Band 2024, Heft 261

The logic of worldviews provides a consistent method of comparison between multiple worldviews. The present paper connects the logic of worldviews to important historical and contemporary influences. Beginning with its roots in semiotics, an account of epistemology emerges which is mediated by a belief system. We show that Charles Peirce’s pragmatistic theory of inquiry is the bedrock beneath the logic of worldviews. We formulate it as a generalized version of inquiry with underlying game-theoretic semantics. In this paper, we extend Peirce’s triadic model of signs to cover knowledge mediated by systems of beliefs. Michael Polanyi’s account of personal commitment includes a subsidiary/focal distinction that views theoretical frameworks as tools for interpreting orders of reality through actual practices of research. We also see how a precedent is set by Johan Georg Hamann’s epistemology of belief, recovered by Ludwig Wittgenstein, using reason as an interpretation of God’s speech in nature. We argue that Thomas Kuhn’s theory of inquiry and worldviews (or paradigms) may be fruitfully contrasted with Peirce’s theory, with reasoning by abduction, deduction, and induction occurring within the community of inquirers. The upshot is that although worldviews may be adopted for non-rational reasons, one can meaningfully compare worldviews through a method proposed by Alasdair MacIntyre: the proponent of a theory learns the language of competing theories and uses them as a metatheory to show how one’s own theory may not have the resources to resolve certain problematic situations. Our result is a meta-linguistic falsification in the sense of Peirce’s semiotics and pragmaticism: the competing theory may be used to show that the object theory does not have a strategy at its disposal to interpret the anomalous phenomenon.

In this article we provide a mathematical frame to the generation of class taxonomies suggested by Hébert in his analysis of the poem << Quelle affaire! >> (‘A Sorry Business!’) by Gilles Vigneault (b. 1928) as well as a formalization of the structure of semic isotopies in his reading of The golden ship by Émile Nelligan (1879–1941). We also examine the characteristics of inter- and intra-semic molecules at work within Réne Magritte’s painting La clef des songes . Our mathematical frame is Ganter and Wille’s extension of lattice theory called formal concept analysis , for which we explore various formalisms and constructs that allow us to reason on semic structures.

Social media (SM) influence young adults’ communication practices. Artificial Intelligence (AI) is increasingly used for making recommendations on SM. Yet, its effects on different generations of SM users are unknown. SM can use AI recommendations to sort texts and prioritize them, shaping users’ online and offline experiences. Current literature primarily addresses technological or human-user perspectives, overlooking cognitive perspectives. This research aims to propose methods for mapping users’ interactions with AI recommendations (AiRS) and analyzes how embodied interactions mediated by a digital agent can lead to changes in social and cultural practices. For this, this work proposes a comparative analysis of central practices evoked by AI recommendations-mediated communication on SM among users in Italy, Estonia, and the Netherlands in the age category 18–26 years old. The data used in the comparative analysis was collected via semi-structured interviews and elaborated based on cognitive psychology and semiotics. This research highlights the contextual significance of AI recommendations as a mediator in creating new communication practices. Findings confirm that young adults often choose practices that would enhance their digital representations according to AiRS’ dominant patterns and categories. AiRS impacts individual interpretations and practices and can further affect social and cultural levels.

In this paper, I examine intergenerational differences in emic interpretations of various types of ritual references in the religious culture of the Podhale region (Poland), which is known for its lavish celebrations of Catholic holidays and rites of passage. Drawing on Roy Rappaport’s theory of ritual communication, particularly the distinction between self-referential and canonical messages, I analyze Podhale highlanders’ attitudes toward the self-referential messages communicated by ritual participants. The analysis of my respondents’ narratives revealed that a change in attitude toward ritual messages considering individual social status correlates with a change in the conceptualization of the ritual’s reference to its transcendent object. This paper presents this phenomenon through the lens of the basic concepts of Charles Sanders Peirce’s theory of semiosis and demonstrates that some changes in the religious culture of Podhale can be interpreted as changes in the dynamics between the components of the sign.

This article delves into two intrinsic tensions present in humor and cartoons: funniness-seriousness and repetition-novelty. The focus is on the perspectives of cartoonists regarding the semiotic and rhetorical resources they put into play to create humor and satire. In this way, the study echoes a key question in semiotics, and particularly in multimodal studies: how image and words interplay in meaning-making. With that aim, a questionnaire was designed and filled out by 100 cartoonists from 22 different countries. The responses were analyzed applying mixed methods (content analysis, non-parametric statistical techniques, and network analysis). Based on the findings, four distinct profiles of cartoonists were identified, ranging from those who prioritize multimodality (the largest group) to those who favor the verbal mode. Cartoonists who prioritize the visual mode and skeptics to humor analysis fall in between. The article also discusses the various rhetorical resources that cartoonists declare to use to create humor, with irony and sarcasm being the most frequent ones, while puns are the least common. The results are examined in relation to the cartoonists’ conceptions of humor, satire, and the cartoon genre, as well as the different dimensions they considered when discussing their humor style. The study contributes to gaining a deeper understanding of the ways cartoonists use image and writing to create humor and satire and sheds light on an under-researched area in this field.

Poetry does not have a history; it has many histories. By tracing the history of poetry in the West, in conjunction with genre studies and research on concept formation, it is evident that the genre “poetry” is contingent on the various rhetorical situations of its production. Such an approach reveals that the concept “poetry,” like all concepts, is always in flux. Yet, despite the fact that “poetry” means different things to different people in different times and places, studies of oral poetry have yielded insights into traits that might be considered universal to poetry, such as its performativity and categorization as ritual language. Other common aspects include the use of parallelism, analogy and metaphor, musicality, and how poems function as metapragmatic symbols that reflect the values of their cultural production. This functionalist approach to poetry reveals that the evolution of poetry is at once historically contingent and culturally universal, and recognizes that poetry’s multiplicity and continual becoming operate with the primary goals of generating and sharing culturally relative meaning.

This study looks at the differences and changes observed in the visual design of the covers of French editions of women’s fashion magazines over a period of twenty-one years. To this end, the study aims to identify the changes that can be observed over the years in the design of the covers of the magazines Vogue , Elle , Marie Claire , and Cosmopolitan . However, the main aim of the study is to analyze how these visual signs on the covers of French magazines are designed “differently” and how these signs create a “difference” in comparison to each other. By analyzing these visual elements, the aim of the study is to show the development of design trends and their impact on the visual communication strategies and brand identities of magazines.

In a high-context culture like Chinese, the linguistic code encompasses only part of the message and is incomplete without context. One of the implicit codes embedded in high-context communication is color tropes. Highly recognizable in the Sinophone world, color tropes often manifest themselves in the forms of metaphor, metonymy, allusions, and similes and are often related to the conveyance of emotional content. This paper provides a selection and discussion of such color tropes, demonstrates that color in a language inspires associations and connotations that are often very subtle and determined by deep cultural memory, and, giving several Chinese examples, shows how the primary semasiology of a color term often influences its subsequent semantic extension.