Semiotika Roland Barthes

This paper undertakes a discussion about the body as materiality visible on speakable into two film productions of horror (Frontiers and Inside), whose filmic order of horror makes use of the images for the event of October 2005, which was marked by demonstrations and violent clashes between police and protesters in major French cities. This way of using images related to political or social events is a feature of American film productions of horror the years 1960-1970, of which The Texas Chain saw Massacre rebuilds his script under the Ed Gein case memory what happened in the US state Wisconsin in the 1950s this discussion is an analysis, roping hand intericonicidade notion to deal with images that refer to other images and at the same time, we return to Barthes reflection "How can an event be written?" enunciated in 1968, to reflect on the events of May of that year. As for the body, we treat this object by the order prism of Foucault ventures in which the body appears as "an essential and multifaceted protagonist".

Resumen El presente artículo explora la circulación de las obras Roland Barthes en Chile a partir del estudio de la crítica y de la narrativa del escritor Enrique Lihn (1929-1988). Para eso, abordamos, en primer lugar, la polémica de Lihn y el principal crítico chileno de la dictadura, José Miguel Ibãñez Langlois, en torno del estructuralismo francés. En segundo lugar, analizamos las marcas del pensamiento de Barthes en los textos críticos de Enrique Lihn reunidos en El circo en llamas. Finalmente, observamos cómo estas marcas también se reflejan en la narrativa de Lihn, específicamente en los relatos "Huacho y Pochocha", "Panorama artístico de la República Independiente de Miranda" y en las obras en que aparece el personaje Gerardo de Pompier. Palabras-clave: Enrique Lihn, Roland Barthes, Crítica literaria chilena. Resumo Este artigo explora a circulação das obras de Roland Barthes no Chile a partir do estudo da crítica e da narrativa do escritor Enrique Lihn (1929-1988). Para isso, abordamos, em primeiro lugar, a controvérsia de Lihn e o principal crítico chileno da ditadura, José Miguel Ibãñez Langlois, sobre o estruturalismo francês. Abstract This article explores the circulation of Roland Barthes's works in Chile based on the study of writer Enrique Lihn's critic and narrative (1929-1988). To this purpose, we first address the differences in opinion between Lihn and the main Chilean literary critic during the dictatorship, José Miguel Ibãñez Langlois, *Este texto es producto de una estancia de investigación junto al Instituto de Estética de la Universidad Católica de Chile en el primer semestre de 2020, bajo la supervisión de la profesora Lorena Amaro, a quien agradecemos por todo el apoyo prestado.

The article shows that, in the effort to convey a notion of the singularity of the beloved face, especially in tragic settings, often human cultures resort to nature, and adopt animal, vegetable, and even mineral metaphors in order to rhetorically transfer the singularity of their shapes to that of the facial representations. This trend develops across cultures in world literature but imposes itself with particular emphasis in those traditions, authors, and texts that posit a systematic correlation between the microcosmos and the macro-cosmos, between body and nature, and between the face and the landscape.

This paper scrutinizes how Roland Barthes' notion of Text can be reinterpreted in the Internet era. Barthes' " From Work to Text " is the main theoretical piece on which the article's theoretical framework is grounded. Geoff Ryman's 253: or Tube Theatre is taken to serve as the example for Internet hypertext literature, and is examined vis a vis Barthes' conceptualizations and ideas. The essay starts with a brief discussion on the nature of Internet literature in relation to that of print literature. This discussion consists of 'the transition period' spirit in literature, and the advantages of Internet publishing. The essence of this part is about how traditional paper-based print literature is endangered by online publishing. After the section on the new literature style come the analysis of Barthes' " Text " and the application of his theories on 253. In this analysis, Barthes' text is 'destructed' into three metaphors: the metaphors of Text as the sea, the network and the game. Analysis of 253 according to Barthes follows the same order as quotations from Barthes. After the comparative analysis of " From Work to Text " and 253, the paper focuses on the contributions of 253 in the framework of the old questions of literature. These questions include collaborative authorship, Internet readership, self-reflexivity and fundamental authorship.

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.

1. “Semiotics of the Past: The Cultural Production of Memory and Oblivion”, University of Shanghai, 2 April 2018;

2. “Semiotics of the Present: The Cultural Production of Attention and Distraction”, University of Shanghai, 4 April 2018;

3. “Semiotics of the Future: The Cultural Production of Utopia and Dystopia”, University of Shanghai, 6 April 2018.

"The Author Cannot Die: Contradictions in ‘The Death of the Author’" is a study of Roland Barthes’s famous essay “The Death of the Author”. The bigger question is, however, how this kind of intellectual adventurism deviates us from understanding a society which is purely governed by authorial providence. Barthes’s essay, like others in the same strand, deliberately avoids politico-economic questions, and hovers, from the very beginning, over an intangible ambiguity in an attempt to philosophize and sermonize. However, my article is divided into two sections: the first deals with the language (text), Barthes put to use in his essay, to show its inner contradictions, while the second part is an extension of the former and an overview of the (capitalist) academic structure that sustains author and authority. I also believe that most of my observations are not unknown to the learned world. It cannot escape the readers’ attention either that some of the observations on Barthes’s article are also applicable to my essay for obvious reasons. I am not free from the vicious circle and also share the same identities in some/many respects. (DoP: 11. 12. 2017)

Roland Barthes’ essay Camera Lucida. Reflections on Photography is probably the most famous essay written on photography after WWII. Barthes’ essay is usually taken as a theory of realism, especially since Barthes claims that a photograph is “somehow co-natural with its referent” (Barthes 1982, 76). This thesis, however, as I intend to show in my paper, is misunderstood if we understand it to imply a simple form of causal realism; for almost all major commentators, overlook that Barthes’ essay is written in a phenomenological spirit. In my paper, I intend to correct the aforementioned view of Barthes’ position as a simple causal realism by arguing that the relation between photograph and referent should instead be understood as a relation between the looking subject and the referent, which will lead to a non-naturalist thesis about the relation between photography and referent. I shall first demonstrate that Barthes’ essay is primarily not about photography taken as an object; rather, Barthes tries to describe the experience of photograph, which comprises both the noetic and the noematic part of what I will call the photographic attitude. The photographic attitude is the consciousness of photographs. I, finally, argue that a phenomenological theory remains ultimately unsatisfactory because the mentalist underpinnings of this approach to photography do not permit us to understand photographs as a medium.

This paper undertakes a discussion about the body as materiality visible on speakable into two film productions of horror (Frontières and À l'interieur), whose filmic order of horror makes use of the images for the event of October 2005, which was marked by demonstrations and violent clashes between police and protesters in major French cities. This way of using images related to political or social events is a feature of American film productions of horror the years 1960-1970, of which The Texas Chainsaw Massacre rebuilds his script under the Ed Gein case memory what happened in the US state Wisconsin in the 1950s this discussion is an analysis, roping hand intericonicidade notion to deal with images that refer to other images and at the same time, we return to Barthes reflection "How can an event be written?" enunciated in 1968, to reflect on the events of May of that year. As for the body, we treat this object by the order prism of Foucault ventures in which the body appears as "an essential and multifaceted protagonist".

The study aimed to carry out a semiotic analysis on a text of an English song lyric, which was limited airtime by the West Java Branch of the Indonesian Broadcasting Commission due to sexual content. The elements of eroticism in the song lyric were analyzed by using Barthes' semiotic theory, particularly the concepts of denotation, connotation, and myth. The research employs a qualitative method with a descriptive technique. The study shows that the lyric tends to show the implicit sexual contents rather than the explicit ones. It suggests that the song lyric constructs the myth of eroticism, which is driven by sexual desire in a relationship, instead of constructing pornographic content, which is usually intended to exploit sexual activities. However, the Indonesian Broadcasting Commission apparently regard eroticism to be the same as pornography since they banned the daytime broadcast of the song. The present study is expected to provide insight into the different concept betw...

Terdapat berbagai cara untuk menyuarakan aspirasi, salah satunya melalui lagu. Karya lagu dari Iwan Fals yang berjudul 'tikus-tikus kantor' ini merupakan salah satu karyanya yang dibuat untuk kritik sosial. Hal yang menarik adalah syair lagu ini tidak diungkapkan secara gamblang namun menggunakan kiasan. Kajian ini akan menjabarkan makna yang terkandung dalam lagu 'tikus-tikus kantor' karya Iwan Fals, baik dari sisi bahasa maupun sisi musikalnya.

Robert Magliola, "Parisian Structuralism Confronts Phenomenology--The Ongoing Debate," in _Language and Style: An International Journal_, Vol. VI, No. 4 (Fall 1973), pp. 237-248.
Magliola begins with the phenomenological side of the confrontation. Ricoeur accuses the Structuralists of subordinating "parole" to "langue." "Parole" for the Structuralists is only a particular combination of elements drawn from the "combinatoire" whereas "parole" is a "mediating act" necessarily involving reference. As for the "subjective" end of the mediating act, the phenomenologist Doubrovsky puts the matter most succinctly: "Whenever something is said, someone must be saying it." Merleau-Ponty, decades earlier, had already shown--much as Heidegger did--that meaning is the mutual implication of subject and object (where "object," in this context, represents the "referent"). Whereas for Ricoeur the "sign" consists of signifier, signified, and referent, for a structuralist such as Barthes the sign is composed of signifier and signified alone. In the case of literary language, Barthes asserts the literary work is autonomous, and literary criticism should decipher its "coherent [internal] system of signs."  Structuralists such as Genet agree, and that in fact "one of the functions ... of literature as language is to destroy the speaker and designate him as absent." For his part, Philip Lewis accuses the phenomenologists of misrepresenting Structuralism: the latter study the "form of content, not form excised from content." Magliola devotes much time to Tzvetan Todorov, whose positive expositions of Structuralism are most sophisticated: for him, the literary text as object involves "poétique" and "lecture" (which in turn differs from "interprétation"). At this point, Magliola presents the phenomenological case, using adaptations of Husserlian thought to confront Todorov. Magliola next proposes that the outstanding difference between Structuralism and Phenomenology "does not concern degree of immanence but the nature of immanence." For Structuralism, "deep structure" has for its ultimate model algebraic "laws of transformation," whereas for Phenomenology "deep structure" is "consciousness-in-language." Magliola's next section tries to show that these two schools actually "overlap" and can be understood as complementary. To demonstrate, Magliola draws from Todorov, whose adjustments to Structuralism attenuate the more flamboyant statements of Jakobson, Barthes, and Lévi-Strauss. Todorov alters Jakobson's "principle of equivalence," Barthes' structuralist purism (in S/Z), and Lévi_Strauss's "atemporal, matrix-like structure." Ricoeur, from the phenomenological side, cautiously approaches "complementarity" by making his own adjustments, granting a greater role to "structural awareness" but keeping it subordinate, still, to "substantive awareness." Jean Piaget, the structural psychologist, grants that the "dialectical attitude" rejected by Lévi-Strauss actually is important. Magliola concludes his discussion of complementarity by turning to practical criticism and "the future." in the long run, he argues, Phenomenology and Structuralism will come to see themselves as "contiguous spans" on what Piaget calls the "historical spiral."

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Home > Vol 4, No 1 (2017) > Puteri


DOI: http://dx.doi.org/10.26740/parama.v4n1.p%25p
ANALISIS SEMIOTIK PADA IKLAN-IKLAN AQUA DI MEDIA TELEVISI
Bunga Diantirta Yapati Puteri

Abstract

The analysis of this paper is related to the myth analysis of the adevertisements of Aqua water drink that are advertised in the television. Relating to this, these myth of Aqua has sent the messages to the readers’ mind. These myth can the readers’ mind to choose something and make a decision. In those advertisements of Aqua, the myth are sent by considering the location of video advertisement, colors choosing, ornamemts adding, time settings, choosing of musics, the characters of actors or actress, the compny image, and choosing of sentences that can persuade the readers to buy the Aqua product and specfifically make this myth becomes one of factors of influencein buying something. This analysis uses the library study to know and to observe the phenomena or conditions in producing the video advertisement of the water drink product. For this, the qualitative data are used to know the description of the myth of the product advertised and its supporting factors. The descriptive qualitative analysis is applied to analyse these data. The result of research proves that the majority of myth that involved in the advertisement can mention Aqua is the best hygiene water drink the people consume. These advertisements of Aqua can make the audiences or people believe that Aqua is the right water drink for the body health, especially in reducing dehydration and increasing the concentration of the person that consumes it.

ABSTRACT

This paper concerns a wide view of the semiotic analysis of discourse, also called Greimasian, theoretically embedded in the French School of Semiotic Studies. I attempted to pace off the generative meaning of two poetic texts, Hay for the Horses and For All, by Gary Snyder, trying to show up that semiotics is capable of advancing models to analyze texts in which concrete and abstract values of discourse are inserted. My goal is to approach the discourse itself. In this discourse, the narrative works as a hub, which allows for seeing that the generative track is a dynamic system that produces meaning and makes it possible to act in several spaces, from science to poetry.

Key-words:  semiothics,  expression,  content,  generative track

The aim of the paper is to identify the constructive, as well as pragmatic or rhetoric dimension of Barhesian myth-connotation. The author is concerned with the functional similarities and objective differences between the myth as connotation and myth as narrative. The domain of the world-constructing function of connotations is deemed here to be "synthetical discourse", which is primarily characterized by the tendency to the indistinctiveness, or insufficient distinctiveness of notions and of perceived phenomena, and secondly, by the tendency to use vague expressions understood by means of habitual connotative grammar. Such a state of discourse and of the corresponding intentionalities (habitual attitudes to phenomena) of its members can support and sustain vulnerability to persuasion. It can support the inability to oppose rhetorical strategies.

In recent years, the cartoons genre has gained considerable research interest across disciplines; for example, communication, media studies and health sciences. More so, cartoons serve as potent source of data used to study social phenomena. This paper aims at illustrating how political cartoons are used as a vehicle of setting social agenda in Nigerian newspapers to reorient and shape the public opinion through recurrent depictions mirroring current socio-political issues at a given period. The cartoons texts were ...

The article represents an extended preface to the thematic volume of Topos dedicated to the contemporary readings of the works by famous French theorist Roland Barthes, whose centenary was celebrated in 2015. Using this occasion for expressing our attitude to Roland Barthes in a ‘ref- erence-reverence’ modality, we propose to reflect on what role his ideas have played and continue to play in the intellectual history of post-Soviet humanities. Contextualizing the history of translation of his works into Russian and the reception of his ideas in the postsocialist countries, we propose to rethink the question of Barthes’s contemporaneity and actuality in the interdisciplinary perspective.

The study focuses on the reflection of quasi-argumentative strategies based on narrative. Nevertheless, the narrative perspective is not reflected by the authors, it is even published as a rational argumentation core. In contrast to secret narratives, I build a purposefully compo¬sed literary work that reveals the neglected aspects of human existence (using imagination). At the same time, I express the hypothesis in which the persuasiveness of literature lies: the deprivation of the author’s subject, which happens by placing the reader in the imaginary per¬spective of narration. In the extrapolation I see Roland Barthes and Václav Havel as conspirators of literature (they are hiding literary investment in their essayist contemplation) against Kundera’s straightforward and admitted art of the novel.

Le programme du colloque à Cerisy-la-Salle, organisé par Pierre Taminiaux (Georgetown University) et Jérôme Duwa (IMEC). Ce colloque explorera les diverses représentations du vide dans la création littéraire (fiction, poésie, théâtre, essai) et artistique (peinture, dessin, sculpture, installation, livre-objet) des XXe et XXIe siècles, en particulier dans les avant-gardes. Le vide reflète avant tout un parti pris esthétique de dépouillement et d’épure des formes. Mais il débouche aussi dans de nombreux cas sur l’expression d’une crise, sinon d’une "fin de l’art" dans la culture occidentale, comme l’a suggéré le mouvement "Fluxus" dans les années 1960/1970 et comme le montre encore l’art contemporain aujourd’hui. Au-delà de ces principes formels et de ces tensions philosophiques, le vide renvoie également à des sensibilités extra-occidentales, venues en particulier d’Asie. Dès lors il implique un processus conscient de rapprochement des cultures qui met en valeur la qualité méditative et spirituelle de l’art, en particulier dans son rapport au bouddhisme zen. Ce colloque, à la fois interdisciplinaire et interculturel, s'adresse prioritairement à un public d'étudiants et d'enseignants-chercheurs qui travaillent dans le domaine de la critique littéraire (française ou comparée) et de l'histoire de l'art des XXe et XXIe siècles. Il devrait intéresser en particulier ceux d'entre eux qui se consacrent à l'étude des avant-gardes.

Przegląd semiotycznych koncepcji znaku.

Życie człowieka jest ściśle związane z kulturą. Kultura zaś nie może istnieć bez komunikacji, a komunikacja bez zdolności do symbolizowania, jakimi człowiek dysponuje . Symbolizować znaczy w pewnym sensie tyle co reprezentować, a co za tym idzie – znaczyć i tworzyć przestrzeń kultury, o czym była mowa w rozdziale poprzednim. Teraz wypada się zmierzyć z problemem znaku i znaczenia. Ponieważ zagadnienia semantyczne są w taki czy inny sposób przedmiotem zainteresowania wszystkich dyscyplin humanistycznych, więc oczywiście nie można tutaj przedstawić całego spektrum tych zagadnień. Moim celem jest odwołanie się do kilku najważniejszych teorii znaku i wskazanie pewnych problemów szczegółowych, przede wszystkim statusu przedmiotu odniesienia i roli podmiotu. Przegląd stanowisk i naświetlenie niektórych zjawisk doprowadzi do próby praktycznego zmierzenia się z kategorią znaczenia, ale nie znaczenia systemowego (abstrakcyjnego), lecz konkretnego, aktualizowanego w kontekście. Tym sposobem z konieczności stworzymy szansę dla śmiałego pomysłu – syntezy znaku, jako najmniejszej jednostki znaczącej, z dyskursem, jako strukturą najbardziej złożoną, co stanie się przedmiotem zainteresowania w rozdziale trzecim.

The Memorial de Amèrica Latina is a great architectural complex nearby an underground hub in Sao Paulo (Brazil). Since its establishment in 1989, the designer Oskar Niemeyer has conceived the Memorial as a very place to convey an identitary discourse upon latin-american people. As a result of a phD research period spent in the brazilian metropole during 2013, this paper try to focus semiotically some topics, namely law, space and vision, relating each other with the very theme of the Memorial.

The article is devoted to The Neutral: the 1977-1978 lecture course developed and taught by Roland Barthes at the Collège de France. I argue that The Neutral is firmly rooted in the tradition that Brian Massumi defined as “nomad thought” in his foreword to Gilles Deleuze and Félix Guattari’s A Thousand Plateaus: Capitalism & Schizophrenia. The essay traces the genealogy of this tradition and the term of the neutral, beginning with Maurice Blanchot’s work and his own concept of the neutral and ending with Barthes’ so far largely unexplored engagement with the texts of Deleuze. Elusive as the neutral figure is meant to remain, it emerges as a theorist’s effort to exercise a form of non-dualistic and non-hierarchical thinking.

Volti Artificiali nelle Arti, nella Scienza, nella Società / Artificial Visages in Arts, Science, and Society

Incontri sul Senso 2019/2020 / Meetings on Meaning 2019/2020

33 Meetings / 3 Symposia / 3 Continents

Warsaw / Turin / Shanghai / Guangzhou / Bucharest/ São Paulo / Sozopol

Posti disponibili 1 n. 1 posto con borsa finanziata dalla Fondazione Intesa Sanpaolo Onlus CONCORSO DI AMMISSIONE Modalità di ammissione Valutazione titoli, progetto di ricerca e colloquio Requisiti di ammissione 1. Il candidato studente non deve risultare già assegnatario, o prossimo assegnatario, di altra borsa di studio, di qualsiasi altra forma di sussidio (a titolo esemplificativo e non esaustivo: assegni di ricerca, premio); 2. Diploma di laurea vecchio ordinamento (L) (ante D.M. 509/99) oppure Diploma di laurea specialistica (LS) / magistrale (LM) (laurea di secondo livello di cui al D.M. 509/99 e D.M. 270/04), conseguito in Italia nel periodo compreso tra dicembre 2014 e giugno 2019 con non più di un anno di iscrizione fuori corso. 3. Aver ottenuto una votazione di laurea almeno pari o superiore a 100/110. 4. Possedere un ISEE 2018 uguale o inferiore ad € 30.000 calcolato applicando i criteri stabiliti dall'art 8 "Prestazioni per il diritto allo studio"-comma 2,3 e 5 del D.P.C.M. 159/2013 "Regolamento concernente la revisione delle modalità di determinazione e i campi di applicazione dell'indicatore della situazione economica equivalente". 1 Eventuali borse aggiuntive e contratti d​ i Apprendistato di Alta Formazione e Ricerca (Art. 45 D.lgs 81/2015), finanziati in tempi successivi alla pubblicazione del presente bando, saranno resi noti mediante pubblicazione sul sito internet dell'Università ​ http://www.unito.it/ricerca/fare-ricerca-unito/dottorati-di-ricerca e http://en.unito.it/research/phd/phd-programmes​ ​ entro la data di scadenza del bando.

Exu Edições Virtuais, uma editora sem fins lucrativos, lança agora, em português, esta entrevista sobre "o corpo, linguagem e o poder" numa perspectiva pragmática e discursiva inspirada na arqueologia de Michel Foucault.
Essa abordagem é proposta por Alex Pereira de Araújo, jovem pesquisador brasileiro que trabalhou em questões contemporâneas relacionadas a processos de subjetivação e identificação. Para ele, lidar com essas questões é contribuir para o diagnóstico do presente, do nosso tempo presente, nas palavras de Foucault.
Em sua releitura da arqueogenealogia de Foucault, ele considera que o diagnóstico do presente é a condição para atingir o estado de maioria, uma exigência que nasce com a Aufklärung, como vemos no texto de Kant e Foucault “Qu’est-ce que les Lumières? ”. A preocupação que se encontra nos trabalhos de Alex Pereira de Araújo, especialmente aqueles que tratam da questão da violência simbólica no campo discursivo do universo escolar e a discussão do corpo em filmes de terror, motivou tal entrevista.
[...]

Starting at least with Michel Bréal, modern semantics considers that meaning in language cannot be properly grasped without adopting an organismic perspective, which studies the evolution of language as if it was a living organism. The meaning of a word like “life”, for instance, evolves and mutates shape depending on a myriad of agencies that exert their pressure at different levels of the socio-cultural construction of meaning. That which modern semantics often neglects, however, is that language does not evolve as a single organism but, rather, as a whole environment, that is, as a semiosphere, in which meaning articulations of different temporal stages and spatial points might consist and sometimes conflict. Dictionaries only render the synchronic statistic average of this patchwork, whose internal contradictions, though, often underpin most ideological tensions in a society. In order to map the fossils of semantic evolution, a new version of the discipline of meaning is required, a socio-semantics that adopts Lotman’s cultural semiotics as a framework. The lecture will propose some of the main tenets of this planned discipline with reference to the present-day European and Chinese semiosphere.

The festival poster is a basic communication tool for cultural organizations in order to promote their messages, which includes many peculiarities not only in the field of design but also in the field of effectiveness of the communication act. In the first part of this thesis, a brief reference is made to the field of Visual Culture and an overview of the basic concepts of cultural communication, semiotic analysis, intersemiotics, the broad field of the advertising poster and the graphic design, which is considered inherently linked with visual communication. The scope of this theoretical reflection is the advertising poster of the Thessaloniki International Film Festival.
The Thessaloniki International Film Festival is one of the most important cultural events in Greece, the leading festival of Southeastern Europe, the primary and oldest festival in the Balkans for the creation of emerging filmmakers from all over the world, as well as the presentation of the annual Greek production. Each year a poster is created to promote the Festival, which contains the ideological identity of the institution while at the same time it constitutes a form of art with the aim of bridging together both artists and the audience with their work. The aim of this diploma thesis is to investigate the role of the poster from the internationalization of the Festival (1992) until now, in order to identify the parameters of change regarding the communication strategy and the management of the organization’s visual identity, as well as to record possible references to the socio-political conditions, when depicted in its posters.
This case study is of particular interest in investigating how the organization approached the poster in order to communicate with its audience.
The study period covers the years 1992-2017, namely the artistic directories of M. Dimopoulos (1992-2004), Despina Mouzaki (2005-2009), Dimitris Eipides (2010-2016) and Zalanto-Andreadakis (2016- to date, 2017).