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Displaying: 1-20 of 57 documents


1. Sign Systems Studies: Volume > 33 > Issue: 2
Dinda L. Gorlée Hints and guesses: Legal modes of semio-logical reasoning
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Legal semiotics is an internationally proliferated subfield of general semiotics. The three-step principles of Peirce’s semiotic logic are the three leading categories: firstness, secondness and thirdness, grounded on the reverse principles of logic: deduction, induction and — Peirce’s discovery — abduction. Neither induction nor abduction can provide a weaker truth claim than deduction. Abduction occurs in intuitive conclusions regarding the possibility of backward reasoning, contrary to the system of law. Civil-law cultures possess an abstract deductive orientation, governed by the rigidity of previous written law, whereas the actual fragility of a common-law system with cases and precedents inclines to induction, orienting its habituality (habits) in moral time and space. Customary law gives credit to abductive values: relevant sentiments, beliefs and propositions are upgraded to valid reasoning. The decision-making by U.S. case law and English common-law is characterized as decision law with abductive undertones.
2. Sign Systems Studies: Volume > 33 > Issue: 2
Dinda L. Gorlée Подсказки и догадки: правовые формы семио-логической аргументации. Резюмe
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3. Sign Systems Studies: Volume > 33 > Issue: 2
Dinda L. Gorlée Vihjed ja oletused: semio-loogikalise argumentatsiooni õiguslikud vormid. Kokkuvõte
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4. Sign Systems Studies: Volume > 33 > Issue: 2
Alexander V. Kozin Crossing over with the Angel
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This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, Rembrandt’s “Jacob’s Struggle with the Angel”, Sir Jacob Epstein’s “Jacob and the Angel”, and Marc Chagall’s “Jacob Wrestling with the Angel”, show the “third meaning” of the passage to be predicated on the foundational relation between naming and facing, pointing to the understanding of “The Struggle” as the face-to-face relationship of love and responsibility grounded in ethics.
5. Sign Systems Studies: Volume > 33 > Issue: 2
Alexander V. Kozin Üleminek ingliga. Kokkuvõte
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6. Sign Systems Studies: Volume > 33 > Issue: 2
Alexander V. Kozin Переход с ангелом. Резюмe
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7. Sign Systems Studies: Volume > 33 > Issue: 2
Leonid Tchertov Spatial semiosis and time
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Spatial semiosis differs from temporal one by its structural and functional peculiarities. Meaningful relations between units of spatial texts are not ordered along of temporal axe and do not need time in their form of expression. However time remains an important factor for both: being of the spatial semiosis in the external time and being of time in the spatial texts as object of representation. In the contrast to temporal communication, where acts receiving of texts must be synchronized with the acts of their (re)production, spatial semiosis is built as a diachronic process, dividing in time from two separate acts: creating and perceiving. This structural peculiarity allows to connect people from different temporal periods and gives to spatial semiosis the function of irreplaceable means for cultural memory. Excluding time from the semiotic form of their plane of expression, spatial texts have some rules of presentation in time and semiotic means for representation of temporal order and duration in their plane of contents. There are different means of representation of time in the spatial forms: the projection of temporal structures on the spatial ones, concentration of different moments in one state, etc.
8. Sign Systems Studies: Volume > 33 > Issue: 2
Leonid Tchertov Пространственный семиозис и время. Резюмe
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9. Sign Systems Studies: Volume > 33 > Issue: 2
Leonid Tchertov Ruumiline semioos ja aeg. Kokkuvõte
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10. Sign Systems Studies: Volume > 33 > Issue: 2
Daniele Monticelli From globality to partiality: Semiotic practices of resistance to the discourse of war
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This paper examines the discourse of war from a semiotic point of view and suggests some ideas for the development of practices of resistance to it. The discourse of war can be considered symptomatic in respect to underlying discourses of totality such as globalisation. By aiming at explanatory simplification, this kind of discourse takes the paradoxical form of an exhaustive paradigm which always engenders a residuum to be eliminated. Semiotics can develop practices of resistance to the discourse of war by operating on the syntagmatic chains generated by its mediatic agencies. These practices are based on the postmodernist critique of totalising discourses. A process in which details are disconnected from the mediatic chains where they vanish might trigger the opening of a space of community that makes the residuum of war discourse presentable through metaphorical substitutions. Semiotic practices of resistance to the discourse of war presuppose a shift in theory from the paradigm of globality to that of partiality. Partiality must be understood both from a political and an epistemological point of view and it could therefore represent an important element in the development of a semioethics.
11. Sign Systems Studies: Volume > 33 > Issue: 2
Daniele Monticelli Globaalsuselt partsiaalsusele: Semiootilised vastupanupraktikad sõja diskursusele. Kokkuvõte
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12. Sign Systems Studies: Volume > 33 > Issue: 2
Олег Борисович Заславский Маленький человек в неевклидовом мире: о художественном пространстве в фильме и пьесе Т. Стоппарда “Розенкранц и Гильденстерн мертвы”
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Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz.
13. Sign Systems Studies: Volume > 33 > Issue: 2
Oleg B. Zaslavskii Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. Abstract
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14. Sign Systems Studies: Volume > 33 > Issue: 2
Олег Борисович Заславский Väike inimene mitte-eukleidilises maailmas: kunstilisest ruumist Tom Stoppard’i filmis ja näidendis “Rosencrantz ja Guildenstern on surnud”. Kokkuvõte
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semiotics of theatre
15. Sign Systems Studies: Volume > 33 > Issue: 2
Janelle Reinelt National signs: Estonian identity in performance
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Since Estonia is in the midst of a national redefinition and examination of past traditions and future aspirations, it makes an excellent case study for the potentiality of theatre as an arbiter of national identity. The changing value of the institution itself is part of the equation (will Estonians continue to appreciate and attend the theatre in coming years?). In addition, the historical role of Estonian theatre as a repository for national narratives, especially literary ones, makes it a significant site for struggles around print and technology, and between embodied performances and archival performatives.This essay introduces a series of articles that address how Estonia and its theatre might be regarded and understood in light of its history, memories, present experiences, and future possibilities. The idea of pretence that lies at the heart of theatricality itself provides an ideal means for interrogating national identity in a time of great instability and flux. The examples of productions discussed in these three essays share more than a deliberate utilization of the rubrics of theatricality. It seems no coincidence that the reworking of national classics, Estonian national myths, and ethnic folk songs and ceremonies takes place concurrently with the representation of new technologies, commodity capitalism, and diasporic collisions. Embodying precisely the predicament of culture in a country reassessing its past and confronting its future, the theatre is an important institution for national resignification.
16. Sign Systems Studies: Volume > 33 > Issue: 2
Janelle Reinelt Национальные знаки: эстонский идентитет и театр. Резюмe
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17. Sign Systems Studies: Volume > 33 > Issue: 2
Janelle Reinelt Rahvuslikud märgid: eesti identiteet etenduses. Kokkuvõte
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18. Sign Systems Studies: Volume > 33 > Issue: 2
Luule Epner Redefining national identity by playing with classics
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National identities are to a great extent based on common mythical stories (re)produced by literature and arts; in the long run, the core texts of literature themselves start to function as cultural myths. Performing classical works theatre relates them to the changing social context and thus actualises their meaning. Theatrical representations of national characters and mythical stories participate in reinforcing or redefining national identity. In independent Estonia of the 1990s–2000s the need for reconsidering national values and myths that served to consolidate society in the Soviet period, has become evident. The article focuses on theatrical productions in the turn of the century, which are based on active rewriting of well-known Estonian classics (August Kitzberg, Oskar Luts, and the national epic Kalevipoeg). The article tries to answer two questions: how ingredients of national identity (for instance, the relation to the Other) are displayed and (de)constructed by adapting or rewriting of above-mentioned classics; how textual strategies aimed at semantic transformations are motivated and shaped by the principle of self-reflexive theatrical play.
19. Sign Systems Studies: Volume > 33 > Issue: 2
Luule Epner Rahvusliku identiteedi uuestimääratlemisest klassikamängude kaudu. Kokkuvõte
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20. Sign Systems Studies: Volume > 33 > Issue: 2
Luule Epner О переформулировании национального идентитета с помощью игры с классиками. Резюмe
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