Visual Semiotics

Estudio de la heráldica en Burgos y Aranda de Duero, desde el siglo XII hasta comienzos del siglo XVI. Heráldica de los reyes de Castilla, desde Alfonso VIII hasta Felipe I "el Hermoso".  Análisis estético, semiótico y socio histórico. Fusión de los sistemas heráldicos franco-inglés y castellano en el siglo XIV.

"Los Simpson": la imagen de una utopía degenerada. Se analizará una tarjeta de felicitación navideña que se desprende del capítulo piloto de Los Simpson, emitido el 17 de diciembre de 1989 en la cadena estadounidense Fox. En esta primera entrega se consuma el pasaje desde la viñeta animada o cortinilla hacia la serie de formato televisivo estándar, al tiempo que se establecen las formas definitivas tanto del aspecto de los personajes como del mundo en el que habitan. Desde un punto de vista textual, la imagen actúa al modo de un mito fundacional: presenta a todos los miembros de la familia reunidos, quienes habrán de convertirse en los personajes de la serie, fijando los caracteres y estableciendo los rasgos que habrán de perpetuarse como reconocibles en lo sucesivo.

Destaca por su relevancia comunicativa, en tanto que Los Simpson es una de las series más longevas y exitosas del panorama televisivo global. De otra parte, y bajo un punto de vista iconográfico, sobresale por la renovación que plantea de los códigos de los dibujos animados hibridados con la viñeta, la caricatura y otras manifestaciones gráficas de la sátira, en tanto que da lugar a un modelo o género audiovisual de animación para adultos de gran predicamento en los años noventa.

This research paper seeks to explore the world of chalga which is a cultural phenomenon of the modern Bulgaria. More specifically, this paper shows how the cultural construction of a musical genre, chalga, brought diverse communities, especially using cultural materials from different countries, to produce, consume and entertain together. Besides, this research outlines the role of political and public atmosphere on the identity formation with chalga. Furthermore, the experiences of dual citizens who have origins both in Bulgaria and Turkey with chalga culture are going to reveal the role of inter-connectedness as an expression of cultural belonging. The sutured characteristic of chalga will show that it is one of the cultural patchworks over which ethnic and religious differences became blurred and intersected together in 1990s. Therefore, apart from just listening a song, the tradition to use chalga in special days including the daily encounters, this research paper argues how chalga culture became important for those people in tying the cultural knots as a form of suturing the patchwork again; the first in constructing chalga in the form of transcultural identity then in re-membering those who were covered by the heavy dust of Bulgarian history.

This article demonstrates an analytical approach that might be used as a method for disentangling the manifold iconic layers and aspects of written literature. The goal is to make a clear and practice-oriented presentation of some of the most overarching types of iconicity, based on the assumption that iconicity – as representation in general – must be understood in terms of both sensory activity and cognition. One specific literary text, Emily Dickinson’s poem “Because I could not stop for Death” (1862), is analyzed as an example via a broad field of iconic traits, structured as visual, auditory, and cognitive iconicity. Although applied to a visual, literary text, the delineated method may be extended to any other kind of medium, taking into account relevant sensory properties and
cognitive aspects.

The article applied the concept of semiotic analysis of the equipment for the traditional making of bread, above all in relation with the female reproductive organs (womb, vulva and breasts), as well as with natural elements of similar shapes (a hole in the ground, furrow, cave, valley). Particular significance is attached to the kneading trough – a vessel in which dough is left to ferment and rise, primarily in the framework of Slavic ethnography. The mentioned female meanings are indicated through ritual-magical tradition and the semantics of lexemes related to this area. Taking these traditions as a base, an attempt is made to find these objects and their female meaning in several categories of prehistoric pottery and wooden vessels that have so far been defined in archaeological science as cult objects: - Neolithic wooden trays; - Cycladic anthropomorphic vessels; - so-called zoomorphic and anthropomorphic ritons; other zoomorphic and anthropomorphic tripod vessels; - massive hurdle structures in Neolithic houses. Then the oven is analyzed as the second object in which the transformation of dough continues after the fermentation (baking of bread in relation with maturation of the fetus in the womb). The results of earlier research are summarized, in which the author presented the meaning of oven as a woman, mother and womb in extensive Slavic folk traditions (rituals, traditions and lexical semantics). Then these meanings are identified in the framework of Balkan prehistoric cultures (homemade clay ovens for bread baking and their miniature models designed in the form of a woman or a womb). Finally, the mentioned female aspects are summarized for the „crepulja“ – a clay container for bread baking, which is typical in the South Slavic and Balkan folklore.

Key words: ritualized manufacture, bread, kneading trough, bowl,
„crepulja“ clay container, oven, womb, vulva, dough rising, conception, pregnancy, fetus, birth.

The paper represents a synthesis of the author’s years-long research in this sphere. The methodological approach is based upon the symbolic-iconographic analysis of figurative representations present on the finds of material cultures, which are, with a higher or lower degree of probability, attributed to early Slavic cultures from the region of the Balkans. Apart from the aforementioned method, the identification of cultual figures has been made through comparative analyses with analogous examples from the circle of Indo-European populations, with mediaeval written sources referring to certain Slavic pagan religion, as well as with certain Slavic folklore traditions. The research includes several groups of archaeological finds. The most important is, certainly, a find of a group of early mediaeval metal tablets from the village of Velestino in Thesally, whereon a pantheon with anthropomorphic and zooanthropomorphic deities can be identified, which belonged to Slavic Velegizits, populating this region (God-Sky, Thunderer, Solar Horseman, Child-Bearing Goddess, a zoo-anthropomorphic chthonian god…). Analogous in their character and style are also individual finds from Biskupija, Čitluk, Dobrudža, as well as a recently found richly ornamented bronze hand from Romania. The other group is represented by early mediaeval ornaments. In the first place there are some types of so-called „thumb fibulas,” which are attributed to the Slavs and Antes. On those fibulas the figures of deities encoding the mythical images of the universe are identified (God-Sky, its chthonian opponent, Child-Bearing Goddess...). There are also other types of synchronous ornaments („Komani”-culture pendants, a silver button from Karojba...). This research also covers policefalous idols (the monumental idol from Bribir, the miniature idols from Preslav and Skopje), graffiti chiseled in stone, plaster, and ceramics, and some motives from the mediaeval Bosnian standing tombstones – as comparative material.

Paul Ekman is an American psychologist who pioneered the study of facial  behaviour.  Bringing  together  disciplinary  history,  life  study,  and  history  of science, this paper focuses on Ekman’s early research during the twenty-year period between 1957 and 1978. I explicate the historical development of Ekman’s semiotic model of facial behaviour, tracing the thread of iconicity through his life and works: from the iconic coding of rapid signs; through the eventual turn from classifying modes of iconic signification using gestalt categories to classifying modes of producing iconic sign-functions using minimal units; to the role and importance of iconicity for the study of the facial expression of emotion, both in terms of the similarities between iconic and analogue signs as well as the differences between facial coding and linguistic signification. In this intellectual genealogy, I argue not only that Ekman relied extensively upon conceptualizations and terminologies from semiotic thought for the creation of the Facial Action Coding System (FACS), but also that the question of iconicity is the pivotal problem across the many discoveries and innovations in what I term ‘Ekmanian faciasemiotics’.

This study explores a novel approach to estimating a timeline of the evolution of music by establishing the commonalities between the principles of spatial organization of pictorial composition in works of visual art and the principles of tonal organization of music composition in music works. The cross-modal features of perception of music allow musicians and listeners to envisage melodic motion and harmonic progressions in a peculiar virtual space, where the height axis is associated with frequency, the width - with time, and the depth - with music texture, i.e., the number of simultaneously active parts and/or voices. The available evidence from psychophysiological research suggests that capacity of music to trigger spatial representation constitutes a cross-cultural phenomenon biologically rooted in the shared mechanisms of perception of pitch contours of music parts and visual contours of pictorial and real-life objects. Hence, drawing parallels between the typologies of visual composition in works of realistic art, on the one hand, and the typologies of music texture and schemes of harmonic organization in music compositions, on the other hand, might reveal patterns of tonal organization of music that otherwise are hard to identify. This line of inquiry is especially beneficial for the reconstruction of prehistoric music that lacks direct documentation, other than the disposition of holes on the earliest wind musical instruments excavated by archaeologists. Prehistoric artworks, in contrast, present a well documented source for charting a timeline of evolution of spatial organization through establishing patterns and schemes of pictorial representation of perceptual reality. Matching of such schemes to the typological schemes of tonal organization of music of those indigenous ethnicities that maintain the lifestyle and inhabit environments similar to prehistoric people can potentially help detect the general course of the evolution of music and sketch its global history in a manner similar to existing histories of human art. This study seeks to review the compositional commonalities between major canons of pictorial representation, from the Ancient Egypt to the 18th century Europe, and those music systems that were in use by the same people who used those pictorial canons. I start with the well established similarity between the rules of linear perspective and the rules of Western tonality and try to track their correspondences at first to the Hellenic theory of perspective and theory of music, then, identify their common traits and trace their development chronologically all the way from the earliest forms of Paleolithic art to the Baroque period, focusing on the geographic area of Europe and the Near East. The presentation contains 40 carefully selected images and 45 audio examples - identifying 15 principal types of musical texture along with their pictorial analogs. The entire overview reveals the dramatic change in compositional organization that accompanied the rise of urban civilizations of the Bronze change, followed by the steady increase in structural complexity, the discovery of the depth parameter and the prevalence of naturalistic approach to semantic content - until the fall of the Roman Empire. The Dark Ages marked a temporary decline in the techniques of rendition of the depth parameter while instituting new means of compositional integration, until the compositional methods of Antiquity were restored on a new platform of hierarchically differentiated parameter of depth during the 12-14th centuries. At this point the compositional practices of the West and the East diverged. The Renaissance opened a new era of rational science-like approach to various aspects of composition, eventually merging them into a coherent comprehensive theory of perspectival organization in arts and theory of tonality in music. In the process of this advance, music composition acquired a considerably greater capacity to transmit large volumes of information amongst general population than that of pictorial composition. In conclusion, this study offers possible explanations of this discrepancy.

Media literacy classes are a problem for almost all students! Roland Barthes' Semiological system! The campaign photos in this post have been selected as a random search result, not deliberately. So ; I wanted to show that this analysis can be done in every print advertisement content. With this analysis, I prepared a text that will allow the advertising posters to be viewed

Este artículo está escrito en primera persona, pero sostiene que, para comprender el sentido de una selfie, hace falta articular distintos niveles de análisis. Primero, hay que diferenciar entre el sentido de la práctica misma de tomarse selfies y el sentido de las selfies mismas como imágenes. Además, hay que considerar que hay selfies cuya naturaleza de selfie se oculta en la comunicación de estas imágenes (cripto-selfies), así como hay imágenes que circulan como selfies pero que en verdad no lo son desde el punto de vista de su producción empírica (pseudo-selfies). Hay, entonces, cripto-selfies, pseudo-selfies, e incluso meta-selfies, es decir, representaciones de contextos sociales en los que se sacan selfies (este último sub-género, como veremos, es muy utilizado por los políticos). La práctica de sacarse selfies y las imágenes que produce dan lugar a sentidos que se pueden distribuir según la famosa tripartición hermenéutica formulada por Umberto Eco. En las selfies hay una intentio auctoris, o sea un sentido que el sujeto quiere expresar de manera más o menos consciente a través de este formato  fotográfico y de su contenido; luego hay una intentio lectoris, o sea el sentido que se desprende de una selfie o de un conjunto de selfies cuando sean observadas e interpretadas por un público; pero incluso hay una intentio operis de la selfie, o sea, un sentido que esta práctica, su formato, y los textos que producen implícitamente conllevan en el marco de la historia de la cultura y sobre todo en la estructura de la semiosfera actual.

Oggetto: Selezione comparativa per l'ammissione ai Corsi di Dottorato-Ciclo XXXV-sessione luglio 2019 Scadenza presentazione domande di ammissione: ore 12.00 (ora italiana) del 5 settembre 2019 IL RETTORE Vista la Legge 3 luglio 1998, n. 210 recante norme sul Dottorato di ricerca; Vista la Legge 30 dicembre 2010 n. 240; Visto il Decreto Ministeriale n. 45 dell'8 febbraio 2013 "Regolamento recante modalità di accreditamento delle sedi e dei corsi di Dottorato e dei criteri per la istituzione dei corsi di Dottorato da parte degli Enti accreditati" e tenuto conto che, secondo quanto previsto dal suddetto Decreto Ministeriale, in caso di revoca dell'accreditamento i corsi di Dottorato non saranno attivati; Visto lo Statuto di Ateneo, predisposto ai sensi della Legge n. 240/2010, emanato con Decreto Rettorale n. 1730 del 15 marzo 2012 (Gazzetta Ufficiale n. 87 del 13/04/2012) e modificato con D.R. n. 336 dell'8 febbraio 2016 (Gazzetta Ufficiale n. 55 del 7/3/2016); Visto il Regolamento dell'Università degli Studi di Torino per l'istituzione e il funzionamento della Scuola di Dottorato e dei Corsi di Dottorato, emanato con D.R. n. 3411 del 30.08.2018; Tenuto conto della delibera del Senato Accademico del 25 gennaio 2017 per la valutazione dei titoli di studio per candidati dottorali titolari e/o richiedenti protezione internazionale; Vista la deliberazione del Senato Accademico nr. 4/2018/V/2 del 18 dicembre 2018; Vista la deliberazione del Consiglio di Amministrazione nr. 2/2019/V/12 del 26 febbraio 2019; DECRETA ART. 1-CORSI DI DOTTORATO È indetta, presso l'Università degli Studi di Torino, la selezione comparativa per l'ammissione ai seguenti Corsi di Dottorato di Ricerca (XXXV ciclo): Comparative analysis of Institutions, Economics and Law (IEL) Fisica Informatica Lettere Medicina e terapia sperimentale Medicina molecolare Neuroscienze Scienze agrarie, forestali e alimentari Scienze archeologiche, storiche e storico-artistiche Scienze chimiche e dei materiali Scienze farmaceutiche e biomolecolari Scienze psicologiche, antropologiche e dell'educazione Sistemi complessi per le scienze della vita Sociology and Methodology of Social Research (in convenzione con l'Università degli Studi di Milano)

Semua sel tubuh membutuhkan makanan yang cukup, makanan merupakan kebutuhan pokok untuk hidup, dan beberapa zat makanan penting sekali untuk kesehatan. Bila makanan tidak mengandung zat gizi yang dibutuhkan sel tubuh kelancaran kerja fisiologis akan terganggu. Pengertian " Nutrisi merupakan proses total yang terlibat dalam konsumsi dan penggunaan zat makanan yang meliputi cara pemakaian gizi oleh proses-proses dalam tubuh, seperti pertumbuhan, penggantian jaringan dan pemeliharaan kegiatan dalam tubuh secara keseluruhan " (Dasar-dasar ilmu keperawatan,436). " Nutrition is term that include the bodily processed in the ingestion and metabolisme of food = Nutrisi meliputi semua proses tubuh yang melibatkan ingesti dan metabolisme makanan"(Fundamental of nursing concept,1979,419) " Nutrisi adalah ilmu yang mempelajari zat makanan (nutrient) dan zat-zat lain yang ada dalam makanan serta kerjanya, interaksinya dan keseimbangannya dalam hubungannya dengan kesehatan dan penyakit melalui proses ingesti, absorpsi, transportasi, pemakaian dan ekskresi dari makanan " (Essential of nutrition therapy, 1985,3) Nutrisi sebagai Kebutuhan Dasar Manusia 1. Zat makanan / nutrien yang didapat dari pemasukan makanan-à materi-materi yang dibutuhkan oleh tubuh. 2. Nutrien sangat penting untuk pertumbuhan dan perbaikan jaringan, pemeliharaan serta fungsi normal dari sel tubuh. 3. Nutrien akan digunakan untuk memproduksi energi berupa ATP (Adenosin triphospat) untuk seluruh aktifitas tubuh : Pergerakan otot Transmisi impuls saraf Tergantung pada energi yang Proses berfikir di produksi dari makanan yang Produksi panas dikonsumsi individu Nutrisi sebagai Kebutuhan Dasar Manusia 1

В данной статье анализируется генезис научного подхода Ю.М. Лотмана к модели коммуникативного акта при восприятии произведения искусства. Указываются факторы, повлиявшие на отказ от первоначального взгляда Лотмана на модель коммуникативного акта (семиотической модели коммуникации Р.О. Якобсона) и приход его к полиглотической модели коммуникативного акта. Эти изменения в научном подходе Юрия Лотмана были под влиянием идей М.М. Бахтин: диалогизм и полифонизм в общении. Также в статье были исследованы три коммуникативные функции по Лотману, которые присутствуют в любом художественном тексте. В конце статьи показано применение полиглотической модели Лотмана в кинематографе, на примере «эффекта Кулешова». Таким образом, мы указываем на применимость полиглотической модели Лотмана во всем искусстве.

In this article a genesis of Ju. M. Lotman's scientific approach to the model of communication act at perception of art work was analyzed. There were specified the factors which affected Lotman's deny from the semiotic model of communication act by R. O. Jakobson and his finding on polyglottical model of communication act. These changes in scientific approach of Juri Lotman were influenced by ideas of M. M. Bahtin: dialogism and polyphonism in communication act. Also, three communicative functions according to Lotman, which are present in any artistic text, were investigated in the article. At the end of the article an application of Lotman's polyglottical model in cinematograph was demonstrated on the example of «Kuleshov effect». Thereby, we point at applicability of Lotman's polyglottical model all over the art.

Based on J.-N. Thon's (2016) framework for analysing representations of character's subjective perception in film, video games and comic books, this paper studies representations of subjectivity in live-action role-playing. This is a direct continuation of two previous papers, one positioning larp as a narrative medium in the context of transmedia narratology, the other researching storyworld representation / interpretation by larp participants. The hereby presented text focuses on markers of subjectivity, their three types (narratorial, content, and representational) defined by Thon and the fourth (metasymbolic) by myself. The discussion is organised in three parts, corresponding with Thon's types of subjectivity: (quasi-)perceptual point of view, (quasi-)perceptual overlay, and internal worlds. The analysis confirms Thon's observations about the transmediality of some of the markers (e.g. the use of narratorial markers in larp is very similar to their use in (audio)visual media), and reveals the larp-specific nature and/or larp-specific usage of other markers.

La memoria de una sociedad es un complejo organismo colectivo compuesto por recuerdos individuales, textos, representaciones, algunos de los cuales se transmiten a la siguiente generación obedeciendo los impulsos de la tradición, la educación, pero también los condicionamientos políticos. Lo que se transforma en memoria y lo que se transmite como tal a las generaciones posteriores no está determinado exclusivamente por la voluntad política y las retóricas públicas, pero es innegable que éstas suelen desempeñar un papel importante en dicha transmisión. Sin embargo, como hemos tratado de subrayar en este artículo, la memoria colectiva, la memoria pública y la memoria cultural no son sólo un contenido cognitivo o un conjunto de mandatos pragmáticos, sino que también están entrelazados con las emociones. La memoria, tanto individual como colectiva, se compone tanto de lo que recordamos como de la forma en que lo recordamos y, por tanto, también del tono emocional y pasional con el que un acontecimiento o hecho del pasado se transforma en memoria compartida y representación colectiva. Como hemos intentado mostrar en este ensayo, la imaginación mítica de la creación de una memoria colectiva de los acontecimientos humanos siempre ha vinculado la belleza al miedo e incluso al terror. Las deidades griegas del miedo y el terror son hijas de Ares, el dios de la guerra, pero también de Citerea, la diosa de la belleza. En la memoria de una sociedad, de hecho, nada adquiere mayor relevancia estética que el terror súbito y paralizante, y a menudo los profesionales del terror utilizan esta característica para impulsar violentamente sus ideologías. Sin embargo, incluso los políticos que construyen los discursos del riesgo y la política del miedo suelen explotar esta misma combinación de Ares y Citerea para manipular la memoria pública y permitir que se desarrolle en cima de un ruido de fondo continuo, un acúfeno del miedo que condiciona el presente a través del recuerdo de un terror pasado que ya no se percibe como un estallido perturbador, como un rugido repentino, sino que permanece como un bajo de fondo interiorizado, un miedo que ahora forma parte de la memoria compartida, del imaginario colectivo, y que hipnotiza el presente, incapaz de construir nuevos recuerdos de serenidad y paz.

Dear friends and colleagues! We are the staff of the Khanenko Museum in Kyiv. The museum holds Ukraine's biggest collection of world arts (https://khanenko.museum/en). We are grateful for the support that you have already given to Ukraine. We have been fighting for our freedom every day, every hour of this horrible war against our country. We are a strong qualified team that has channelled all their knowledge and expertise into combating the Russian aggressors.

È la moda dell’ultimo millennio, globale e trasversale. Dai bambini agli anziani, dalle celebrities a Papa Francesco, fino ad arrivare a Mars Rover, il robot lanciato dalla Nasa. Tutti hanno praticato almeno una volta l’arte del selfie, ovvero l’immagine di sé stessi realizzata tramite uno smartphone e condivisa in Rete. Nel 2013 l’#selfie è stato usato 34.924.648 volte nei post su Instagram, mentre la parola selfie (allora agli albori della sua fama) entrava a pieno diritto nell’Oxford Dictionaries come “word of the year”. Gli utenti dell’app Instagram sono passati da 30 milioni nel 2012 fino ad arrivare al miliardo di utenti attivi mensili in tutto il mondo nel 2018. Si parla di numeri impressionanti che aumentano vertiginosamente ogni giorno. È evidente che il fenomeno del selfie non ha rallentato la sua crescita. Viviamo nell’era dell’immagine, in un mondo mobile e sempre connesso «dove tutto è a distanza di un Whatsapp e un – selfie - al momento vale più di 140 caratteri», citando Tommaso Sorchiotti. In uno spazio di comunicazione sempre più frenetico e immersivo, i selfie sono diventati uno strumento di comunicazione visiva istantanea per dire agli altri dove siamo, cosa stiamo facendo, chi pensiamo di essere. La prima parte di questo lavoro è concepita come un viaggio visivo attraverso i secoli in cui specchio, autoritratto e fotografia s’intrecciano. Una premessa fondamentale per capire appieno non solo la pratica contemporanea del selfie, ma soprattutto per cercare di capire come cambia il rapporto dell’uomo con la propria immagine al cambiare della società in cui vive e delle tecnologie a sua disposizione. Successivamente, attraverso gli strumenti elaborati dalla semiotica, questa tesi cercherà di spiegare come il selfie possa essere considerato una pratica riflessiva, una fotografia che l’enunciatore fa di sé stesso, e quali sono le relazioni messe in atto tra quest’ultimo e l’enunciatario all’interno della strategia enunciazionale.

It's is last millennium's fashion, global and transversal. From children to the elderly, from celebrities to Pope Francis, up to the Nasa Curiosity Rover. Everyone has practiced at least once the art of selfie, or the image of themselves made through a smartphone and shared on the Net. In 2013 the hashtag selfie was used 34.924.648 times on Instagram's posts, while the word selfie (at the dawn of his fame) was nominated by the Oxford Dictionaries as “the word of the year”. Users of the Instagram app went from 30 million in 2012 to one billion monthly active users worldwide in 2018. We are talking about impressive numbers that increase dramatically every day. It is clear that the selfie phenomenon has not slowed its growth. We live in the image age, in a mobile and always connected world, «where everything is at distance from a Whatsapp and - a selfie - at the moment is worth more than 140 characters», quoting Tommaso Sorchiotti. In an increasingly frenetic and immersive communication space, selfies have become an instant visual communication tool to tell others where we are, what we are doing, who we think we are. The first part of this work is conceived as a visual journey through the centuries in which mirror, self-portrait and photography intertwine. A fundamental premise to fully understand both the contemporary practice of selfies, and the change in the relationship of man with his image to the changing of the society in which he lives and the technology at his disposal. Subsequently, through the tools elaborated by semiotics, this thesis will try to explain how the selfie can be considered a reflective practice, a photograph that the enunciator makes of himself, and what are the relationships put in place between the latter and the enunciated within the enunciational strategy.

This article adopts a semiotic (and edusemiotic) perspective that abolishes all binary divisions in favour of the process of semiosis that ensures a continuous translation of signs into other signs via the dynamic relations formed by the human mind, cultural artefacts, and events in real life. The mind, in edusemiotics, partakes of unconscious ideas in the form of mental images. As for culture, the field of communication phenomena calls for, according to Yuri Lotman, the identification of specific semiotic systems representing their ‘languages’, including non-verbal signs such as images, pictures, and other art forms that function as cultural texts. The methodology of bricolage (conceptualized in educational research by Joe Kincheloe) combines hermeneutics with narratology, and ‘reading’ images becomes imperative for advancing critical pedagogy. The article examines and interprets selected images, including those belonging to the low end of popular culture, and connects them with the exemplarily significant event at the level of socio-cultural reality.The paradoxical self-referential ‘logic’ is the prerogative of semiotic reason that constantly reflects on – thus bringing to cognition and transforming – our often unconscious assumptions, beliefs and habits thus contributing to the construction of subjectivity that uses critical reason informed by signs, which include the bricolage of images.

Focussing on the anthropological consequences of the disappearing of materiality and sensory embodiment, _On Insignificance_ highlights some of the most perturbing patterns of insignificance that have seeped into our
everyday lives. Seeking to explain the semiotic causes of feelings of meaningless, Leone posits that caring for the singularities of the world is the most viable way to resist the alienating effects of the digital bureaucratization of meaning. The book will be of interest to scholars of
anthropology, cultural studies, semiotics, aesthetics, communication studies and social theory.

The urban space as a battlefield of memory: Valencia del Cid.
This contribution highlights the semantic component of architecture and the city, with emphasis on its relationship with the concept of heritage. The first part illuminates a wide theoretical framework. The second takes shape around the study of the city of Valencia and its relationship with a period of its development: the time of El Cid’s conquest in the Moorish period. This event creates multiple relationships with the past and interpretations of its vestiges. A journey through the ages reveals medieval centuries with hardly any references to the Castilian warrior, who was eclipsed by the definitive conquest of James I the Conqueror. There follows an in-depth analysis of the exaltation of El Cid in the sixteenth and seventeenth centuries, which originated from the union of the crowns of Aragon and Castile. On one side, the Castilian nobility found a route to legitimacy in the Kingdom of Valencia, as seen in the cases of the Marquis of Cenete and his title of Count of El Cid, and the Marquis of Moya and his El Cid house. On the other, the Kingdom discovered a claim to prestige, through this evidence of its special status in the new political jigsaw. Some remains were interpreted to be linked with El Cid and the city often took on the name Valencia del Cid. The triumph of the Bourbons turned choice into an imposition, within a programme of unifying the various kingdoms. In the late nineteenth and early twentieth century, the Renaixença favoured the figure of James I the Conqueror, while the Franco regime re-appropriated the figure of El Cid. Ideological saturation has led to neglect of a complex, nuanced past.

El ámbito urbano, campo de batalla de la memoria: Valencia del Cid.
En esta contribución se destaca el componente semántico de la arquitectura y la ciudad, especialmente es su relación con la noción de patrimonio. En la primera parte se expone un amplio marco teórico. En la segunda se concreta a través del estudio de la ciudad de Valencia y su relación con un momento de su devenir, el de la conquista del Cid dentro del periodo musulmán. Este acontecimiento dará lugar a múltiples relaciones con el pasado e interpretaciones sobre sus vestigios. El recorrido muestra unos siglos medievales sin apenas referencias al guerrero castellano, eclipsado por la definitiva conquista de Jaime I. Después, se analiza con detenimiento la exaltación cidiana en los siglos XVI y XVII que se origina con la unión de las coronas de Aragón y Castilla. Por un lado, la nobleza castellana encontró una vía de legitimación en el reino de Valencia, y en este sentido se destacan los casos del marqués de Cenete a través de su título de conde del Cid, y el del marqués de Moya y su casa del Cid. Por otro lado, el reino halló una vía de prestigio al evidenciar su particularismo en el nuevo encaje político. Algunos vestigios se interpretaron en clave cidiana y la ciudad entera mudó con frecuencia su nombre por el de Valencia del Cid. El triunfo borbónico convirtió la elección en una imposición dentro de un programa de unificación de los diferentes reinos. A finales del siglo XIX y comienzos del XX la Renaixença primó la figura de Jaume I, pero el régimen franquista retomó la utilización de la figura del Cid. La saturación ideológica ha conducido a postergar un pasado realmente complejo y lleno de matices.

Resumen El presente artículo se propone demostrar la existencia de una operatividad semiótica específica del icono, consistente en revestir de inefabilidad figurativa cualquier ente, persona o artefacto a quienes se atribuye una función institucional dentro de una determinada formación social. Dicha operatividad, que cuestiona la decidida orientación simbólica de la tradición semiótica principal, tanto saussuriana como peirciana, y que se plasma como veremos en una entidad específica, que denominamos " semiósica " para diferenciarla de la " simbólica " convencional, la vamos a referir en primer lugar a un ámbito de tanto predominio icónico como es la publicidad contemporánea, para postularla a continuación del conjunto de los imaginarios instituidos característicos de las formaciones sociales que se han sucedido en la historia. AbstractSemióticas The present paper aims to demonstrate the existence of a semiotic operating capacity that consists in coating of figurative ineffability any entity, person or artifact to whom is attributed an institutional function within a social formation. This operating capacity, which belies the strong symbolic orientation within the main semiotic tradition, both saussuriana and peirciana, and which translates as we will see in a entity that we call "semiosic" to differentiate it from the "symbolic" conventional entity, we will refer firstly to an area of so many iconic predominance as contemporary advertising, to run it then at the whole of the imaginary instituted characteristic of social formations that have happened in history.

Mit dem Band „Fotografie zwischen Inszenierung und Dokumentation“ liegt der letzte Band der Veranstaltungsreihe vor, der sich mit dem oft problematischen Wechselverhältnis von Fotografie, Abbild und Wirklichkeit befasst. Fotografie zeigt sich demgemäß nicht ausschließlich als Authentifizierungsgeste und Indiz realistischer Fakten, sondern vor allem in künstlerischer Dimension, als inszeniertes Artefakt und Modus des Fiktiven. Fotografie wird, und in diesem Tatbestand sind sich die einzelnen Beiträge einig, zu einem Wahrnehmungsexperiment, welches die Wahrnehmung des Rezipienten herausfordert.

This article is part of a larger research project that aims to identify a methodical way of investigating iconicity in the immensely rich field of media, which includes art and other kinds of communication. The first part of the paper focuses on the intimate connection between sensory perception and cognition and sketches a basis for analyzing multimodal iconicity (which involves, for instance, several sensory modes or several spatiotemporal modes). The second part scrutinizes Peirce’s notions of image, diagram, and metaphor and argues that these three types of iconicity should be seen as a continuum that ranges from sensorially ‘strong’ to ‘weak’ iconicity and from cognitively ‘simple’ to ‘complex’ iconicity. The third part of the paper analyzes some examples of multimodal iconicity, with specific emphasis on spatiotemporal multimodality (for instance, spatial signs representing temporal objects, such as graphs representing population growth); earlier semiotic research has not dealt with this subject in a systematic way.

Production of bread in the Slav traditional cultures brings important myth character. Semiotics of the ritual activities about the bread making is based on the symbolical relations of the three levels of the human body (biological and sociological aspect – micro cosmos), man’s cultural artificial area (mezzo cosmos) and the universe (macro cosmos).

Производња хлеба и друге форме његове обредно- утилитарне манипулације, у словенским традиционалним културама носи снажан митски карактер. Семиотика ових активности је базирана на симболичким релацијама међу трима наизглед сасвим различитим и неспојивим нивоима: – ниво људског тела у његовим биолошким и социолошким аспектима (микрокосмос); – ниво човековог, културног т.ј. артифициелног простора (мезокосмос); – ниво природе т.ј. васионе (макрокосмос). Сам хлеб припада другом од наведених нивоа (мезокосмос) у који уједно улазе и сви елементи и радње повезане с њим (тесто, квасац, суд за квасање, суд за печење, пећ, мешење, квасање, раст и печење, теста, ломљење и једење хлеба). Ниво микрокосмоса заступају елементи људског тела и аспекти полно-брачне сфере (мушкарац, жена, фетус, дете, фалус, вулва, материца, сперма, кревет, менструација, коитус, ејакулација, бременитост, рађање, брак, породица, болест, смрт). Ниво макрокосмоса је заступљен елементима и појавама човековог непосреднијег и даљег окружења (земља, подземље, воде земље, биљке, животње, небо, небеска тела и појаве, облаци, атмосферске воде, гром, муња, аспекти времена). Други од наведених нивоа коме припада хлеб, у релацији с осталим двама гради бројне симболичке релације које се могу категоризирати у две сфере – сферу мушког и сферу женског принципа. Сам наслов овог чланка јасно опредељује усмереност овде приказаних анализа ка сфери мушког принципа. Ово истраживање се може разумети као део једног обимнијег проучавања митологизације хлеба (и шире – сфере припреме хране) кроз систем полно-брачних кодова. У ранијим годинама је оно остварено у неколико посебних истраживања посвећених црепуљи и вршнику,2 пећи3 и наћвама.4 Она су недавно синтетизирана у раду посвећеном „мајци хлеба“, односно женским аспектима садржаним у поменутим предметима који су укључени у његову обредну производњу.5 Иако базу ових истраживања представљају словенске и балканске фолклорне традиције, у њима (па и у овом истраживању) укључене су у значајној мери и старије традиције из средњег века, антике и посебено праисторије, посебно заступљене у археолошким налазима неолитских и енеолитских култура Балкана, Медитерана
и источне Европе.

Кључне речи: производња хлеба, квасац, људско тело, културни простор, мушки принцип, жена.

The narrative I am about to launch, could, certainly, be also about one miraculous icon of the Theotokos (the Mother of God). It is called Hodegetria (“One who Shows the Way”) – a name that prevailed, as a legend says, after the Holy Theotokos appeared to two blind people, took them to her miraculous icon in the Church of St. Mary of Blachernae and, when they had prayed before it, they had their sight restored. It was believed that the icon had been painted by St. Luke the Evangelist himself and was preserved carefully, with unsuspected love and uncoined enthusiasm for centuries in the Byzantine capital. This icon is at the heart of all the narratives of Constantinople: both the preservation of the city and its desecration, it served as a palladium against enemies and a cover for the defenders of the city. It was born in the chronologos of the legend along with the word of the earliest Gospel narratives and before the extensive corpus of hagiographic literature and hymnographic works – the same hand wrote about the Annunciation to the Theotokos and painted her image with the infant Jesus Christ: two ipostasis of the incarnation. Everything else is a palimpsest layering, in which traces of words of thanks, praise and fervent prayers, a mixture of delight, pain and reposal are expressed: figures of the hymnic and narrative texts. Over time, this icon of the Theotokos has become much more than an image – overgrown (as well as the Gospel word) in narratives and hymnographic works, it is the symbolic modus of the veneration of the Theotokos, an indivisible mixture of word, song, image and meaning.
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