Volume 2023, Issue 255

The issue of the ordering of the ten trichotomies is one among the many questions still open regarding Peirce’s extended theory of signs. A proper decision regarding the order of the ten trichotomies demands a discussion of the entire semiotic process. The aim of this paper is to discuss the order of the trichotomies related to the mode of being of the immediate and dynamical objects. Therefore, it addresses only one part of this process, which concerns the relationship between the sign and its objects. When subdividing the object, Peirce begins to consider the immediate and the dynamic objects as trichotomies, that is, aspects to be considered in the definition of the classes of signs. The introduction of these two trichotomies brings in a problem: how to order them in the system of ten trichotomies. Diverging opinions regarding this ordering are found in Peirce’s texts, and in his commentators. We will investigate this problem by seeking a sort of pragmatic clarification of the matter, presenting a reflection about the philosophical and semiotic consequences of the different proposals for the ordering of these trichotomies. Placing the dynamic object after the sign may even help to explain the functioning of fictional signs, but is this coherent with Peirce’s philosophy? On the other hand, would it be possible to talk about lying signs if every object was determined by its own sign?

Multimodal discourse analysis offers a novel lens for the study of legal discourse. Within the closing arguments of a trial, prosecution and defense attorneys utilize various multimodal resources to present evidence, articulate opinions, and adopt stances to achieve their communicative goals. This research focuses on the closing arguments in the criminal trial concerning the death of George Floyd to analyze the multimodal representation of the closing arguments delivered by both prosecution and defense attorneys. It employs the analytical framework of the attitude system and paralinguistic typology proposed by Martin and colleagues, and uses the UAM Corpus Tool and Praat to qualitatively annotate and quantify the linguistic and paralinguistic information. The findings reveal that these attorneys employ different multimodal resources, including language and paralanguage, to convey their attitudes towards the case’s participants. This leads to the construction of competing narratives, shedding light on how justice is seen to be done.

The peculiarities of speech etiquette in each language are determined by historical, cultural, social, cognitive, and religious factors. The study of greeting and farewell speech formulas in Turkish and Arabic is relevant for identifying key linguacultural meanings and concepts using conceptual modeling. The purpose is to analyze the linguistic and cultural conditioning of etiquette formulas in these languages. Linguacultural analysis of linguistic facts was used, along with elements of conceptual, communicative, comparative, and semantic analysis. The results show that the conceptual structure of etiquette formulas consists of functional-semantic fields like temporality, religiosity, marking conversation beginnings/endings. In Turkish, temporal concepts like “day” and “morning” are most frequent, while in Arabic religious concepts like “Allah” and “peace” prevail. Similarities include polite treatment of interlocutors, adherence to religious traditions, and hospitality. Differences lie in the degree of metaphoricality, imagery, and extended responses. The conclusions form ideas about the interrelations between core and peripheral linguacultural concepts, linguistic diversity, and invariance of etiquette formulas, their cognitive representation and role in shaping linguistic personality. The study contributes to understanding national mentality through the analysis of speech formulas.

Novelty, the creation of new information, has been the hallmark of Juri M. Lotman’s thought. This issue resurfaces in the discussion of his now famous article “On the semiosphere,” in which Lotman, drawing on Vernadsky, identifies the principles of symmetry, asymmetry, and enantiomorphism as pivotal aspects of the semiotic mechanism of the semiosphere. Specular phenomena and mirror reflections have not only found a prominent place in contemporary semiotic theories of different scholarly traditions – from general semiotics (Eco, Volli) to cognitive semiotics (Sonesson) and to the semiotics of culture (Lotman, Levin) – but they also nail down a key element of the inner mechanism of Lotman’s concept of the semiosphere. By using the analogy of the face reflecting in a mirror , Lotman remarks: “It is also like a face, which, wholly reflected in a mirror, is also reflected in any of its fragments, which, in this form, represents the part and yet remains similar to the whole mirror.” By capitalizing on this excerpt, this study unpacks the significance of Lotman’s idea of specular mechanisms as generators of meaning within the semiosphere.

This exploration of the works of various authors and artists will bring us to a philosophical contemplation of the portrait as a heterotopic space. On one hand, a portrait represents the faces of the self and others, embodying both individuality and collectivity. On the other hand, the space within the conventional frame of a portrait transforms from a mere representation of documented reality to a co-constructed and reified form of expression. The article is divided in three parts. The first part sinks into Lotman’s epistemic groundwork on culture, space, and especially art as a founding philosophical and analytical reference and will also outline the relationship and difference between the semiophere and the facesphere. The second part focuses on establishing a relationship between the facesphere and the heterotopic idea of space and portrait genre. Here the article explores Michael Foucault’s thought in relation to heterotopic space, later proposed in association with the space of the portrait. The third part is devoted to establishing relationships between the theoretical background and the analysis of case studies belonging to the portrait genre selected from photographic works in “Living Pictures: Photography in Southeast Asia,” an exhibition at the National Gallery in Singapore. I will conclude with some brief considerations to summarize the path taken.

This paper presents a comprehensive analysis of the significance and meanings of faces within monuments and memorials. The presence of faces in monuments and memorials transcends cultures and spans throughout history. Faces serve as vital components of public statues, conveying the emotions of depicted characters and establishing communicative connections with observers. Moreover, they are employed within memorials to commemorate the deceased. Memorial museums frequently feature corridors adorned with portraits of those who perished in wars, terrorist attacks or natural disasters. The aim of this paper is twofold: firstly, to develop a theoretical and methodological framework for the analysis of faces in monuments and memorials, drawing upon the cultural semiotics of Juri Lotman as well as theories proposed by Algirdas J. Greimas and Umberto Eco. Secondly, to construct a typology that elucidates the various ways faces are utilized within monuments, memorials, and commemorative practices. A historical roadmap of the facial presence in monuments and memorials is then presented. By achieving these aims, this paper contributes to a deeper understanding of the meanings of faces within monuments and memorials in particular and memory politics in general.

Masks, balaclavas, eye masks, and various accessories have been consistently used to hide the face, from Greek times through the grotesque of the Middle Ages to the Latin American theatre festivals of the 1980s. In the twenty-first century, technological advances such as facial recognition, which are being used for the biopolitical control of the face, caused activists to start developing different mechanisms to cover their faces in public spaces. In other words, the mask is not used solely as a device that builds unique aesthetic-political senses but is also used to avoid being captured by surveillance cameras. The aim of this paper is to identify some of the masks used by activists in Latin American public protests, generating new signs that circulate widely in the semiosphere such as physiognomy, representation, and evocation. For this, we will return to Juri Lotman’s proposal on the semiosphere and the notion of facesphere developed by José Finol, concepts that operate as epistemological and heuristic frameworks that allow understanding the concrete meaning production processes as a global dimension and not only a particular one. What faces are hidden and what physiognomies are shown in the social protest? What borders are established? What political and aesthetic meanings do they build? These are the questions that this paper attempts to answer from a perspective of cultural semiotics.

The article proposes a re-examination of the role and position of the so-called “Disney villains” within the narrative framework of animated films and popular culture as a whole. In the first part, the historical evolution in the representation of these villains will be explored according to the practice of “queer coding,” which involves attributing stereotypically queer traits to them without explicitly stating their gender and sexual identity. It will be observed how their non-conforming gender and sexuality, used to mark their moral deviance, challenge and defy dominant gender and narrative norms. It is precisely through their queer performance and camp aesthetic that “evil stepmothers,” “sissy-villains,” and “drag-queen-like” sea witches can emancipate themselves from their traditional roles as antagonists (narrative level) and as social outcasts (discursive level) to seize the spotlight through the screen (manifest surface). This study combines tools of Greimasian text analysis, including the canonical narrative schema and the generative trajectory of meaning, with Lotman’s theory and notion of “semiosphere,” to investigate the centrality and criticality of these “quillains” within the heteronormative narrative framework and the broader cultural context. To capture (or being captured by) the queer aspect of these characters and their stories, the invitation is to look at their visage not as a coded symbol of an underlying identity and truth, but as an image that exceeds any defined meaning thanks to its iconic power.

The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a tool, collaborator or substitute for creative workers, which can have immediate and long-term impacts on society and culture. Semiotics of culture provides descriptive tools for understanding and evaluating artistic texts and their role in semiotic space, the semiosphere. This article addresses how Lotman’s theory can contribute to the methodology for analyzing AI-generated texts as dynamic models. The theoretical framework developed by Lotman in his research on artistic text, dynamic systems and culture can be applied to the studies of current shifts related to AI-generated arts. This paper looks at the reception of AI-generated videos focused on face representations. In doing so, it analyses the dynamic processes in the creation process of AI-generated videos through their reception in related texts. The findings of this article highlight how Lotman’s theoretical framework can contribute to the methodology to analyze the cultural dynamics evoked by AI-generated artistic texts.