Semiology Research Papers

In this study, in order to analyze how gender roles and stereotypes are built in magazine advertisements, overall 230 advertisements of men's magazine FHM and women's magazine Cosmopolitan, published in 2004, were surveyed. To do this,... more

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... more

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

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- by Massimo Leone
- •
- 16
  Semiotics, Cultural Semiotics, Visual Semiotics, Face Recognition

how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the... more

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- by Salvador Leon
- •
- 9
  Semiotics, Photography, Visual Semiotics, Photography Theory

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... more

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

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- by Massimo Leone
- •
- 27
  Semiotics, Social Networks, Internet Studies, Social Networking

According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research... more

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- by Julie Moretto Walker
- •
- 6
  Semiotics, Musicology, Romanticism, Narratology

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- by Russell Daylight
- •
- 2
  Semiotics, Semiology

This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These... more

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- by Julie Moretto Walker
- •
- 11
  Romanticism, Narrative, Musical Semiotics, Narrative Analysis

Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone. (Letter to J. Fontana, 20th October 1841) Musical... more

Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.
(Letter to J. Fontana, 20th October 1841)

Musical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece.
In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.
However, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation.
This kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper "La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique" noticed a totally inverse narrative strategy.

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- by Julie Moretto Walker
- •
- 13
  Semiotics, Music, Musicology, Romanticism

Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile... more

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- by Julie Moretto Walker
- •
- 16
  Semiotics, Music, Musicology, Romanticism

Le présent article propose une analyse musicale de la Ballade op. 52 en fa mineur de Frédéric Chopin. De nombreuses méthodologies existent pour investir l'oeuvre musicale, mais l'auteure défend l'importance et la complémentarité de deux... more

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- by Julie Moretto Walker
- •
- 8
  Musicology, Romanticism, Narratology, Sémiotique

ÖZET Baslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri... more

ÖZET
Baslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri daha yüksek hızlarda kaydetme ugrasısı içinde olmustur.Hızın kaydı konusundaki tüm bu gelişmelerde, insanlığın endüstri devrimi ile yaşadığı gelişmeler etkili olmuştur. Hızın kaydı sonucu ortaya çıkan birtakım mekanik gerçekler bilim , sanat ve felsefe adamlarının yaşamı daha farklı sorgulamasına yol açmış, bu sorgulamalar sonucunda elde edilen veriler hem klasik sanat anlayışının hem de sinemanın ve onu var eden teknolojinin gelişmesine yol açmıştır.
Gelişim süreci içinde sinemaya,sanatsal kaygılar ve fotoğraf kadar, toplumsal olaylar ve savaşlar da etki etmiştir. Estetik arayışların ortaya çıkardığı ve geliştirdiği “aydınlatma” hem teknolojiden hem de toplumsal düşünce değişimlerinin sinemaya yansıtılması kaygısından etkilenmiştir.Toplum hayatı değiştikçe birtakım tarzlar gelişmiş , onların ifadesi için teknolojik yöntemler ilerletilmiştir.
Tabi sinemayı sinema yapanın, “kurgu” öğesi olduğu asla unutulmamalıdır.Ancak yine de kurgu sonucunda ortaya izlenebilir bir görüntüler topluluğu çıkabilmesi için ışığı, kamera devinimi, kompozisyonu tam görüntüler elde etmek gerekir.Aynı zamanda fotoğraf ile sinemanın kesiştiği öyle noktalar vardır ki, nerdeyse artık sinematografi tamamen fotoğraf makinası ile oluşturulur.
Final bölümünde ise fotoğraftan en çok faydalandığına inandığımız kendisi de başarılı bir fotoğrafçı olan Alman yönetmen Wim Wenders'in “Paris-Texas” filmine değinmek, tüm bu işbirliğini nereye dayandırmak istediğimizi, daha doğrusu bu iki teknolojinin nasıl dayanışmaya devam ettiğini açıklamak için iyi bir örnek oldu.
ANAHTAR KELİMELER:Sinematografi,Görüntü Yönetmeni, Yeni Dalga, Yeni Gerçekçilik,Alman dışavurumcu Sineması, WimWenders, Kara Film, Fotoğrafi

SUMMARY
From the beginning of their invention until today, there's always been similarities, between photographic and cinematographic progress in both aestethic and technological issues. From the day which first chemical photographic prodress has been done, there has always been progress in the issue of speed which photographers took its care by the invention of the shutter. There's another effective issue on the thought of speed which named “Industrial Revolution”. And with the results of “catching the speed of movement” there appears a lot of facts that influenced the thoughts of scientists, artists and philosophers about the daily life.After the questioning about the daily life , there has been extremely radical changes in classic art, science and social life which basis of cinematographic progress has been aranged on.
Cinematographic process ,effected by social life and by the wars, as much as aestethical and tecnological issues in its duration. Also the issue of “illumination” effected by the change of social life , that came with facts of war which also made changes on aestethic concerns.
It must be never forgotten that cinematoraphy owed its existence to “editing”. But there has never been a film which observed “good editing but bad photography”. If there's no good photography there will never be good editing after the film has been shot.
In the final , I have tried to prove my thesis with the best example which I ever thought.German director Wim Wender's film “Paris-Texas” is the best example which we can ever find, when we try to look for a analogy between the photography and cinematography.
KEYWORDS:Cinematography, Cinematographer, New Wave,Neo Realismo,German Expressionist Cinema, Wim Wenders, Film Noir, Photography

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- by Tuna Uysal
- •
- 5
  Art History, Photography, Narrative, Cinematography

In five steps this text tries to convey a semiotic analysis of the phenomenon of ‘live VR music concerts’.Through this paper it becomes clear that the meaning of live music and virtual live music is not always clear. Virtual does not... more

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- by Jenske Sampson
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- 20
  Semiotics, Cultural Studies, Philosophy, Technology

شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که... more

شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که به واکاوی معنای فضای شهر می‌پردازد. این پژوهش در پی یافتن فنون و روش‌هایی است که می‌تواند منجر به فضاهای شاعرانه در شهر شود. ازاین‌رو با روش نشانه‌شناسی به واکاوی یک نمونه فضای شهری که دارای این ویژگی بوده پرداخته‌شده است. درنهایت پژوهش به بررسی مفاهیم نشانه‌شناختی مانند برجسته‌سازی ادبی، هنجار‌گریزی، خودکارشدگی و قاعده افزایی در یک نمونه موردی فضای شهری، باغ بلند شیراز، اثر مهرداد ایروانیان پرداخته است. در پایان پژوهش به روش‌هایی که وی برای ایجاد فضای شاعرانه به کار بسته است مانند
آشنایی‌زدایی به‌واسطه‌ انحراف از زبان معیار، ایجاد تعلیق و ایهام از طریق تصرف در محور هم‌نشینی دست‌یافته است.
According to Aristotle, poetics and art, were considered an imitation of reality but according to Bachelard, they were phenomenology of the imagination. Bachelard showed how houses are receptive to human characteristics and complexities, a house and its occupants usually match the architectural space, and residential space gives excellence to geometric space. House, in his opinion is a sheltered nest of dreams and imagination. Poetic imagination is always "text" and thus be interpreted and in reading the meaning of architecture and the city, both are studied as text. Thus poetics of urban space and architecture can be investigated from phenomenological, ethnographic and semiotics (Semio-logical) methods. Urban spaces in a semiotics approach, usually emphasize on the aspects of semantic systems. The city is filled with semantic significations which is encoded by both designers and citizens and then is decoded by the citizens. The city can be understood as a text by considering varying semiotics natures of the urban space. The question is, How to create a poetic urban space.
The aim of this research is to find techniques that can lead to poetical features in urban spaces. The urban semiology is a method to linguistic analysis meaning of urban space. The article analysed a case study of urban space that has this features by semiology approach. The case study is Bagh-e Boland (Chamran Park) in Shiraz city, designed by Mehrdad Iravanian (b. 1957). Bagh-e Boland is an urban space which allows its audience to interpret and explore the meanings. After an introduction to urban and architectural semiotics, a sociosemiotic analysis is carried out to uncover the meaning system of this built environment. In this case, the park is viewed as structured by poetical characteristics and as a text. The park has been investigated by syntagmatic and paradigmatic, synchronic analysis.
At the level of the design strategy, Iravanian has used three strategies to create a poetic space: intertextuality, defamiliarization, and metaphor. For intertextuality he linked his text with non-architectural texts such as sculptures or history of site. He has deviated from the standard language, has changed automatized meaning of the space and thereby has defamiliarized space. He has done this by increasing the scale forms, creating synchronicity spatial elements, and change in composition of the constructions. In addition, multiple meanings have been added to the space by using the architectural metaphor, amphiboly and metonymy. He suspended architectural elements and applied familiar construction and building materials in another way. He has provided metaphor by naming spaces, captured in the axis of the syntagmatic of spaces and usage of dual oppositions. Urban spaces are highlighted by exaggerating the textures used in floor, walls and furniture. It should be noted at the end that this spaces can be analyzed with other approaches, however looking at the language of this article is merely an urban space. Also intertextuality vision to text can disclose techniques of createing new meaning in space. Thus, an urban space, can help in motivation of thought, the audience, and the pleasure of discovery.

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- by Manouchehr Foroutan and +1
  Mohammad Sarmastani
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- 13
  Semiotics, Rhetoric, Composition and Rhetoric, Architecture

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- by Etienne Boumans
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- 30
  Criminology, Criminal Justice, Police Science, Forensic Science

Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura... more

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- by Massimo Leone
- •
- 20
  Semiotics, Cultural Semiotics, Visual Semiotics, Cognitive Semiotics

KEY POINTS Seizure semiology represents the dynamic clinical expression of seizures and is an important data source providing clues to cerebral organization. Seizure semiology is produced through interactions between seizure onset and... more

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- by Aileen McGonigal
- •
- 4
  Epilepsy, Neural Networks, Seizure, Semiology

The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian... more

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- by Andrea Ghidoni
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- 30
  Philology, Cultural Studies, Russian Studies, Comparative Literature

The fashionable disavowal of structural semiology as logocentric is easily countered by a review of the important innovations of second-generation semiology, spearheaded by Jacques Derrida, Roland Barthes, and Jacques Lacan. The scope of... more

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- by Tyler James Bennett
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- 5
  Jacques Derrida, Kabbalah, Semiology, Glossematics

The article proposes a typology of meaninglessness based on the semiotics of Charles S. Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience... more

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- by Massimo Leone
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- 25
  Semiotics, Philosophy, Cultural Semiotics, Theories of Meaning

Le istituzioni spesso restituiscono un’immagine irragionevole della lingua. Questa immagine si costruisce attraverso usi che si stabilizzano e si reiterano nelle pratiche linguistiche quotidiane. Ma possono gli usi linguistici essere... more

Interview mit Algirdas Julien Greimas, realisiert im April 1983 in Paris. In diesem Interview werden folgende Themen diskutiert: 1) Präsentation der "Pariser Schule" der Semiotik durch Greimas. 2) Platz der Bedutungssemiotik innerhalb... more

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- by Peter Stockinger
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- 23
  Semiotics, Narrative, Cultural Semiotics, Modality

В статье рассматриваются миниатюры персидского списка «Шахнаме» Фирдоуси 1333 года как интерактивные нарративные визуализации, влияющие на формирование ситуационного мышления представителя персидского континуума XIV века. Созерцание... more

В статье рассматриваются миниатюры персидского списка «Шахнаме» Фирдоуси 1333 года как интерактивные нарративные визуализации, влияющие на формирование ситуационного мышления представителя персидского континуума XIV века. Созерцание живописной миниатюры интегрирует знаньевый потенциал человека и созерцаемую им реальность: благодаря видению «схватываются» и различаются пространственные свойства внешней среды, актуальные состояния мира и параметры жизненного мира, или комплексы образцов поведения. Исследование нарративных визуализаций «Шахнаме» строится на синтезе трансцендентально-феноменологической методологии Э. Гуссерля и положений технической герменевтики как основаниях для выявления нарративно-визуальной схемы моделирования процесса использования знаний созерцателем. В миниатюрах Персидского списка праимпрессии, обозначеные ликами Героев, образуют связь, проявляющуюся в орнаментальном тексте, ретенция визуализируется в изображении рук Героев, фокусирующих внимание на «физическом» элементе истории, а протенция визуально означена изображением коней. Ретенциональное сознание, формируемое нарративными визуализациями в Персидском списке «Шахнаме» 1333 года, способно постигать «конкретное живое настоящее». / The article considers the miniatures of the Persian copy of “Shahnameh” by Ferdowsi of 1333 as interactive narrative visualizations influencing the formation of situational thinking of the representative of the Persian continuum of the XIV century. The contemplation of the pictorial miniature integrates the knowledge potential of man and the reality contemplated by him: due to the vision “grasp” and distinguish the spatial properties of the environment, the current state of the world and the parameters of the life world, or complexes of patterns of behavior. The study of the “Shahnameh” narrative visualizations is based on the synthesis of E. Husserl’s transcendental-phenomenological methodology and the provisions of technical hermeneutics as grounds for revealing the narrative-visual scheme of modeling the process of using knowledge by the beholder. In the miniatures of the Persian copy, the praimpressions, marked by the faces of the Heroes, form a connection, manifested in the ornamental text, the retention is visualized in the image of the Heroes’ hands, focusing on the “physical” element of history, and the protension is visually marked by the image of horses. The retentional consciousness, formed by narrative visualizations in the Persian copy of 1333, is able to comprehend the “konkrete Lebensgegenwart”.

In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya... more

The amount of new semantic content circulated in a society is limited by implicit norms and explicit rules. Belonging to a community means knowing, mastering, and even interiorizing such restrictions. Some of them are imposed by economy,... more

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- by Massimo Leone
- •
- 31
  Semiotics, Cultural History, Cultural Studies, Visual Studies

This article is for marketers who use semiotics. It argues that semiotic analysis is not complete until signs and symbols are meaningfully connected to society, culture, and ideology. The unique qualities of top-down semiotics are... more

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- by Rachel Lawes
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- 14
  Marketing, Discourse Analysis, Semiotics, Future Studies

Se reconstruyen las principales líneas de desarrollo que ha tenido la Semiología, los consensos, como así también las tensiones y debates que la atraviesan. Los temas que trata son el signo, enfocado desde autores como Ferdinand de... more

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- by María Paula Gago
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- 5
  Semiotics, Análisis del Discurso, Semiology, Semiología

An International, Interdisciplinary Conference Organized by SILC, Semiotic Interdisciplinary Laboratory on Cultures, Shanghai University and University of Turin Co-Sponsored by The Department of Chinese Language and Literature,... more

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- by Massimo Leone
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- 20
  Semiotics, Cultural Semiotics, Visual Semiotics, Face Recognition

The book presents a semiotic approach to the study of power relations in the symbolic space of medieval culture. A critical analysis of medieval texts was carried out in accordance with the methodology of European structuralist and... more

The book presents a semiotic approach to the study of power relations in the symbolic space of medieval culture.
A critical analysis of medieval texts was carried out in accordance with the methodology of European structuralist and poststructuralist tradition (Roland Barthes, Michel Foucault, Umberto Eco, Jean Baudrillard), as well as Russian semiotic tradition (Mikhail Bakhtin, Juri Stepanov, Juri Lotman, Boris Uspensky, Viktor Toporov, Sergei Proskurin).
The author analyzes the early medieval historical works of Jordanes, Gregory of Tours, Bede the Venerable, Paul the Deacon, Snorri Sturluson and other authors. The book raises questions of the realiation of the plot of teratomachia (Greek “fight against monsters”) in political culture. The murder of a monster becomes a kind of initiation of an archetypal Hero (for example, such as Theseus, Perseus, Sigurd, Beowulf, etc.), who manifests his individuality and strengthens his authority as a military leader or potential ruler through the victory over the monster. Formation of the comitatus culture and rising power of military leaders is associated with the development of ideas about the kinship of military aristocracy with the world of monsters, which is reflected in the representation of royal power.
The semiotics of power in archaic Germanic culture is identified as being of a physiological nature - the signs of power are represented by various aspects of the ruler’s body, both innate and acquired as a result of certain ritual practices, such as long hair or characteristic features of the body of representatives of the ruling Merovingian family. Such phenomena are explained through the prism of the “quasi-bodily” code of archaic culture. The psychological aspects of the perception of the physiological aspects of power are analyzed through the prism of the methodology of S. Freud, A. Adler and E. Berne.
The formation of medieval culture is considered from the point of view of the transformation of the perception of symbolic structures and the development of the practice of symbolic representation in the space of political communication. The author analyzes semiotic aspects of overcoming physiological limitations and weakening the biological relevance of power, which took place in the form of ideas about the transfer of charisma through the things of the ruler, transmitted within the framework of symbolic redistribution and the medieval gift economy.
In accordance with the methodology of K. Jung, J. Campbell and E. Meletinsky, the archetypes underlying the perception of power in medieval literature (Hero, Wise old man, Father, Shadow, Seeker, Child, etc.) are analyzed.
The author examines the methods of forming political myths in the works of intellectuals of the late antiquity - Flavius Cassiodorus, Severinus Boethius, Isidore of Seville, in particular, myths concerning the categories of equality and freedom. The medieval perception of the “barbarian” world is considered in accordance with the methodology of the Moscow-Tartu semiotic school from the point of view of the dynamics of the processes of semiosphere - the interaction of the cultural core, periphery and border space of the era of late Antiquity and the early Middle Ages.

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- by Sergey Sannikov
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- 20
  Semiotics, Medieval History, Medieval Studies, Cultural Semiotics

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- by Vicenç Font
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- 4
  Mathematics, Theory, Text, Semiology

ABSTRACT The foundation of disciplines is often associated with initial books and their authors. The discipline of speech–communication– communicology is no exception. Books by Albert Craig Baird, Lester Thonssen, and Franklin Hayward... more

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- by Richard L Lanigan
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- 20
  Semiotics, Rhetoric, Phenomenology, Communication Theory

Un método interpretativo basado en la Semiología, psicología de la percepcíon, neurobiología y biologia evolutiva para saber que significa una fotografía

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- by Salvador Leon
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- 11
  Semiology, Semiología, Estudios De Semiotica, Fotografia

1. The first essay aims at clarifying the relation holding or not holding between deixis and indexicality, and then elaborating a new model based on the Danish semiotic enunciation theory that could also account for reference. The... more

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- by Per Aage Brandt
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- 4
  Gesture Studies, Deixis, COGNITIVE SEMIOTICS, Semiology

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- by Alejandra Barreto Grimaldos
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- 6
  Medicine, Medicina, Semiology, Semiología

The notebook 3959.10, part of the series Notes sur les légendes germaniques in the Ferdinand de Saussure archive, is devoted to the legend of Tristan and Isolde. In these notes, Saussure deals with the issue of the source of the medieval... more

El ensayo se concentra en el caso de estudio uruguayo, de excepcional interés a la vez histórico e semiótico, del retrato del rostro de José Gervasio Artigas. Como no existe un retrato al natural del héroe nacional que lo represente en su... more

El ensayo se concentra en el caso de estudio uruguayo, de excepcional interés a la vez histórico e semiótico, del retrato del rostro de José Gervasio Artigas. Como no existe un retrato al natural del héroe nacional que lo represente en su juventud o en su madurez, y como el único retrato existente fue dibujado por Alfred Demersay en Paraguay cuando Artigas ya era muy mayor y en condiciones físicas precarias, la imagen arquetípica de su rostro se debe a una reconstrucción (y rejuvenación) de Juan Manuel Blanes, autor de la celebre pintura Artigas en la puerta de la Ciudadela (1884).
El viento caprichoso de la historia sopla a veces impetuoso, a veces con ráfagas sutiles como suspiros, y soplando encuentra paisajes, arboles, flores, animales, pero sobre todo hombres y mujeres, reproduciendo generación tras generación el destino de nuestra especie, e insinuándose entre sus cuerpos a lo largo de los siglos este viento inefable moldea lenguas, dibuja culturas, pinta gestos y palabras, un momento separando y el momento siguiente uniendo vidas, emociones, sueños, haciendo y deshaciendo comunidades, empujando los unos contra los otros en batallas sangrientas e interminables, o al revés sugiriendo caminos de dialogo y de paz, trazando y borrando fronteras, enfatizando o matizando límites, en un juego que no parece tener fin ni finalidad. A veces hombres o mujeres moldeados por este viento se iluminan de una luz distinta, se destacan del fundo ciego de la historia, se vuelven siluetas doradas, estatuas vivientes: comunidades enteras se cierran alrededor de estos héroes y de estas heroínas, se reconocen en sus vidas, su hazañas, sus valores y sus muertes, a través de ellos y ellas participan vicariamente en una humanidad diferente, más resplendente, cercana de lo divino, casi inmortal. Surge la necesidad de una cara, la cara del héroe o de la heroína, que no sea como la cara de los demás, sino pueda resistir al viento de la historia y dar aliento con su mirada a un mundo frágil de vidas cotidianas, nacimientos, casamientos, funerales, comidas y festejos, esperanzas y miedos. Los héroes nacionales fundan las naciones pero al mismo tiempo estas fundan a sus héroes atribuyéndoles no simplemente la cara con la que vivieron sino la cara con la que sobrevivieron, y resistieron al viento de la historia.

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- by Massimo Leone
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- 20
  Semiotics, Visual Studies, Iconography, Visual Culture

The art of Italian craftsmen Cosmati, who created unique mosaic production at XII and XIII centuries in Rome and its environments, had delighted people over centuries. The filigree technique of the stonework, polychrome, and diversity of... more

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- by Igor Tsykunov
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- 20
  Semiotics, Philosophy Of Religion, Art History, Architecture

In societies that uncritically embrace and endorse a digitalization not only of memory but of the same idea of memory, déjà-vus manifest themselves as the impossibility of subtracting culture from a disquieting feeling of recognition.... more

Im vorliegenden Aufsatz stehen das Konzept der Empathie und deren Verbindung zur Filmmusik als Bildton und Fremdton im Mittelpunkt. Zum einen wird Empathie, die als Einfühlung auf dargestellte Emotionen (Wut, Trauer etc.) Bezug nimmt,... more

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- by Lars Christian Grabbe and +1
  Patrick Rupert-Kruse
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- 98
  Semiotics, History, Cultural History, Cultural Studies

Lire Marin, bien sûr. Mais le regarder, la chose est moins évidente. Et pourtant, il a produit un grand nombre de dessins accompagnant ses études des systèmes de la représentation. Quelle place et quelles fonctions accordait-t-il à... more

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- by Jeremie Koering
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- 16
  Semiotics, Epistemology, Art History, Renaissance Studies

Questo libro accompagna il lettore in un viaggio di esplorazione del tempo nei videogiochi. Che caratteristiche ha il tempo videoludico? In che modo i videogiochi rappresentano e strutturano il tempo? Quali effetti temporali e ritmici... more

MIMESIS TRAN DUC THAO RICERCHE SULL'ORIGINE DEL LINGUAGGIO E DELLA COSCIENZA "Una delle maggiori difficoltà che presenta il problema dell'origine della coscienza è quella d'individuare il momento preciso in cui la coscienza ha inizio.... more

MIMESIS
TRAN DUC THAO
RICERCHE SULL'ORIGINE DEL LINGUAGGIO E DELLA COSCIENZA
"Una delle maggiori difficoltà che presenta il problema dell'origine della coscienza è quella d'individuare il momento preciso in cui la coscienza ha inizio. Dove bisogna tracciare con precisio ne la linea di demarcazione tra lo psichismo sensomotorio degli animali e lo psichismo cosciente che vediamo manifestarsi nel l'uomo?"

Nel presente volume, apparso in Francia nel 1973, sono raccolte le tre ricerche (rispettivamente sul gesto dell'indicazione, sul linguaggio sincretico e sul complesso edipico) che Tran Duc Thao ha dedicato alle origini del linguaggio e della coscienza. Il filosofo vietnamita risale ai primordi della cognizio-ne umana descrivendo la pratica sociale e comunicativa dei nostri antenati preistorici, comparandola con lo sviluppo linguistico del bambino e assegnando al linguaggio - innanzitutto gestuale - il ruolo di mediatore tra la vita reale e l'interiorità vissuta, nel quadro di una "semiologia dialettica" debitrice della tradizione marxista e in costante dialogo con le scienze sociali e naturali. La presente edizione si basa su fonti inedite, proponendo un testo corretto e aderente alle volontà dell'autore.

Tran Duc Thao (1917-1993) è stato un filosofo vietnamita formatosi in Francia, interprete tra i più raffinati e rigorosi della fenomenologia husserliana con l'opera Fenomenologia e materialismo dialettico (1951), attento alle sfide provenienti dalle scienze (linguistica, psicologia, biologia, paleoantropolo-gia, genetica), marxista e attivista politico sensibile alle rivendicazioni dei popoli colonizzati. Il percorso di Thao attraversa i grandi momenti del Novecento (colonialismo e decolonizzazione, la Seconda guerra mondiale e le Guerre del Vietnam, lo stalinismo e la destalinizzazione, il maoismo e la perestrojka) e se ne fa cassa di risonanza critica e consapevole.

Jacopo D'Alonzo (1990) si è laureato in Filosofia alla Sapienza Università di Roma, ha conseguito il titolo di dottore di ricerca in Linguistica generale presso l'Università Sorbonne Nouvelle e ha condotto ricerche presso il Laboratoire d'histoire des théories linguistiques di Parigi. Si è occupato della riflessione linguistica di Giorgio Agamben, della questione dell'origine del linguaggio dal Settecento ai giorni nostri, di fenomenologia del linguaggio e degli studi linguistico-semiologici nella tradizione marxista.

Andrea D'Urso (1981), titolare di un master e di un dottorato di ricerca con label di doctor europaeus in Letterature comparate e Traduzione all'Università degli Studi di Siena, 2009; docente a contratto di Letteratura francese presso l'Università del Salento dal 2010 e di Lingua e Letteratura italia-na presso l'Università di Lille dal 2017, si occupa principalmente di storia e critica della letteratura nella prospettiva metodologica del materialismo storico-dialettico. È inoltre un raro continuatore della semiotica di Ferruccio Rossi-Landi, applicata anche nei campi della teoria filosofico-letteraria, della traduttologia e degli studi femministi.

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- by JACOPO D'ALONZO and +1
  Andrea D'Urso
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- 8
  Psychology, Languages and Linguistics, Marxism, Phenomenology

Resumen del libro de semiología de suros

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- by Aderley castro barrios
- •
- 3
  Semiology, Cardiologia, suros

Industrial design has become a well-known and important discipline today. Industrial design is a truly interdisciplinary field, encompassing engineering, social sciences, economics and basic sciences. Overtime, the dynamics that affect... more

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- by Dilara KARTALKAYA KÖKSAL
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- 5
  Semiotics, Design, Industrial Design, Semiology

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- by Alejandra Barreto Grimaldos
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- 6
  Medicine, Medicina, Semiology, Semiología

A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness... more

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- by Aaron Anderson
- •
- 55
  Critical Theory, Semiotics, Cultural Studies, Psychoanalysis

Semiology

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