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Displaying: 21-40 of 94 documents


semiotics of literature

21. Sign Systems Studies: Volume > 30 > Issue: 2
Mikhail Gasparov

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22. Sign Systems Studies: Volume > 30 > Issue: 2
Kati Lindström

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Present article tries to give insight into the ways in which Estonian haiku models its author and communicates with the reader. The author thinks that while Japanese haiku is a predominantly autocommunicative piece of literature, where even a fixed point of view is not recommended, Estonian literary conventions are oriented towards openly communicational texts, which convey a fixed axiology and rely on abundant use of pronouns and rhetorical questions, addresses and apostrophes. While there is a considerable amount of Estonian haiku that depend on Estonian literary conventions, most of the Estonian haiku texts, however, are oriented to the Japanese model. These texts have been labelled “the catalogues of landscape”, as they are constituted by naming different landscape objects without developing a line of narration. Thereby every landscape element in poetry is granted its own voice, and through this multitude of voices inside the text, the reader is forced to enter an autocommunicative process of remodelling him/herself.
23. Sign Systems Studies: Volume > 30 > Issue: 2
Kati Lindström

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24. Sign Systems Studies: Volume > 30 > Issue: 2
Maija Könönen

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This essay explores the intertextual relationships of Joseph Brodsky’s poem — an occasional verse dedicated to the fifth anniversary of the poet’s enforced emigration from the Soviet Union. As is common in Brodsky’s poetics, the text is imbued with allusions to other texts, not only from Russian, but from Western belles lettres, as well. Through reminiscences of La Divina Commedia the lost homeland together with the beloved native city of Leningrad is paralleled with Dante’s “lost and accursed” Florence as well as with the lost St.Petersburg of Mandelshtam and Akhmatova, among others. The Dantean undertones are exposed not only on the semantical level of the examined text but in the metrical and structural aspects of the poem, as well.
25. Sign Systems Studies: Volume > 30 > Issue: 2
Maija Könönen

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semiotics of art

26. Sign Systems Studies: Volume > 30 > Issue: 2
Juri Lotman

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Juri Lotman. Mask in an artistic world of Gogol, and the masks of Anatoli Kaplan. The paper deals with an intersemiotic problem — how it is possible to represent a verbal image by the means of sculpture. It was written as an afterword for a German edition of N. Gogol’s Dead Souls (illustrated by photos on mask-sculpures by Anatoli Kaplan) thus using a style meant for general reader. However, it includes a deep analysis and several important conclusions about the fancy worlds of Gogol and Kaplan, and about the possibilities to create connections between them. It is stressed that the very artistic illustration is possible only due to its independence, due to the subjective seeing of the author.
27. Sign Systems Studies: Volume > 30 > Issue: 2
Juri Lotman

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28. Sign Systems Studies: Volume > 30 > Issue: 2
Elize Bisanz

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Walter Benjamin foreshadowed many of the aesthetic theories, currently playing a fundamental role in the production and interpretation of art. By emphasising the role of the expressive character of art, or rather the category of expressivity itself, Benjamin defined art as a language. His aesthetics was characterised by the continuous interaction of two almost reciprocal projects: the theoretical critique of art which is based on an understanding of historical processes, and the understanding of historical processes which is formed by the critical experience of art. We find a fundamental similarity between Benjamin’s dialectical character of the aesthetic sign and Lotman’s double-sidedness of the artwork. In classifying the system of art as a language, both theoreticians space out the structure ofart and determine it as the intersection of the synchronic and the diachronic aesthetic discourse. The paper follows the traces of the transition of modern painting from its representational status to an autonomous signification, that is, from being a symbolic expression to a discourse in the grammatological meaning of écriture. Parallel to this transition which resulted into the process of abstraction in painting, there can be observed a shift in the cultural values of art which had its critical bearing upon the world secured not by connections of likeness, but by virtue of the very independence of its values. The abstract form of the modern painting has been the declaration of the language of art as an exemplary realm. What must be expressed and experienced within this realm was (1) the critical reflection on the human condition, and (2) representing the society in so far as art maintained a moral independence from those conditions. This dialectic between the autonomous and social character of art has left deep impacts on the language of painting, a complexity, which has been made transparent through the various semiotic analytic approaches of the aesthetic sign. The paper discusses the processual character of the modern painting and demonstrates briefly the deficiency in the structural analysis of the painting language, encouraging its synthesis with the dynamical character of cultural products as we find it in the Lotmanian culture theory.
29. Sign Systems Studies: Volume > 30 > Issue: 2
Elize Bisanz

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30. Sign Systems Studies: Volume > 30 > Issue: 2
Linnar Priimägi

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Salvador Dalí’s oilpainting Hallucination partielle. Six apparitions de Lénine sur un piano (1931) has been considered to be one of the most difficult works to interpret. O. Zaslavskii has analyzed it, using the sound of the words in title and the items depicted on the masterpiece, “the phonetic subtext”. Obviously, Zaslavskii’s interpretation is based on Osip Mandelstam’s poem “Grand piano” (1931), that in the context of Russian language associates the piano ( ) with the French Revolution. Nevertheless, Zaslavskii’s final conclusion of the connections between Dalí’s painting and the French Revolution turns to be accurate, because it is possible to find iconographic parallels between Dalí’s “Partial hallucination…” and Jacques-Louis David’s “The death of Marat” (1793). On at least four most significant oil paintings from the beginning of Dalí’s surreal period we can observe his “emblem of love and death” as the combination of fellatio and bleeding. Obviously, he understood in the same code also Marat’s murdering by the knife of a woman. This allows us to insist, that Dalí was inspired to paint“Partial hallucination…” by “The death of Marat”. The shadow of a grand piano on his painting “Diurnal illusion: the shadow of a grand piano approaching” (1931) directly bears the meaning of “terror” and “fear”. In such motif combination and graphic parallel, the complex cultural metaphoric relations of these two paintings can be viewed. This complex can be considered as rhetorical in the sense of Juri Lotman’s conception. But it is evidently a case of “pure visual metaphor”, not an illustration of verbal metaphors.
31. Sign Systems Studies: Volume > 30 > Issue: 2
Linnar Priimägi

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biosemiotics

32. Sign Systems Studies: Volume > 30 > Issue: 2
Marcello Barbieri

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Coding characteristics have been discovered not only in protein synthesis, but also in various other natural processes, thus showing that the genetic code is not an isolated case in the organic world. Other examples are the sequence codes, the adhesion code, the signal transduction codes, the splicing codes, the sugar code, the histone code, and probably more. These discoveries however have not had a significant impact because of the widespread belief that organic codes are not real but metaphorical entities. They are supposed to lack arbitrariness and codemakers, the two qualifying features of real codes. Here it is shown that the arbitrariness issue can be solved on an experimental basis, while the codemaker issue is dependent on our theoretical description of the cell and can only be solved by a new concept. In order to appreciate the reality of the organic codes, in short, it is necessary to have not only a more critical evaluation of the experimental data but also a new theory of the living system.
33. Sign Systems Studies: Volume > 30 > Issue: 2
Marcello Barbieri

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34. Sign Systems Studies: Volume > 30 > Issue: 2
Stephen Pain

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This paper is an introduction to the new field of biorhetorics. Biorhetorics is an applied form of rhetoric that evolved from the study of classical rhetoric, particularly Aristotelian. The author illustrates the stages of development necessary for the creation of a species-specific rhetoric: by (1) formalising rhetoric so as to create a functional rhetoric, (2) then reducing this to a symbolic rhetoric that can be used in conjunction with the collected data of an organism’s Umwelt (including its genome) to form (3) a species-specific rhetoric. The paper draws upon the latest research on bacterial and viral communication to show the possibilities of biorhetorics. In the course of discussing the nature of biorhetorics the author distinguishes it from argumentation theory and rhetoric/s of biology, and positions alongside other fields used in the life sciences such as biosemiotics, information theory, game theory, etc.
35. Sign Systems Studies: Volume > 30 > Issue: 2
Stephen Pain

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reviews

36. Sign Systems Studies: Volume > 30 > Issue: 2
Kalevi Kull

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37. Sign Systems Studies: Volume > 30 > Issue: 1
Claus Emmeche, Jesper Hoffmeyer, Kalevi Kull

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biosemiotics

38. Sign Systems Studies: Volume > 30 > Issue: 1
Claus Emmeche

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A central aspect of the relation between biosemiotics and biology is investigated by asking: Is a biological concept of function intrinsically related to a biosemiotic concept of sign action, and vice versa? A biological notion of function (as some process or part that serves some purpose in the context of maintenance and reproduction of the whole organism) is discussed in the light of the attempt to provide an understanding of life processes as being of a semiotic nature, i.e., constituted by sign actions. Does signification and communication in biology (e.g., intracellular communication) always presuppose an organism with distinct semiotic or quasi-semiotic functions? And, symmetrically, is it the case that functional relations are simply not conceivable without living sign action? The present note is just an introduction to a project aiming at elucidating the relations between biofunction and biosemiosis.
39. Sign Systems Studies: Volume > 30 > Issue: 1
Claus Emmeche

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40. Sign Systems Studies: Volume > 30 > Issue: 1
Mihhail Lotman

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In the paper an attempt is made to treat the basic concepts of biosemiotics and semiotics of culture in a wide intellectual context. The three leading paradigms of the current intellectual discourse are distinguished, which could be conventionally designated as “classical”, “modern” and “postmodern”: Peirce’s semiosis stands for the classical, Umwelt for the modern and semiosphere for the postmodern semiotic space.