Volume 2024, Issue 256

The article explores cross-modal iconic relations in nine diverse Western-music songs ranging from 1600 to 2015, all of them thematizing dysphoric weeping. Initial input comes from five recurrent features observed in ancient Greek texts associated with performative events, including the prominence of sound, interjections and strong self-referentiality, repetitions and refrains, the motif of endlessness, and tears associated with streams of water, dew, and libation liquids. The analysis adopts Peirce’s conceptual distinction between image, diagram, and metaphor iconicity, although the continuum reading proposed by several scholars is ultimately favored. The sample turns out to offer plenty of evidence of iconic relations. Interjections, falsetto, verbal repetitions, musical repetitions, musical rendering of sighs and endlessness, ostinato patterns, downward notes, and water images (rain and rivers), all of this is shown to substantiate cross-modal iconicity encompassing weeping, lyrics, music (including musical notation), and images, in different combinations. Quantitative investigations confirming/disconfirming and adding iconicity patterns, and comparative analyses linking Western and non-Western lament traditions constitute desiderata for future work.

The COVID-19 pandemic has transformed the ideological, social, economic, and political aspects of life on planet Earth. This study examines the visuals associated with COVID-19 published in Pakistani English newspapers. Visual data were collected through purposive sampling, analyzed using social semiotic theory, and discussed through a post-colonial lens. The visual data were grouped as Global South and North owing to socioeconomic and political categorization among countries. The results show that the Pakistani media portrayed the Global South as rebellious, miserable, and noisy against the government. However, the Global North is depicted as civilized, stress-free, and abiding by all the instructions of the authority. Analysis shows that the two realms are visually represented as remarkably divergent from each other, and media portrayal has attached stereotypes identities to the nations. Pakistani media follows a basic restricted code of conduct, which should be extended to avoid labelling and politicizing groups and nations.

The relevance of this study is the increased interest of modern researchers in the field of humanities in the problems of interaction between language, culture, and thinking, as well as the need to study in this aspect the interdisciplinary notion of the concept from the position of literature studies. The purpose of the study is to investigate the concepts of “power” and “death” as key units in the conceptual framework of Kazakh writer Yessenberlin’s novel The Nomads: The Charmed Sword , and to determine the features of their reflection in the individual author’s language picture of the world. The leading method is the method of conceptual analysis, which makes it possible to identify and comprehensively consider concepts in both individual authors and the national picture of the world of the Kazakh people. Within the research, the hierarchical structure of the conceptual framework of Yessenberlin historical novel is presented. The authors calculated associative rows of the concepts composing the novel’s conceptual framework and made conclusions concerning the relationships between the studied concepts, as well as the meaning of the central concepts “power” and “death” and the distinction between historical facts and artistic fiction. The main statements and conclusions can be used in the process of teaching philological disciplines in higher education institutions.

Crucial components of strategic communication include the audience, which plays a decisive role in how any conflict plays out. Strategic narratives are seen as means by which political actors attempt to construct a shared meaning of international politics to shape the behaviour of domestic and international actors. The article analyzes the news discourse of the Russian media sources RT , Pervyj Kanal , and NTV on Russia’s coronavirus aid to Italy in spring 2020. In the context of media coverage, some methodological questions arise: How should the intentional structuring of narratives, targeting of audiences, and the manipulative intentions of the strategic actor be studied? For this purpose, the article combines strategic narrative theory with Umberto Eco’s concepts of the Model Reader and the Model Author. Analysing the aims and intentionality of the strategic narratives, we postulate the Model Reader as an analytical category that organizes the study of the audience’s interpretation process. The function of the Model Reader is to actualize the codes and intertextual references that the author has strategically planned in the news message, in order to achieve the geopolitical aims of the strategic narratives in question. The analysis of constructing the Model Reader and the Model Author of strategic narratives is complemented by Greimas’ semiotic theory of the narrative and the composition principles of Lotman’s discrete/non-discrete texts.

Grotesque imagery is widely used by all genres and movements of art and literature without exception, but its historical development and theoretical aspects have not been sufficiently studied. This study seeks to define and diagnose the main aspects of the development of the grotesque as a literary problem. The leading methods of researching this problem are methods of analysis, deduction, induction, and comparison of approaches. The research covers the approaches to the study of the grotesque phenomenon; the interpretation of this trope is provided, its origin is described, in whose works it is widely used; the forms of grotesque and its specific features are described; various theoretical concepts of the question are demonstrated; the codes of grotesque poetics and their levels of display in the artistic system of works are identified; the qualities and features of Poe’s literary activity are diagnosed, and the components of the grotesque aesthetics are defined. The material in this study is of practical and theoretical value to students and literary scholars who study literature and its artistic features.

The primary objective of this study was to propose a functional discrete mathematical model for analyzing folklore fairy tales. Within this model, characters are denoted as vertices, and explicit instances of communication – both verbal and non-verbal – within the text are depicted as edges. Upon examining a corpus of Eastern Slavic fairy tales in comparison to Chukchi fairy tales, unforeseen outcomes emerged. Notably, the constructed models seem to evade establishing certain connections between characters. Consequently, instances where the interactions among fairy tale characters would result in a non-planar graph structure are notably absent. To put it differently, the models refrain from incorporating sub-graphs delineated by the Kuratowski theorem governing planar graphs, specifically the minimal non-planar graphs Κ 5 and Κ 3,3. Remarkably, even in more extensive texts featuring a larger cast of characters, connections that would yield a non-planar graph pattern are consistently avoided. This leads to the formulation of a hypothesis positing that traditional folk tales adhere to a “planar narrative” design – an identifiable narrative variant characterized by inherent limitations in complexity. This design, in turn, appears deeply entrenched within the societal framework of the cultures that produced these folk narratives.

Framed within the broader theoretical context of social semiotics, we attempt to show how university students communicate using a variety of unique means, in particular social contexts. We privilege Pennycook and Otsuji’s semiotic assemblages, Jimaima and Simungala’s semiotic creativity, and the notion of semiotic economy as critical ingredients that conspire to give rise to the unique and complex coinages and innovations constituting students’ repertoires. We argue that, born out of creativity, the students’ repertoires are semiotically and economically charged discourses that generate extended narratives such that more is realized with less. We show that this reality undoubtedly constitutes a multi-semiotic meaning-making endeavor that enacts and sustains students’ imagined and lived experiences in real sociocultural, historical, and political spaces in the multilingual landscapes of university campuses.

While participation in social media has become everyday practice among young people, there have been few studies examining how youth as social media users are represented in the media discourse. Focusing on the promotional materials of an award-winning and widely-viewed documentary film, The Social Dilemma , this paper examines the media depictions of youth that attract the public’s attention. Through a social semiotic analysis, we analyzed the representational, interactive, and compositional meanings in the poster and trailer to identify how young people have been represented in the media discourse. Our findings show that they are constructed as vulnerable social media users who are manipulated by social media companies. We argue that such depictions of youth not only negate their sense of agency but also ignore their active engagement in the participatory culture afforded by social media. The implications of such depictions propagate a protectionist perspective of youth. This can undermine efforts towards the development of an empowerment approach in digital literacy education.