Semiotika Roland Barthes

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.

Türk halk anlatılarından efsaneler bugüne kadar birçok açıdan incelenmiştir. Temelde sözlü bir anlatı türü olan efsaneler yazıya geçirildiğinde edebîlik vasfı olan metinler olarak var olmaya devam eder. A.J.Greimas tarafından geliştirilen ve değişik temellere dayandırılan bir yazınsal göstergebilim yöntemi olan “aktansiyel model” tüm metinlere uygulanabilen bir yöntemdir. İncelememizde bu yöntemi bir efsane metnine uygulayarak yöntemi halkbilimsel bakış açısıyla beslemeye çalıştık.
Abstract
Many Turkish folk narratives have been studied from different perspectives.  The legend that is basically an oral narrative form, achieves literary value when transferred into written form. A.J. Greimas has elaborated the actantial model for semiotic analysis that can be applied to all types of written texts. This paper uses Greimas’s ‘Actantial Model’ through a folkloristic perspective in interpreting a legend.

http://ojs.newartstudies.ru/index.php/journal/article/view/177 

https://cyberleninka.ru/article/n/mihail-alpatov-i-kanon-sovetskogo-iskusstvoznaniya

In the article, the researcher investigated the problems of interpretation of the “canon of Soviet art history” in the scientific works of Mikhail Alpatov. The author paid special attention to the elements of populist strategies in his legacy and possible sources of Alpatov’s “populist” cultural concept (ideas of Fedor Buslaev, Pavel Muratov, Nikolai Punin, Wilhelm Worringer). The researcher revealed the heterogeneous nature of the scientific methodology of Mikhail Alpatov within the framework of the general dominance of conservative and essentialist discourses. The author also focused on the most relevant and promising components of the scientific heritage of Alpatov, to one degree or another associated with comparative, semiotic, and post-structuralist studies. The researcher discussed in detail the study “Artistic Problems of the Art of Ancient Greece” and the opposition Russia / West in Alpatov’s work. The author examined the components of the German “conservative revolution” (in particular, Oswald Spengler’s cultural studies) in the scientific works of Mikhail Alpatov as well.

Hat die Semiotik ihre beste Zeit hinter sich? Macht man sich mit den maßgebenden Strömungen der gegenwärtigen geistes- und kulturwissenschaftlichen Forschung vertraut, so fällt es schwer, diese Frage zu verneinen. Wie die Beiträge dieses Themenheftes zeigen, erweist sich die Semiotik jedoch nicht nur als anschlussfähig an aktuelle Diskurse um Präsenz und Aisthesis. Mit dem Œuvre Roland Barthes’ werden diese Aspekte bereits von einem Klassiker der semiotischen Theoriebildung auf vielfältige Weise verhandelt. Das Themenheft möchte auf diese Aspekte in Barthes’ Denken aufmerksam machen und dazu beitragen, seine Schriften für die weitere Diskussion um Semiosis und Aisthesis produktiv zu machen.

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.

The paintings painted by this poet are, in fact, the framework of life grapiúna, under his nostalgic look of an era in which the night had the chocolate filled in the streets of Itabuna and the mornings were populated with the rafts and with the laundresses in the Cachoeira river, the transvestite youths were in the afternoon in the Teatrinho ABC of the old square Camacan, and Jean Paul Sartre came to visit us with his companion Simone de Beauvoir. In each simple trait set on the canvases, a gesture of poetry that seeks to portray the images lived in the daily life of the artists or in their imagination as a poet. In each painted canvas, we find not only the simple features of Valdirene, but his own face, it is as if in painting she had painted herself, in a kind of self-portrait. In this work, we present some brief reflections about the work of this artist grapiúna.

Resumo:
Os quadros pintados por esta poeta são, na verdade, o enquadramento da vida grapiúna, sob seu olhar cheio de nostalgia de uma época em que a noite tinha o cheio de chocolate nas ruas de Itabuna e as manhãs eram povoadas com as jangadas e com as lavadeiras no rio Cachoeira, a juventude transviada se encontrava à tarde no Teatrinho ABC da antiga praça Camacan, e Jean Paul Sartre vinha nos visitar com sua companheira Simone de Beauvoir. Em cada traço simples deflagrado sobre as telas, um gesto de poesia que busca retratar as imagens vividas no cotidiano da artistas ou na sua imaginação de poeta. Em cada tela pintada, encontramos não apenas os traços simples de Valdirene, mas o seu próprio rosto, é como se em quadro ela tivesse pintado a si mesmo, numa espécie de autorretrato. Neste trabalho, apresentamos algumas brevíssimas reflexões acerca da obra desta artista grapiúna.

Claude Lévi-Strauss holds that history and anthropology difffer in their choice of complementary perspectives: history organizes its data in relation to conscious expressions of social life, while anthropology proceeds by examining its unconscious foundations. For R. G. Collingwood historical science discovers not only pure facts but considers a whole series of thoughts constituting historical life. Also Lévi-Strauss sees this: "To understand history it is necessary to know not only how things are, but how they have come to be." However, Lévi-Strauss does not perceive the double-sense of history, which can fijirst be a record of historical "conscious" facts and second, a chain of unconscious or half-conscious acts. Like Lévi-Strauss, Charles Bally has derived the main theses of his theory from Saussure. However, contrary to Lévi-Strauss, Bally does not fijind structures at the inside of the phenomena but at their outside: "Our attention is drawn to the expressive side and not to the interior side of the facts of language." Bally calls those structures not "history" but "style." In Roland Barthes's attempt to establish a structuralist system of fashion we can fijind a defijinition of style very similar to Bally's. In the end, however, none of these thinkers addresses the fact that unconscious relations within historical life are constantly interlocked with conscious elements.

E' il primo capitolo di una tesi su Roland Barthes.
Si affrontano preliminarmente, le maggiori opere di Barthes e la sua vita. L'ambiente culturale segnato dallo Strutturalismo (in parte) e dal gruppo attorno alla rivista Tel Quel.

RELATORE: Adone Brandalise.

In the passage of the Course in General Linguistics where Ferdinand de Saussure first foresaw the necessity to develop a new discipline called “semiology”, “nautical flags” are prominently listed among its objects of inquiry. Flags, indeed, are naturally interesting objects for semiotics, not only because they signify through a systematic display of forms and colors, but also because of the specific pragmatics of such display. A flag can be thought of abstractedly, as an array of symbols, but it features also a specific materiality, wherein two elements particularly stand out: (1) the flag is generally a textile; (2) this textile is meant to interact with a natural element, the wind. Flags are so symbolically important also because they seem to acquire an individual agency when they wave in the wind, and therefore to confer this autonomous agency to the cultural ideas which they stand for. The paper investigates this particular semiotics in relation to opposite ideological usages of the Italian national flag, meant to signify an either inclusive or exclusive identity.

كتاب ينقسم في ثلاثة محاور:
1. سيمياء اللباس (الأسئلة المرتبطة باللباس وأساليبه وظروف لبس كل منها)
2. الهيئات وما يرتبط بها من التحيات والاستقبال
3. الإشارات والإيماءات (الأوامر والطلبات، المشاعر والاحاسيس، الصفات والأحوال)
The book is in three chapters:
1. Semiotics of clothing
2. Postures
3. Gestures and NVC

L'enigma dei volti artificiali è che non esistono volti completamente naturali, eppure non esiste volto che non sia anche naturale. I simulacri di volti, indi-pendentemente da come vengano creati-disegno, pittura, scultura, fino alle creazioni algoritmiche delle reti neurali-in fondo devono sempre basarsi su volti biologici preesistenti in qualche tempo, in qualche spazio e in qualche modo. Al contempo, ognuna di queste facce biologiche presenta un fenotipo che è influenzato dal linguaggio, dalla cultura e dalla moda, a inclusione della stessa moda dei simulacri facciali. I nostri ritratti rimandano a volti naturali, ma questi si atteggiano spesso prendendo quelli a modello. Lo studio semioti-co del volto non può però limitarsi a proclamare questo enigma. Deve anche sviscerarlo. Deve, per ogni categoria e caso di volto significante, delineare la soglia tra natura e cultura, trasmissione genetica e linguaggio.

Buku ini adalah naskah awal buku Semiotika Komunikasi  yang saya tulis pada tahun 2006. Saat ini sudah beredar  edisi terbaru (2013) yang diterbitkan oleh Mitra Wacana Media dengan judul yang sama. buku ini semula saya dedikasikan bagi mahasiswa yang sedang menulis skripsi, mengunakan penelitian kualitatif khususnya yang menggunakan semiotika sebagai pisau kajiannya.semiotika adalah sebuah metodologii membongkar ada apa di balik sebuah tanda ( baik berupa ikon atau simbol dan indeks). Dalam buku Semiotika Komunikasi (wibowo,2011) ini disinggung sejumlah tahap saat mencoba menganalisis tanda dan makna menggunakan Semiotika. Tahap awal adalah : memilih objek kajian yang akan diteliti, kemudian mulai mengkatagorikan sign tersebut berdasarkan jenisnya apakah tanda tersebut adalah tanda yang bersifat verbal (berisi kata-kata,headline ,tagline,body copy dan sebagainya) atau tanda yang bersifat nonverbal apakah berupa image/ikon, apakah body language, gerak-gerik, komunikasi non verbal, tata letak/design atau komposisi atau bersifat simbolik seperti rambu-rambu,warna,logo dan sebagainya. Baru kemudian dianalisis menggunakan model semiotika yang hendak dipakai (semotika Charles Sander Peirce atau Roland Barthes) setelah dianalisis kemudian dinterpretasi dan dibenturkan dengan triangulasi lewat wawancara dengan praktisi atau pihak terkait.

«“Εζωγραφίσθη στανικώς”: Ο θρύλος της προσωπογραφίας ενός ληστή στην πεζογραφία του Χριστόφορου Μηλιώνη», στο Μ. Γ. Βαρβούνης - Ν. Μαχά-Μπιζούμη - Αλ. Γ. Καπανιάρης (επιμ.), Ελληνική Λαϊκή Τέχνη: Παλαιότερες θεματικές και σύγχρονες προσεγγίσεις, Τόμος Β΄, Δημοκρίτειο Πανεπιστήμιο Θράκης - Σχολή Κλασικών και Ανθρωπιστικών Σπουδών - Τμήμα Ιστορίας και Εθνολογίας - Εργαστήριο Λαογραφίας και Κοινωνικής Ανθρωπολογίας (Μελέτες Λαογραφίας και Κοινωνικής Ανθρωπολογίας 12) - Ιδιόμελον, Βόλος 2021, σσ. 169-188.

Abstract

«Painted by force»: the legend of the portrait of a bandit
in the prose of Christoforos Milionis

In the church of Dormition of the Mother God (1764) in the settlement of Alepochori-Mpotsari of Ionnina district a folk full-body portrait of Diamantis Spatoulas is being saved on a column. According to the legend, which is studied systematically by Kitsos Makris, Spatoulas is one of the bandits of the area that funds the painting of the church in 1784. The bandit forces the painter to portray himself on the iconostasis. However, the painter tricks him by portraying the bandit on the first column opposite the entrance and adds the note: «painted by force». The contemporary archaeological research doesn’t confirm the legend, since Diamantis Spatoulas is the church warden, and not an outlaw.
The legend of the bandit that forces the painter to portray himself in the church is included in the narrative program of two texts by Christophoros Milionis (1932-2017), a short story writer of the second post-war generation. The travel narrative “Dodoni- Lakka Souliou” (1962) is published in the magazine Endochora, in relation to a series of literary texts of various authors in regard to the region of Epirus. Before the folkloric recording of Kitsos Makris and other researchers, the homodiegetic narrator of Milionis embodies this particular tradition by narrative and reported speech, giving voice to Spatoulas and the painter. In the short story «The tasteful bandit» from the edition Elevator operator the legend reappears, but now in a different semantic field. According to the model of connotation of Ronald Barthes, the legend of the bandit in the travel narrative of Endochora is interpreted as a primary sign system (denotation), whereas in the short story as a secondary sign system (connotation) about the basic subject of the narrative in regard to the artistic creation and the role of the author. The connotation promotes the function writer = bandit. The author equates with the tasteful bandit, since he “steals” elements from the reality and the existing people in order to form his fictional universe. Consequently, through the intervention of the author, the real people “by force” are transformed into actors constructed by words.

È estatico ogni discorso che, costruendosi nel linguaggio e col linguaggio, rappresenta nondimeno una fuoriuscita da esso, un bloccarsi della semiosi, un venir meno delle distinzioni che fondano il senso. Trattasi dunque di un’impostura? Dell’evocazione impossibile, fra le maglie dell’immanenza, di una dimensione trascendente nella quale e verso la quale la prima si sfaldi, perdendo la consistenza di strutture e opposizioni? Rispondere affermativamente sarebbe forse semplicistico, sarebbe considerare l’estasi come puro effetto ottico, come sorta di trompe-l’oeil mistico. In realtà, come ogni trompe-l’oeil, anche l’estasi rinvia a qualcosa di più della propria semplice rappresentazione. Essa rimanda ai pregiudizi inconfessati di un’ideologia semiotica, alla trama nascosta, al negativo segreto che regge tutta la concezione moderna del senso e del linguaggio. Il discorso mistico, che corre parallelo e invisibile, spesso represso, a volte perseguitato, lungo tutta la storia delle religioni, esprime allora questo dubbio: e se il senso non fosse distinzione, separatezza, dualità? Se l’immanenza articolatoria che lo viviseziona non fosse che illusoria? A questo punta ogni racconto dell’estasi: al sospetto che i fondamenti della modernità, anti-mistici per definizione, non siano altro che una delle possibilità dell’umano, e che una storia non detta, in filigrana, si dipani accanto e sotto al moderno come traccia sbiadita di un altro percorso, di un altro modo d’intendere e di dire.

Signatim è termine raro. Compare in un passo attribuito all’autore Caio, all’interno dei cosiddetti Gromatici veteres, una raccolta di testi di agrimensura compilata nel V secolo d.C. “Gromatico” è infatti tutto ciò che si riferisce alla misurazione, divisione, e rappresentazione di terreni. Il termine deriva da “groma”, uno strumento che gli Etruschi prima, e poi i Romani, utilizzarono per tracciare sul territorio allineamenti ortogonali, necessari per la delimitazione di nuove città, quartieri, e strade, ma anche per suddividere il terreno in quadrati o rettangoli, e renderne così calcolabile la superficie.
Nel passo di Caio si descrive una tecnica gromatica. Al fine di poter identificare anche in futuro i paletti interrati che delimitano il terreno, è necessario contraddistinguerli con un segno a forma di stella, la cosidetta “stella junior”. In questo contesto, “signatim” è dunque avverbio che designa la scrittura e la lettura di segni nella delineazione di frontiere. Quale parola più appropriata per evocare il lavoro della semiotica della cultura, la quale pure si occupa dei segni, delle tracce, delle marche che gli individui e le società producono nell’istituire la diversità? Per cartografare non colture ma culture, non gromatiche ma grammatiche, riconducendone le forme esuberanti all’ortogonalità di strutture soggiacenti?

These studies aim to discover signs that representation of millennials generation be contained in My Generation film (2017) by Upi Avianto. This film, represent the life dynamics of millennials generation in this era. Not like teen films for a common, My Generation film daring to describe the truth about teen life based on the rest of the director held for two years through my social media. So this film representation of millennials generation with the way they are from the positive side or negative side. This research does with semiotics analysis Roland Barthes with a qualitative-descriptive approach and constructivist paradigm. The theory used by the researcher is the Representation of Stuart Hall. The result of studies represents that millennial generation cross-culture represented on the My Generation film with any scene describing different habits and characters from another generation. Millennial generation cross-culture showed on social norm difference where is no respect toward politeness value, millennial generation stereotype, life perspective difference inclined to be free and liberal, comprehensive, opened and brave to showing differences, strong and optimistic mindset.

Material didáctico de lectura en la carrera de Diseño y Comunicación Visual, introductorio a la obra semiológica de Roland Barthes, atendiendo a su pasaje desde los primeros análisis del lenguaje verbal hacia la apertura a diversos objetos de estudio, entre ellos, la fotografía y la publicidad.

Film adalah kebutuhan hidup manusia yang selalu berinovasi dalam kontennya. Konten film tidak hanya sekadar menjadi hiburan semata. Film berkembang menjadi suatu wadah inspirasi setiap orang untuk menciptakan suatu hal yang sulit untuk dilupakan bahkan dapat menciptakan suatu tren baru. Film yang dikatakan sukses apabila penonton dapat terhipnotis untuk memuja para pemain dalam waktu yang sangat lama. Hal ini bisa terjadi jika sang aktor atau karakter yang dimainkan dibuat dengan sepenuh hati dengan latar belakang waktu yang sangat kuat, seperti peperangan. Kisah fiktif namun inspiratif ini mampu menghipnotis banyak orang untuk menjadikannya sebagai ikon pahlawan yang seakan-akan ada di dunia nyata.

ABSTRAK
Pembuat iklan harus memikirkan matang-matang bagaimana iklan tersebut akan di tayangkan. Sebab jika iklan tersebut tidak menarik dan susah dipahami masyarakat, otomatis produk yang di iklankan tidak akan menarik hati khalayak. Pembuatan iklan di Indonesia sendiri sudah sangat berkembang , kualitas iklan-iklan di Indonesia sangatlah baik. Seperti contoh iklan Sprite yang berjudul  “Nyatanya Pas” pada tahun 2017. Menurut peneliti tayangan iklan ini sangat unik dan menarik. Tujuan yang ingin dicapai oleh peneliti dalam penelitian ini adalah  mengetahui makna pesan pada iklan Sprite edisi “ Nyatanya pas. Pada iklan Sprite yang berjudul “Nyatanya pas” terdapat pesan yang ingin disampaikan melalui audio, teks ,dan visual. Untuk itu , peneliti membedah objek ini menggunakan analisis semiotika Roland Barthes karena dapat mencakup audio,teks, dan visual. Teknik pengumpulan data yang dilakukan peneliti dengan cara mendownload iklan Sprite “Nyatanya pas” melalu youtube lalu melakukan penelitian apa saja makna yang terdapat didalamnya. Peneliti menemukan data bahwa didalam iklan Sprit “Nyatanya Pas” sprite ingin menyampaikan pesan bahwa telas merilis porsi baru dalam produknya.

Kata Kunci: Iklan, Sprite, Semiotika

Roland Barthes’ Arbeiten zu Zeichen, Kommunikation und Mythos bilden einen der
Grundpfeiler für den strukturalistisch-semiologischen Ansatz der Cultural Studies, die die
soziale Welt als kulturellen, sozialen oder medialen Text verstehen und somit als ein System
von Zeichen begreifen. Das Ziel der Cultural Studies ist die Beschreibung der Sinn und
Bedeutung zuweisenden Aktivitäten des Rezipienten, die im Kommunikationsprozess den
medialen Text generieren. Die Kommunikation – also die Codierung und Decodierung
medialer Texte – orientiert sich dabei an den mythologischen und ideologischen Strukturen,
die innerhalb eines gesellschaftlichen Diskurses herrschen. So können Zeichen und Texten
auf konnotativer Ebene verschiedene Bedeutungspotenziale zukommen, die jenseits der
eigentlichen, denotativen Bedeutung liegen – man spricht hier von Polysemie bzw.
Lesevielfalt. In den kommunikativen Prozess bezieht Barthes auch Zeichensysteme der
modernen Massenkultur mit ein, wie z.B. Photographie, Film, Werbung usw. und weist sie so
als Träger mythologischer Aussagen aus. Die Ausformung seiner Semiologie als
Ideologiekritik weist auf Barthes’ tragende Rolle innerhalb der Cultural Studies hin. Durch
die Rezipienten abhängige Zuweisung von Bedeutungen rückt Bathes’ den Begriff der
Textunabhängigkeit in den Fokus seiner Untersuchungen, plädiert schließlich sogar für den
Tod des Autors um den Leser als Bedeutungsgenerator gebären zu können.

Communication is one of the basic needs of humankind such as breathing and eating. However, it is also something we do involuntarily. Sometimes just our attitude can be a way of communicating with others. For this reason, communication is an indispensable and indestructible reality in human life. We need signs and codes to communicate. There is also a need for a channel and environment in which communication will occur. Communication doesn't just happen between two people. Communication also occurs between the masses. In fact, communication between the masses is a way that makes our lives easier. In order to provide mass communication, people have discovered mass media tools and these tools have been developed over time and they have reached a high-level today. With the introduction of mass media into our lives, especially after the industrial revolution, the effect of the concept of mass was used by the authorities. The most important tool for the authorities to use this concept is of course the mass media. The best examples to be given to mass media; photos, telegrams, movies, radios, televisions, and the internet. Communication level with the Internet has reached the fastest point. The question "what are the effects of mass media" has been one of the topics studied in the communication sector. Messages given to the masses through mass media, the damage happened to the messages in this process, and the effect of the message on the recipients has been studied by the theories that emerged in this process. In this study, we will examine the two topics in classical communication theories, the process school and the semiotics school, we will address communication models connected to these theories, and finally we'll do an advertisement examination from a semiotic perspective.

Semiotika ada dimana-mana. Kali ini, saya akan membawakan analisis semiotika dalam naskah drama "Presiden Kita Tercinta" karya Agus Noor. Makalah ini dibuat sebagai salah satu syarat perkuliahan mata kuliah Semiotika di Prodi Sastra Indonesia, Universitas Negeri Jakarta. Alasan dipilihnya naskah drama adalah masih kurangnya penelitian tentang naskah drama. Selain itu, dalam segi konten dan konteks karya sastra yang saya analisis kali ini juga memiliki aroma yang kuat dalam segi semiotika.

Tiap-tiap tanda memiliki makna, dan makna tersebut diproduksi dari konsep-konsep dalam pikiran seorang pemberi makna melalui teks. Dalam kebudayaan tanda direpresentasikan ke dalam bentuk produk budaya, baik dalam tangible maupun intangible. Bentuk dan makna tanda yang telah diproduksi tersebut bersifat konvensional, atau telah melalui proses kesepakatan, sehingga dapat digunakan dan dimaknai secara bersama.

The goal of this article is twofold. First, it revises the historiographic partition proposed by John Deely in Four Ages of Understanding (2001) by arguing that the moment marking the beginning of philosophical Modernity has been vividly recorded in Descartes’ Meditations on First Philosophy with the experiment with the wax. Second, an upshot of this historical study is that it helps make sense of Deely’s somewhat iconoclastic use of the words “subject” and “subjectivity” to designate mind-independent worldly things. The hope is that successfully accomplishing these twin tasks will give semiotic inquiry a better appreciation of its own history, as well as resources genial to furthering its ongoing development.

Di tutte le annunciazioni che popolano la storia umana e le sue svariate tradizioni, al semiologo non interessa la fonte in sé, il numinoso che all’umano si rivolge per significargli di volta in volta la propria presenza, intenzione, sensibilità; interessa, piuttosto, il modo in cui a seconda delle epoche storiche, dei contesti culturali, delle vicende sociali, ma anche delle sensibilità individuali, uomini e donne hanno utilizzato i materiali del mondo, quelli dell’immanenza, per forgiare i significanti del divino. Ovvero, specularmente, il modo in cui hanno immaginato, e creduto con fermezza, che tali materiali divenissero d’un tratto appannaggio di una divina intenzione di comunicare, stoffa della rivelazione, parole annuncianti. Al teologo, non al semiologo, spetta immaginare la ricostruzione della totalità a fronte della quale si dipana il messaggio divino nella sua vicenda immanente. Al semiologo tocca invece un compito che è insieme più modesto e più costrittivo; innanzitutto raccogliere e inventariare queste tracce: in quali circostanze gli uomini e le donne hanno raccontato e raccontano di un loro incontro con il divino? Utilizzando quali segni? Piegandoli a quali necessità comunicative? Il compito successivo, più arduo, è analizzare questi segni, con gli strumenti di cui dispone la metodologia semiotica, per capire se si possano in qualche modo catalogare, suddividere in tipologie, distribuire in atlanti che, anche al di là e a dispetto delle differenze d’origine storica e confessionale, manifestino nondimeno dinamiche comuni nella costruzione e nell’elaborazione del linguaggio.

tesi magistrale in semiotica del testo riguardante gli effetti di senso creati dal montaggio audiovisivo.
il seguente studio dopo aver analizzato il medium tv, i generi televisivi ed il linguaggio proprio della televisione, affronta il particolare rapporto tra diversi codici espressivi quali: linguaggio verbale, iconico, sonoro.
la trattazione si conclude con un approfondimento riguardante un format televisivo in particolare: Blob. La scelta di analizzare questo programma risiede nel suo potenziale manipolativo-semantico insito nei processi di montaggio audiovisivo peculiari del format.

Semiotics (sometimes spelled “semeiotic”) is the name first given by John Locke, and later reprised by Charles S. Peirce, for the “doctrine of signs,” or the study of how some things can stand for other things to still other things. This deliberate inquiry can be contrasted with “folk semiotic” accounts, which assume that there is some intrinsic feature about, say, the human voice or a painted board that makes them capable of signifying. Such a naive assumption does not withstand serious scrutiny. From a philosophical standpoint, what makes something a sign is an involvement in a specific sort of triadic relation. This relation is found in human/nonhuman and deliberate/nondeliberate signs alike. Semiosis, the action of signs, is what permits communication, but it is wider than communication. For example, if while in an adjacent room I smell that the turkey in the oven is ready, my pet dog can smell it too, and the turkey is not trying to “tell” us anything. But if the cook in the kitchen tells me it is ready, I receive that message, while my dog hears the sounds but is none the wiser (in contemporary semiotic parlance, my dog and I couple our Umwelten via indices, but the symbols at hand generate interpretants only in my anthroposemiosis). In spite of the fact that it has a long and distinguished history (especially during the medieval period), general inquiry into signs became an organized research program only in the mid-20th century. Today, in addition to philosophers, semiotics attracts a wide range of scholars, such as ethologists, cognitive scientists, linguists, art historians, logicians, media theorists, literary critics, computer programmers, biologists, sociologists, and so on. From a methodological standpoint, then, parochialism is not an option. The scholarly literature can nevertheless be fruitfully divided into theoretical and applied strands. Not surprisingly, most philosophers drawn to semiotic questions work in the former strand. Semiotics is not to be confused with “semiology,” a (now largely defunct) project that originated in the lectures of the linguist Ferdinand de Saussure and which was active in the 1960s, mainly in France. Semiotics, by contrast, is a vibrant tradition that continues to flourish worldwide. Although some persist in employing the term “semiotics” when discussing narrow studies that focus exclusively on cultural codes, such terminological misuse masks the fact that a study of signs is broader than a study of language. A sustained philosophy of signs, then, promises (as Locke initially surmised) to yield truly novel insights.