mise en scène des langues dans la communication des organisations sur le web. Le cadre théorique fait appel aux études du paysage linguistique ( Linguistic Landscape Studies ) et à la théorie des paysages textuels ( textscapes ). Le corpus est composé de 100 sites web d’organisations économiques (chambres de commerce, clusters économiques, entreprises) qui revendiquent un positionnement à l’échelle transfrontalière européenne. L’étude est menée d’un point de vue statistique (analyse de métadonnées) et qualitatif (analyse sémiotique du textscape linguistique) en vue de préciser la place et les fonctions communicationnelles du textscape linguistique dans la communication multilingue. Les résultats ont permis de dégager les profils d’expression, un scénario sémiotique typique des sites web observés et surtout de localiser les (dés)équilibres communicationnels.

The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce’s three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocularization in film, as outlined in the first part, can be theorized anew through these categories. This will result in the introduction of a nine-field matrix that will allow us to systemize all kinds of instances of subjectivity in cinema. Lastly, we will demonstrate the empirical usefulness of this model by illustrating each of the matrix’ nine categories through a discussion of Steven Soderbergh’s film Kimi (2022).

This article attempts to evaluate emotive meanings across languages and cultures expressed and elicited semiotically from viewers. It investigates the challenges of subtitling emotive feelings in the American film Homeless to Harvard (2003) into Arabic. It adopts Paul Thibault’s (2000. The multimodal transcription of a television advertisement: Theory and practice. In Anthony Baldry (ed.), Multimodality and multimediality in the distance learning age , 311–385. Campobasso: Palladino Editore) method of multimodal transcription and Feng and O’Halloran’s (2013. The multimodal representation of emotion in film: Integrating cognitive and semiotic approaches. Semiotica 197(1/4). 79–100) framework of the multimodal representation of emotion to formulate strategies for subtitling emotion from English into Arabic. Additionally, Feng and O’Halloran’s (2013) framework is adapted to show how stylistic choices (e.g., cinematography, music, soundtracks, etc.) and semiotic expressions can elicit emotion from viewers. The social semiotic model is employed to investigate how emotive representation is realized through verbal and non-verbal items. The findings showed that the filmmakers had properly used stylistic choices and various semiotic techniques to elicit emotion from the viewer derived from the emotion of the film’s heroine.

We explored the need for an ecosystem approach based on relational systems when conducting research on South Korea’s cultural industry. We used Mollard’s (2009. L’ingeniere culturelle . Paris: PUF) idea of the participants in the French cultural system as a key reference and extended it to the notion of the platform , which is the core concept of South Korea’s cultural industry ecosystem (CIE). We also utilized the idea of the “semiotic square of consumption values” from Floch to explicate each platform and participant, which play a significant role in South Korea’s CIE. By defining a role rooted in the relationship and values for each subject (i.e., the production, consumption, authority, and intermediary subjects), we aimed to better understand the ecosystem of the cultural industry and focused on K-pop as a specific aspect of South Korea’s cultural sector by identifying the current identity of each participant.

With the development of technology, video games have become more and more realistic and indistinguishable from the real world. In this regard, this article takes a semiotic approach to create a better understanding of how possible worlds are created in video games, placing them on a continuum, which shows that the development of possible worlds is based on the reality we face in the real world. A video game called Player Unknown’s Battle Grounds is used to demonstrate a new approach to analysis, which shows that each video game is created within its own possible world that is created through the selection and combination of entities from the real world.

A variety of semiotic resources makes the construction of scientific knowledge possible and meaning-making resources are conveyed by certain semiotic modes. Next, numerous studies have demonstrated the pedagogical importance of gestures in the demonstration of scientific knowledge in the classroom. Drawing on social semiotic systemic functional theory and legitimation code theory, this study explores the types and the role of gestures in the semiotic construction of scientific knowledge in pedagogic semiosis and their pedagogical values for the meaning-making of science content. With this aim, a gesture observation protocol (GOP) is developed to annotate and analyze data. Two science lectures, which are broadcast remotely for middle school students including gifted students, are observed. Systemic Functional Multimodal Discourse Analysis (SF-MDA) method is employed to analyze and evaluate data. Results demonstrated that the deployment of gestures that contributes to the construction of scientific knowledge is low and deployed gestures mostly do not have pedagogical value. It is recommended that teachers should be more conscious and educated about deploying gestures to present scientific knowledge efficiently.

Grammatical metaphor in M. A. K. Halliday’s sense has long been extensively investigated by researchers in terms of theoretical and empirical studies. Regarding the empirical studies, they have predominantly employed observed or normalized frequencies of grammatical metaphor to uncover its distribution in different text types. Few studies, however, were conducted to quantitatively examine the complexity of grammatical metaphor in that no indicator presently is proposed to measure the degree of complexity in grammatical metaphor. This paper targeted at investigating the feasibility of implementing entropy to measure this complexity. The findings demonstrate that the entropy value could be afforded as an indicator of complexity of grammatical metaphor to efficiently uncover the way that disciplines of different registers build knowledge by means of employing such linguistic features as grammatical metaphor. This research is significant in that it sheds light on the quantitative comparison of complexity of grammatical metaphor in text analysis.