Sign Systems Studies

Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity.

The paper examines V. Nabokov's "strange" novel ''Bend Sinister". The fictional space of the novel is regarded as a process of interaction of different languages or different versions of reality. The philosopher Krug's story unrolls in the imaginary totalitarian state whose ideology combines the elements of fascism, communism and the language of mass psychology. At this level the text is identical with a "social message". The protagonist has to choose between a "private autonomy" and a "bad solidarity". The paper offers the new facts and documents referring to the key symbols of the novel. The language of ''reality'' is deconstructed in the protagonist's idiosyncratical language, the language of his thoughts, recollections and dreams. Scientific metaphors are crucial in thedeconstruction and help to reveal metafictional nature of the text. The analogies with painting, relativist physics, logical paradoxes (Russell's and Gadel's theories) pemits to investigate the status of the fictional space, its development in time and the fiction of the Author.

The notion of intersemiosis suggests the game relationships between the multiple interacting signifying spheres of culture, but the term can also be fitly applied to the study of certain extraordinary artistic texts. This study makes use of one such book, Julio Cortazar's Around the Day in Eighty Worlds, to show how the sui generis interplay of the book's semantic spheres simultaneously models and renews the complex cultural processes of the production of meaning. This often reprinted and hard-tocategorize book that for years has remained at the outskirts of Latin American culture is also an ideal example to explore the dynamics between the center and periphery of culture as well as the writer's role in the creative renewal of cultural repertoires. By drawing a bridge over the apparent gap between the semiotics of culture and the semiotics of the artistic text, the present study attempts to approximate the critical-creative spirit of the late great theoretician Yurij Lutman.

I elaborated the concept of humanistic base texts when I was translating lndian and Chinese classical texts into Estonian. At present, I would classify as such the following works: "Bhagavadgītā", a part of Buddhist text's, "Lunyu" by Confucius and the Gospels according to Luke, Matthew and Mark, to mention only a few. This article gives a general survey of the concept, to be specified in the papers to follow.

This article compares the material pollution of life's elementary resources, i.e., water, soil, and air, with the semiotic pollution of the elementary resources of sign-processes, i.e., channel, sign-matter, and message; code, signifier, and signified; as well as context, sender, and recipient. It is claimed that semiotic pollution interferes with sign-processes as much as material pollution interferes with the fundamental processes of life; both types of pollution are similar in that they produce stress for human beings in current societies. It is argued that semiotics is able to provide the conceptual tools necessary to develop policies that can reduce semiotic pollution. As is shown, however, additional research is required to operationalize and metricize generalized concepts of semiotic pollutionsuch as "channel-related", "semiosis-related", and "situation-related noise".

The expression "artificial animal" denotes a range of different objects from teddy bears to the results of genetic engineering. As a basis for further investigation, this article first of all presents the main interpretations and traces their systematic interconnections. The subsequent sections concentrate on artificial animals in the context of play. The development of material toys is fueled by robotics. It gives toys artificial sense organs, limbs, and cognitive abilities, thus enabling them to act in the real world. The second line of development, closely related to research into Artificial Life, creates virtual beings "living" on computer screens. Themost essential difference between these variants are the sense modalities involved in interaction. Virtual beings can only be seen and heard, whereas material toys can be touched as well. Therefore, the simulation of haptic qualities plays an important role. In order to complete the proposed typology, two further areas are outlined, namely artificial animals outside play and "artificial animals in the medium of flesh" which are alive but designed and created by man. Research on artificial animals belongs to an extended notion of ecosemiotics, as they are part of ecosystems which may themselves be virtual such as the Internet.

Asking, whether plants have semiosis, the article gives a review of the works on phytosemiotics, referring to the tradition in botany that has seen plants as non-mechanic systems. This approach can use the concept of biological need as the primary holistic process in living systems. Demonstrating the similarity between the need and semiosis, it is concluded that sign is a meronomic entity. A distinction between five levels of sign systems is proposed: cellular, vegetative, animal, linguistic, and cultural. Vegetative sign systems are those which are responsible for the morphogenesis and differentiation within an organism, thus belonging to all multicellular organisms.

Prodi's semiotics theory comes into being to answer a radical question: if a sign is a cross-reference, what guarantees the relation between the sign and the object to which it is referring? Prodi rebukes all traditional solutions: a subject's voluntary intention, a convention, the iconic relation between sign and object. He refutes the fIrst answer because the notion of intention, upon which it is based, is, indeed, a fully mysterious entity. The conventionalist answer is just as unsatisfactory for it does nothing but extends to a whole group that which cannot be explained for a single component; the iconic one, finally, is rejected toosince in this case the notion of "likeliness", as the basis of the concept of "iconicity", is not explained. Prodi's answer is to locate the model of semiotic relations in the figure of the circle. The circle is life, which is nothing else but an infinite chain of translation and recognition relations amidst ever more complex systems. The circle has neither a beginning nor an end. It has no foundation, no established rule. It holds no cause that cannot become, in turn, effect. Semiosis, then, is based upon life for life, itself, is intrinsically semiotic. We can put the world in signs, that is we can come to know it, because we, ourselves, are a part of that very worldthat through us is made known. Finally, what this implies is that being inside the circle of semiosis-life, an issue arises what is beyond that circle: that is both an aesthetic and a religious problem.

The works, views and ideas of Heini Hediger (1908-1992), one of the most distinguished and influential zoologist of the 20th century, had and still have an enormous impact on contemporary understanding of animal behaviour. His views on territorial, social, etc. aspects of animal behaviour are based on semiotic concepts derived from Umwelt-theory (J. v. Uexküll) and combined with ideas from modern ethology. Hediger's special attention was devoted to the area of animal-man communications; he treated these problematic phenomena as a system of semiosis-processes, in a mainly holistic way. Hediger's approach inspires the author to propose a notion "the need for impression" to be used in zoosemiotic analyses.

One of the seminal constructs in 20th-century biosemiotics is G. Evelyn Hutchinson's 'niche'. This notion opened up and unpacked cartesian space and time to recognize self-organizing roles in open, dynamical systems - in n-dimensional hyperspace. Perhaps equally valuable to biosemiotics is Hutchinson's inclusive approach to inquiry and his willingness to venture into abductive territory, which have reaped rewards for a range of disciplines beyond biology, from art to anthropology. Hutchinson assumed the fertility of inquiry flowing from open, far-from-equilibrium systems to be characterized by 'fabricational noise', followingSeilacher, or 'order out of chaos', following Prigogine. Serendipitous 'noise' can self-organize into information at other levels, as does the 'noise' of Hutchinson's contributions themselves.