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Displaying: 11-20 of 86 documents


visual semiotics
11. Sign Systems Studies: Volume > 31 > Issue: 2
Winfried Nöth Семиотические основания к изучению изображений. Резюме
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12. Sign Systems Studies: Volume > 31 > Issue: 2
Winfried Nöth Kujutiste uurimise semiootilised alused. Kokkuvõte
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13. Sign Systems Studies: Volume > 31 > Issue: 2
Мария Гольцман Об общих графических закономерностях восприятия живописи и балета: мнемоническая форма танца
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Maria Goltsman. On some graphic regularities of perception in painting and dance: Mnemonic form of dance. The present article handles some problems of the mechanisms of visual perception in painting and classical ballet. It proceeds from the assumption that the interaction between those arts is based on the similarity of their formal languages. The main attention focuses on the questions of how and why does the classical ballet use the code of painting? The interaction between pictorial art and ballet occurs through the theatre, which is considered to be a picture coming alive in European tradition. This principle is taken here as a main method of analysis of ballet art and it is used in two ways. The first handles a problem of composition of a ballet as a theatrical performance. The second analyses the movement itself — the language of the choreography as such. The last part of the article contains the answer to the question — why does the ballet need such aspects of pictorial code as frontal composition of a picture coming alive, memory photo, multiplication of the similar images and repeating movements. Dance is dynamic, picture is stable. To represent a movement, the painting uses the rhythm and visual repeating of lines and contours. It helps to construct an illusion of motion and brings the temporal aspect into a static piece of art. Whereas different stops, poses and fixations in ballet help it to visualize the movement, to capture the space. This is one of the ways for ballet to leave its trace in space as much as in the memory of the spectators, to become fixed in space, to prevent the dispersion of dance in the thin air and to surmount in such a way the ephemera characteristic of it.
14. Sign Systems Studies: Volume > 31 > Issue: 2
Maria Goltsman On some graphic regularities of perception in painting and dance: Mnemonic form of dance. Abstract
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15. Sign Systems Studies: Volume > 31 > Issue: 2
Мария Гольцман Maalikunsti ja balleti visuaalse tajumise üldistest graafilistest seaduspärasustest: tantsu mnemooniline vorm. Kokkuvõte
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semiotics of literature
16. Sign Systems Studies: Volume > 31 > Issue: 2
Han-liang Chang Notes towards a semiotics of parasitism
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The metaphor of parasites or parasitism has dominated literary critical discourse since the 1970s, prominent examples being Michel Serres in France and J. Hillis Miller in America. In their writings the relationship between text and paratext, literature and criticism, is often likened to that between host and parasite, and can be therefore deconstructed. Their writings, along with those by Derrida, Barthes, and Thom, seem to be suggesting the possibility of a semiotics of parasitism. Unfortunately, none of these writers has drawn enough on the biological foundation of parasitism. Curiously, even in biology, parasitism is already a metaphor through which the signified of an ecological phenomenon involving two organisms is expressed by the signifier of “[eating] food at another’s [side] table”. This paper will make some preliminary remarks on semiotics of parasitism, based on the notions of Umwelt (Jakob von Uexküll) and structural coupling (Maturana and Varela). It will look into the phenomenon of co-evolutionary process in community ecology. With reference to empirical history, the project will briefly surveythe literary and medical praxis of the 17th century England where large number of creative writings referred to the phenomenon of parasitism, which was deeply embedded in religious practice (e.g., the Eucharist) and political life (e.g., the courtier ecology in monarchy) of the times. Finally, it will touch upon the possible ‘parasitic’ relationship between language and biology.
17. Sign Systems Studies: Volume > 31 > Issue: 2
Han-liang Chang К семиотике паразитизма. Резюме
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18. Sign Systems Studies: Volume > 31 > Issue: 2
Han-liang Chang Parasitismi semiootikast. Kokkuvõte
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19. Sign Systems Studies: Volume > 31 > Issue: 2
Maria-Kristiina Lotman On the semantics of rhythm: Formal differences between the characters of Oresteia in tragedy
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The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and the “liveliness” of characters’ utterances. Certain differences in the metrics and rhythmics of the main and minor characters’ verses become most obvious when we compare Electra’s part with minor characters (e. g., in Electra’s part there is always the biggest proportion of lyrical parts, more unstandard settlements, more verses with splits than any other character). The index of liveliness of Electra’s part is almost the same in all the authors. Although the same tendencies in Orestes are more schematical, the metrics and rhythmics of his utterances are rather similar to those of Electra. Thus, in respect of the proportion of lyrical verses, he always comes second after Electra; he also has quite many split verses. The parts of minor characters are usually made up entirely of iambic trimesters, the rhythmical variety of their speeches is higher than average, but there are no splits in their parts (except for Aegisthus). However, there are characters which parts have unstandard rhythm, e.g., the pedagogue in Sophocles or Chrysothemis, who is a contrast to Electra by her nature as well as her rhythmics. The contrast with other minor characters is even bigger. Clytaemnestra’s part is both rhythmically and metrically intermediate: inAeschylus her utterances consist entirely of iambic trimeters, but in Sophocles and Euripides she pronounces also a couple of lyrical verses. There are alsosome splits in her verses which usually do not occur in minor persons.
20. Sign Systems Studies: Volume > 31 > Issue: 2
Maria-Kristiina Lotman О семантике ритма: формальные особенности в речах персонажей Орестеи. Резюме
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