Lotman

This paper focuses on the urban graffiti painted with a political message by different
movements of the Italian political radicalism in the cities of Rome, Florence, Massa,
Carrara, Verona and Udine. For the purpose of this article, during the period from June
2011 to June 2012, a total of 165 graffiti have been photographed, of which 83 painted by
neo-fascist groups, 72 by extreme left groups and 10 by anarchist groups. These three
macro communities, made of different subgroups, emerged as the most active in expressing
their antagonism towards the parliamentary parties with their graffiti that combine semantic
(words) and semiotic (images) elements. An analysis of the collected graffiti’s language
form, meaning and context allows for the identification of the variety of styles of
communication adopted by the different political antagonisms and the different contents of
their communication through graffiti as well as the key elements of their political identities.
Key words: political radicalism, graffiti, linguistics

Рец. на: Ю. М. Лотман – Б.А. Успенский: Переписка 1964 – 1993. Составление, подготовка текста и комментарии О.Я. Кельберт и М.В. Трунина. Под общей редакцией Б.А. Успенского. Таллинн: Издательство ТЛУ, 2016 (Biblioteca LOTМANIANA). Опубл. по-эстонски: Keel ja kirjandus. 2017, #2.

"...Then we have Ivan Gololobov’s “War and Piss” in which he shows how Punk is alive and kick­ing, not neces­sar­ily in music form and not neces­sar­ily in its moth­er­land, through an ana­lysis of the Rus­sian rad­ical art group “Voina” and their encoun­ters with the law."

The bibliography provides a list of all known English-language publications by Juri M. Lotman (including in co-authorship and reprints), in chronological order, described de visu. The first English translation of J. Lotman’s work appeared in 1973, altogether there is 109 entries in the list. The bibliography demonstrates that in the 1970s and 1980s, most of the translations were published in the context of slavistics, whereas after 2000 Lotman’s work starts to appear in the anthologies of general semiotics.

Dall’osservazione dello spazio urbano della città di Roma, effettuato fra gennaio 2011 e giugno 2012, sono stati censiti e documentati 247 graffiti. Ciò che viene presentato in questo saggio è una prima analisi tematica del materiale raccolto. A questa centrale riflessione se ne accompagnano altre incentrate sul contributo che lo studio del graffitismo, osservato e documentato nello spazio urbano e linguistico della capitale italiana, può offrire relativamente a tematiche quali, per esempio, il rapporto diamesico fra lingua scritta e parlata, l’analisi delle varietà giovanili, le interferenze del dialetto e la creazione di neologismi.

Наша работа посвящена двум школьным пособиям по русской литературе. Эти пособия достойны особого внимания, так как автором их является всемирно известный ученый Ю.М. Лотман. Первая книга – учебник-хрестоматия по литературному чтению для IX классов эстонской школы – была написана совместно с педагогом В.Н. Невердиновой. Учебник предназначался для специального курса, в эстонской школе примыкавшего к курсу русского языка, – курса литературного чтения, направленного на углубление познаний учащихся-эстонцев в русском языке. Второе пособие – учебник по истории русской литературы для IX класса «Vene kirjandus». Поскольку курс литературного чтения в советской эстонской
школе шел параллельно с курсом истории литературы, который читался на эстонском языке, для него был предназначен отдельный учебник. Оба пособия впервые вышли в 1982 г. в Таллинне. Заметим, что они отвечали школьной программе по русскому языку, составленной Министерством просвещения Эстонской ССР.

Lotman explicitly affirms that his methodological wager is an attempt to join the formal- -structural paradigm of Roman Jacobson and the contextual-dialogical paradigm of Mikhail Bakhtin. Lotman conceives the structure of the text as heterogenous just because it is at least dually coded, while semiosis is exactly the process of this inner hybridization, which has a creative potentiality. My paper will examine the dual coded structure of Lotman in the light of early Kristeva distinction between semiotic and symbolic function. I will examine the influence of Lotman in Kristeva’s works in the context of the 60ies.

Министерство образования и науки Украины Полтавский национальный технический университет имени Юрия Кондратюка Министерство образования и науки Украины Днепровский национальный университет имени Олеся Гончара Квалификационная научная работа на правах рукописи Константинов Михаил Владимирович УДК 165.75(091) ДИССЕРТАЦИЯ Ю. ЛОТМАН И ВИЗУАЛЬНАЯ СЕМИОТИКА ВТОРОЙ ПОЛОВИНЫ ХХ ВЕКА (ИСТОРИКО-ФИЛОСОФСКИЙ АНАЛИЗ) Специальность: 09.00.05-история философии Отрасль знаний: Философские науки Подается на соискание ученой степени кандидата философских наук Диссертация содержит результаты собственных исследований. Использование идей, результатов и текстов других авторов имеют ссылки на соответствующие источники __________________ (М.В.Константинов) Научный руководитель Аляев Геннадий Евгеньевич, профессор, доктор философских наук ПОЛТАВА 2017

The present paper focuses on the concepts of urban and linguistic space. It considers the city as a diamesic melting pot. Graffitism is seen as a communication channel that needs to be examined in order to better understand the urban language and its many forms.
Key words: graffiti, linguistics, diamesia

Provides a short survey of the recently proclaimed "spatial turn" in the humanities (emphasizing the contributions of literary theorists to this alleged transdisciplinary shift) and then discusses Bakhtin and Lotman as two pioneers of "spatial thinking" whose concepts of the chronotope, the semantic field, the boundary, and the semiosphere indicate that there is a much older, still relevant tradition of thought about the cultural meaning(s) of space

The study focuses on the republican murals painted on the walls of two cities, Belfast and Derry, in May 2009. The idea for the study was born during a trip to Northern Ireland during which I had the opportunity to observe the murals and to talk with some of the authors and with persons who had actually experienced
the events represented in the murals.
The nationalist murals have been studied by the author under different perspectives: language, iconography, political symbolism and social environment. Murals are, for sure, the community’s reaction to the British political and violent domination on Northern Ireland and they become instruments of rebellion representing
a collective request for freedom and independence. But they also represent a more complex phenomenon as they embody values and perspectives of the entire nationalist community in Northern Ireland. The study analyses the murals both as single artworks and as a collective phenomenon.A strong focus is given at all the political and social themes represented in the murals and at the different linguistic and iconographic styles of communication
as well as how different themes and styles combine. The nationalist murals are also examined under an artistic perspective with a special focus on the figure of the “artista armato”, the artist as a warrior that uses art as an instrument for communicating higher, collective (moral, social, religious, political) values. This
perspective brings the author to draw and analyse a parallel between the phenomenon of nationalist murals and Futurist art: a comparison based on the themes represented in the artworks, on the placing of the art pieces and on the social role of the artists.
If words, pictures and colours used in the nationalist murals become, as analysed in the study, the voice of the Catholic community in Northern Ireland, a voice not so often listened in the EU, it becomes crucial to understand what the artists
want to communicate, why and how. This study aims also to open up to a new research perspective based on a multidisciplinary approach through the integrated use of semiotics and semantics in ethnography in order to offer a more complete and holistic interpretation of the phenomenon of the Northern Irish republican
murals.

Первая публикация оригинального текста статьи Ю. М. Лотмана, напечатанной в 1967 г. по-итальянски в переводе Витторио Страды (Strumenti critici, 1967, № 2, p. 107–127). Заключительная часть статьи публикуется в обратном переводе с итальянского. Историко-научный комментарий И. А. Пильщикова.

In 1973, a collectively written manifesto titled Theses on the Semiotic Study of Cultures was penned under the leadership of Tartu scholar Juri Lotman together with his Moscow colleagues Vjacheslav Ivanov, Vladimir Toporov, Aleksandr Pjatigorskij, and Boris Uspenskij. The appearance of this work marked the birth of a new scholarly field of research called the semiotics of culture. In the present contribution we provide a bibliographic list of republications and translations of this seminal text.

Questa tesi è un’indagine sul cambiamento in atto nel mondo editoriale finalizza alla realizzazione di una semiotica del progetto, ovvero di un modello semiotico a supporto della progettazione di nuovi artefatti di lettura. Nel primo capitolo viene delineato lo stato dell’arte dell’editoria odierna, fotografata nel caotico passaggio dall'analogico al digitale. Successivamente, nel secondo capitolo, dopo aver sfatato alcuni falsi miti riguardanti il mondo cartaceo e quello tecnologico, viene illustrato come sia mutata l’esperienza della lettura e come potrebbe variare nel prossimo futuro. Il terzo capitolo contiene l’analisi semiotica della pratica della lettura e del testo. Cuore della trattazione, nel capitolo quarto, la conseguente delineazione di un modello interpretativo basato sulla linguistica e sulla semiotica che, partendo dalla definizione del testo quale unità minima di significazione, esemplifichi le relazioni di transtestualità che esso intrattiene con gli altri testi della cultura e i percorsi di interpretazione e azione che il lettore mette in atto durante la lettura, legati alla propria enciclopedia di conoscenze ed esperienze. Tale modello non vuole essere una mera rappresentazione teorica, ma uno schema pratico (per progettisti e addetti al settore editoriale) finalizzato alla comprensione della complessità e alla progettazione consapevole. Vengono introdotte quindi delle linee guida innestate sulla schematizzazione che soddisfino i bisogni del lettore del futuro, ovvero il lettore/scrittore. Infine, il quinto capitolo illustra l’applicazione del modello al testo Manifesto del Terzo paesaggio di Gilles Clément.

The Tartu-Moscow School accepted as its professional attitude to reconstruct the tradition and connect itself to the forgotten or repressed cultural-scientific achievements of the period of the first decades of the 20th century. One mission of Lotman as one of the leaders of the Tartu-Moscow School was knowing and mediating forgotten heritage. In the situation of censorship many contacts between Lotman and Russian theory were not visible. Thus, the synthesis of Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein and others, in an implicit dialogue, can be the basis for the formation of the next stage of semiotics of culture. Finally, Tynjanov's understanding of literary and cultural dynamics, Lotman's semiotic theory of text and his thoughts about a model of space as one of the primary languages of culture, and Bakhtin's theory of chronotope form this theoretical complex that can give new possibilities for developing both, theoretical and practical principles of cultural and textual analysis. RESUMO A Escola de Tártu-Moscou aceitou, como atitude profissional, reconstruir a tradição e ligar-se com as realizações-esquecidas ou reprimidas cultural e cientificamente-das primeiras décadas do séc. XX. Uma missão de Lotman como um de seus líderes foi conhecer e mediar a herança esquecida. Na situação de censura muitos contatos entre Lotman e a teoria russa não estavam visíveis. Dessa forma, a síntese de Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein e outros, num intenso diálogo implícito, pode ser a base para a formação da próxima etapa da semiótica da cultura. Enfim, a compreensão de Tynianov acerca da dinâmica literária e cultural, a teoria semiótica lotmaniana de texto e seus pensamentos sobre um modelo de espaço como uma das linguagens primárias da cultura, e a teoria bakhtiniana do cronotopo formam um complexo teórico que pode oferecer novas possibilidades para o desenvolvimento tanto dos princípios culturais teóricos e práticos quanto da análise textual.

El objetivo de este artículo es investigar la relación que se puede establecer entre la semiótica de la cultura y del texto desarrollada principalmente por Iuri M. Lotman y aquel paradigma o enfoque epistemológico conocido hoy en día como pensamiento sistémico. La relación no es sólo profunda, sino que echa una nueva luz sobre la validez, la utilidad y aun las posibilidades de la semiótica de la cultura.

The paper is about the relationship between Street Art and the wall as Street Art's main support. Analyzing the work of two world famous street artist, Banksy and Blu, the paper highlights how they working on dissolve the wall as border and limit.

Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background , the article offers a view onto some aspects of Juri Lotman's and Gilles Deleuze's studies on the cinema. As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audiovisual art is most developed in semi-otics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audiovisual art. The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors' approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer's perception of cinema. The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audiovisual arts.

The present thesis is a study of one of Motinggo Busye's numerous popular novels, Anna Soen Nio (1984). The key analytical concepts selected here are social discourse, interdiscursivity, and intertextuality. The main argument running throughout the thesis is that Anna Soen Nio is a narrative reworking of contemporaneous debates, pervasive in Indonesian society, on Indonesian identities: Muslimhood, Indonesian-ness (especially Minangkabau-ness), and Chineseness. The introduction contains an overview of the sociocritical approach as well as a preliminary discussion on Indonesian social discourse. Chapter 1 discusses the contemporary position of the Sino-Indonesians as a minority group with a complex status. Chapter 2 presents an overview of Motinggo Busye's life and works as well as an analysis of paratextual elements related to Anna Soen Nio. Chapter 3 is a narratological analysis of M. Busye's novel. Chapters 4 and 5 are closely related: they both focus on the novel's ideological discourse on Indonesian identities. In chapter 4, this is done at the level of the novel's personal onomastics (characters' names). Chapter 5 uses another sociocritical tool, the sociogram, in order to decipher the "image of the Chinese" in Anna Soen Nio and stress its interdiscursive and intertextual character. In the conclusion, Lotman's concept of the hero is used to show that the novel's hero is not its eponymous character. (Abstract shortened by UMI.)

Oggi si discute molto intorno all’idea della cucina come linguaggio. Si tratta di vedere se essa possa entrare a far parte dell’attuale girotondo delle muse, e come. Quali forme assume un girotondo in cucina? e in stanza da pranzo? e con chi? A partire da alcune nozioni centrali del pensiero semiotico di Lotman (interno/esterno, dominante, testo/contesto, esplosione, noi/altri) e utilizzando una storia esemplare come campo di esercizio (Il pranzo di Babette), si proverà a rispondere a questi interrogativi. Emergerà così tutta l’importanza metodologica della teoria lotmaniana nell’analisi del discorso sociale.

A map of Slovienia and an Italian novel: two useful starting points in order to understand the ethnogenesis of a people and the link between language and cultural identity, as much as the one between cultural phenomena and the individual processes of subjectification. The essay uses semiotic tools, in particular the models developed by Lotman and Greimas, and proposes to introduce (1) the distinction between central and peripheral in the topology of culture and (2) the concept of entanglement between subjects.

Banksy – the urban calligrapher


In the summer of 2009 Bristol saw a remarkable phenomenon that made international news. An estimated 300,000 people queued for hours, often in pouring rain, for admission to the city’s museum & art gallery. They had been attracted by the media hype surrounding an exhibition ambiguously entitled ‘Banksy vs the Bristol Museum’.

This illustrated talk will raise a number of questions: Is Banksy a subversive influence or merely a bit of fun? Why is Banksy so important to Bristol? Is he really important? Where does the exhibition leave Bristol as an epicentre of ‘street art’? It looks at the setting up of the show and questions the need – other than to conform to the required Banksy mystique – for secrecy. Paul Gough has compiled a book about the Banksy show; it is the first non-partisan documentation of the Bristol event and an attempt to assess its local and wider impact.

In human science both “structure” and “play” (or game) are used respectively as either scientific or metaphorical terms which help to describe or to “explain” social phenomena. Especially, hermeneutics and structuralism make use of them, showing, both of them, how the two terms overlap at some points and contradict each other on others. The interplay of “play” and “structure” (as it appears in structuralism and its history, semiotics, and hermeneutics), provides interesting aspects in regard to human sciences of our century. It can be examined by shedding light on their relationship with two important parameters in human science: the “sane” and the “pathological.”

The article points out that the current expansion of the semiotic focus from signs and texts to whole cultures needs the development of a coherent method. It therefore proposes to establish it through an application of the topological theory of fractals to the analysis of different kinds of symmetries in the semiosphere. Having defined fractals as resemblance between two topological structures, the article first dwells on what “resemblance” means in the comparison of both visual and conceptual patterns; it then proposes a typology of fractal similarities, based on the topological operations of rotation, translation, and reflection. Examples of each typology are given from the fields of cultural and political analysis. The article concludes by hypothesizing that cultural semiotics might evolve into a “pattern science”, challenging the customary disciplinary barriers between the study of regularities in nature and in culture.

Philosophical Semiotics ‒ This university textbook offers an introduction to the semiotic phenomena and contexts of signs, language, communication, text, and culture. Its structure and argumentation proceeds along the exploration of philosophical questions relating to the world of signs, as a philosophical semiotics inspiring speculative and interpretive investigations. Although also taking into consideration specialized semiotic researches, this volume does not deal with their particular issues.
x  x  x
A jel, nyelv, jelentés, kommunikáció, szöveg és kultúra szemiotikai jelenségeibe és összefüggéseibe bevezető egyetemi tankönyv. Felépítése és gondolatmenete a jelek világával kapcsolatos filozófiai kérdések kibontása és felvázolása mentén halad, spekulatív és értelmező vizsgálódásokra ösztönző filozófiai szemiotikaként. Bár tekintettel van, de részletesen nem tér ki a konkrét szakszemiotikai kutatásokra.

Oggi si discute molto intorno all’idea della cucina come linguaggio. Si tratta di vedere se essa possa entrare a far parte dell’attuale girotondo delle muse, e come. Quali forme assume un girotondo in cucina? e in stanza da pranzo? e con chi? A partire da alcune nozioni centrali del pensiero semiotico di Lotman (interno/esterno, dominante, testo/contesto, esplosione, noi/altri) e utilizzando una storia esemplare come campo di esercizio (Il pranzo di Babette), si proverà a rispondere a questi interrogativi. Emergerà così tutta l’importanza metodologica della teoria lotmaniana nell’analisi del discorso sociale.

This paper presents an experience of Lesson Study involving primary school teachers in a school in North Italy. Researcher will show how Lotman’s Semiosphere construct can be used to analyze cultural and semiotic aspects of Lesson Study practices inserted in the Italian cultural context, as practices intended to enhance collaboration among teachers and their critical thinking on professional issues. Researcher will also show how this analysis may complement another analysis, performed in the perspective of the Chevallard’s Anthropological Theory of didactics, and concerning the institutional aspects of the Lesson Study experience.

"What  has  been  labelled  ‘New  Horror’  cinema  has  opened  up  its  boundaries  to  incorporate signs specific to social and political events that accompanied and followed the events of 9/11. The reality of terror is transported into the fictional universe of horror. This article presents an interpretation of New Horror cinema using Yuri Lotman’s theory of the semiosphere and Wilma Clark’s extension of his theory in order to engage in a critical rethinking of how genres intersect with culture. The primary focus is on contemporary horror films that function as allegories that address post-9/11 and, in turn, to apply Lotman’s theory of the semiosphere and the concept of cultural ‘explosions’ to account for the generic shifts that have transformed the structure of the "horror genre."

Este trabalho realiza uma análise sobre de que forma a utilização e o consumo espacial e simbólico da estação de trem Júlio Prestes, localizada em São Paulo, por parte da marca Ellus em seu desfile Inverno 2008, é capaz de intensificar o seu discurso marcário institucional. Entendemos a utilização da locação para o desfile em um contexto de cidade-mídia. O consumo por parte da marca resulta em um ambiente imaginado e criado de forma a intensificar a comunicação publicitária proposta para o consumo simbólico pelo público, no momento do desfile. As pesquisas partem de revisão bibliográfica em algumas teorias da memória, consumo e Semiótica Cultural. A metodologia foi realizada a partir de revisão bibliográfica e documental (do vídeo do desfile de moda analisado). São abordados conceitos como lugares de memória de Pierre Nora, consumo enquanto mecanismo de leitura social de Rose de Melo Rocha e Tânia Hoff, memória coletiva de Maurice Halbwachs, Semiótica da Cultura de Iúri Lotman e memória é cultura de Jerusa Pires Ferreira.

Un concerto di musica diventa per l’autore l’occasione pratica per una riflessione teorica sul modo di vedere l’etnografia e di concepire alcuni concetti d’ordine antropologico che dovrebbero essere collegati tra loro nelle diverse ricerche: universo sonoro, dimensione sensoriale, realtà, simulazione, dialogo, autocomunicazione, improvvisazione, vita. Il punto di partenza è la conoscenza mediata dai suoni. In quanto traduzione di un fatto sociale totale, una etnografia dovrebbe includere il modo sonico di conoscere di individui e culture sia nel quotidiano sia nel campo più lontano ed esotico. Riconoscerlo significa recuperare, in chiave dialogica, le più vaste interconnessioni tra  le varie diverse sfere sensoriali (uditive, tattile, etc.), ricomponendone la sintassi e l’influenza reciproca sull’atto diversificato di cognizione. Il presupposto del saggio è dunque che questo diffuso principio dialogico di base dovrebbe valere sia per il permeante universo sonoro sia per altre dimensioni cognitive e sensoriali in incessante comunicazione tra loro persino senza il diretto controllo dell’individuo. Il parlare, nella sua interezza, è un’attività (Wittgenstein) che implica forme di comunicazione di tipo essenzialmente dialogico non ristrette alla sola interazione tra individui in carne e ossa, ma, anche, ad altre forme di interazione, incluso quelle legate all’autocomunicazione (Lotman). La realtà stessa dovrebbe essere intesa nel suo rapporto con i diversi gradi di comunicazione e di simulazione che la tecnologia ci consente; sempre più, i sensi dovrebbero essere compresi come forme di estensione mediata dalla tecnologia: realtà e simulazione sono di fatto, oggigiorno, strettamente intrecciate e ridefiniscono, dialogicamente, i nostri modi di essere e concepire l’una e l’altra. La conseguenza è che, poiché viviamo in un flusso di emittenze e ricevenze, incrociate e sovrapposte tecnologicamente, è necessario in definitiva ripensare la nozione di dialogo e di includervi, tra le altre cose, lo scambio di voci e suoni tra interlocutori in carne e ossa, ma, anche, tra enti più astratti e immateriali, nonché tra le diverse istanze costitutive la coscienza di uno stesso individuo. Per mostrare le interconnessioni tra i vari concetti si ricorre, nel saggio, all’esempio di Steven Feld, Marc Augé e Paul Stoller. Gran parte dell’opera di Augé può essere considerata un lungo e proficuo ‘esercizio di riflessività’ di tipo dialogico applicato alle categorie dell’antropologia e al soggetto stesso che le pratica. Similmente, un principio dialogico vale pure per Steven Feld, il quale lo applica nella sua ricerca sul campo coinvolgendo direttamente i suoi amici-interlocutori e se stesso in quanto antropologo e autore di una etnografia sui kaluli del Bosavi di Papua Nuova Guinea. Un altro esempio importante preso in conto nel saggio è quello di Paul Stoller secondo cui l’apprendistato della stregoneria, più che una condizione psicologica originaria e intaccabile, significa porsi sulla frontiera tra due mondi diversi ma in continua e possibile comunicazione. Viviamo, spesso senza rendercene conto, in un universo musicale e dialogico in cui individui – ma anche oggetti materiali e simbolici, enti più astratti e collettivi – si scambiamo opinioni e punti di vista, suoni e messaggi, interagiscono per botte e risposte, storie e contro storie scritte e orali, visive e gestuali che hanno un qualche ritmo e cadenza di base. L’etnografia dovrebbe allora, in definitiva, cercare di seguire il ritmo libero, tutto sommato musicale, delle improvvisazioni e dei piani d’azione che si presentano nella vita di un individuo. A questo fine, si dovrebbe in sostanza spostare l’accento dal solo concetto di cultura a quello di vita per esplorarne le reciproche interrelazioni. Vivere significa prodursi nell’alternanza di obiettivi che programmiamo e direzioni che prendiamo sull’orientamento del momento. Una ragione di più per parlare, quindi, in questo senso, di una vera e propria antropologia della vita.