Sign Systems Studies

The main approaches to semiotic inquiry today contradict the idea of the individual as a separate and self-sufficient entity. The body of an organism in the micro- and macrocosm is not an isolated biological entity, it does not belong to the individual, it is not a separate and self-sufficient sphere in itself. The body is an organism that lives in relation to other bodies, it is intercorporeal and interdependent. This concept of the body finds confirmation in cultural practices and worldviews based on intercorporeity, interdependency, exposition and opening, though nowadays such practices are almost extinct. An approach to semiotics that is global and at once capable of surpassing the illusory idea of definitive and ultimate boundaries to identity presupposes dialogue and otherness. Otherness obliges identity to question the tendency to totalizing closure and to reorganize itself always anew in a process related to ‘infinity’, as Emmanuel Levinas teaches us, or to ‘infinite semiosis’, to say it with Charles Sanders Peirce. Another topic of this paper is the interrelation in anthroposemiosis between man and machine and the implications involved for the future of humanity. Our overall purpose is to develop global semiotics in the direction of “semioethics”, as proposed by S.Petrilli and A. Ponzio and their ongoing research.

The aim of the article is to introduce the knowledge profile as a tool to make realistic representations of knowledge organizations. In order to make these realistic representations, we must identify the fundamental sign of the given knowledge domains, since it seems to be the case that the fundamental sign puts epistemological constraints upon its research objects, eventually making the knowledge organization of a knowledge domain unique. Furthermore, the article points out that in order to make the realistic representations of knowledge organizations, we need a basic understanding of how conceptual relations emerge, develop and become related terms. In order to strengthen the theoretical points and to show the usability of the knowledge profile, we include a case study of a knowledge domain.

A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made.

The idea of the article was suggested by Lotman’s theory about two basic mechanisms of social behaviour — fear and shame. The presented paper aims at highlighting two other mechanisms of such kind — guilt and repentance. The novella Isaac (1960–61) by Antanas Škėma, the Lithuanian writer in exile, is about a Lithuanian patriot who kills a Jew called Isaac during the years of German occupation. The author’s fundamental conception implies that the real perpetrator of crime is not a separate individual but the crowd representing the values of the society. Škėma’s interpretation of history demystifies the moral system in the inter-war Lithuania and proves it to be a collection of futile signs that fail to prevent society from falling into mass psychosis and following primitive impulses. The other Lithuanian novel, Leonardas Gutauskas’ Šešėliai (Shadows) written in 2000, focuses on the tense relationships between Lithuanians and Russians, suggesting that there are several moral systems determining the concepts of guilt-repentance. The Christian agricultural society embodies the ethics of individual responsibility. The domination of the Russian ethic code is associated with the separation of Churches and the strengthening of the Orthodox Church. A moral system based on harmony and aiming to reconcile the guilty and the innocent comes across as a sought ideal. Both novels discussed exemplify different modes of a liberating society. The first one is an account of the society’s effort to become free of the guilt complex and rethink its history. The second one articulates theguilt of the Russian nation against Lithuanians and fights russophobia at the same time.

Semiotics applied to translation studies produces an original approach that is generating scientific texts of high interest. On the other side, the notion of “translation” in a broad sense appears very important within semiotics itself, as in Ch. Peirce’s and J. Lotman’s thought. Distinguishing between translation studies’ influences on semiotics and semiotics’ influence on translation studies becomes increasingly difficult. In this article a synthesis is tried: the Soviet film ‘Strogij Yunosha’ is analyzed using the tools of both disciplines. At first the concept of “strange” is analyzed from a semiotic point of view, looking also for etymological reasons to classify strangeness as simple difference or as inimicality. Then cultural implicit is considered as the problem of mediation between Self and Other, both in a collective and in an individual (psychological) sense. The ways of relating to the Other are then considered in the light of a systemic approach to the cultural polysystem, in which the least unit or subsystem is the individual. The film is then decomposed in many “worlds”, and their borders and relations are viewed in the light of the aforementioned approaches. Such translatological analysis of the film allows to hypothesize why it was banned from the Soviet regime.

The concept of mimesis is not very often used in the contemporary semiotic dialogue. This article introduces several views on this concept, and on the basis of these, mimesis is comprehended as a phenomenon of communication. By highlighting different semantic dimensions of the concept, mimesis is seen as being composed of phases of communication and as such, it is connected with imitation, representation, iconicity and other semiotic concepts.