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Barthes’s positive theory of the author

Author(s): Harri Veivo / Language(s): English Issue: 1/2008

While it is well known that Roland Barthes consecrated his last lecture series at the Collège de France to the theme of the preparation of a novel, it is less known that his first writings on literature focused on the same question, but from a less individual point of view. The interrogation that motivates Le Degré zéro de l’écriture (1953) and many of the essays in Essais critiques (1964) is the question of how to write, of what procedures one can follow in preparing a literary work of art. At the two ends of Barthes’s career one finds the same themes of writing as action and of the writer’s possibilities and motivations in writing. The article explores the hypothesis that there is ground for a positive theory of the author in Barthes’s work. It seeks to discover similarities between writings from the early and the late period that concern three themes: (1) writing as action, (2) the deferral of its achievement, and (3) writing as representation. The article ends with a discussion on the relationships between Barthes’s positive theory of the author and related important issues that have been discussed recently in literary criticism.

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L’effet de réel revisited: Barthes and the affective image

Author(s): Sirkka Knuuttila / Language(s): English Issue: 1/2008

This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found in cinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself.

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Writing the Present: Notation in Barthes’s Collège de France lectures

Author(s): Michael Sheringham / Language(s): English Issue: 1/2008

In his lectures at the Collège de France in 1978–1979, Barthes focuses at length on the activity of ‘la notation’ (in English, notation): grabbing a fleeting event or impression as it happens, and registering it in your notebook. This article explores the ramifications of notation, as outlined in the lectures (where it is associated with haiku, Joycean epiphany and Proustian impressionism), linking it to Barthes’s longstanding interest in the ontology of modes of signification. Allied to his concept of the ‘third meaning’, and to later terms such as the incident and the romanesque, notation is seen to be central to the preoccupation with affect, subjectivity and individuality we associate with Barthes’s later work. Linked with the fantasy of writing a novel, notation also chimes with the “fantasmatic pedagogy” of Barthes’s lectures where ideas are explored in a highly personal way through the accumulation of discontinuous traits. Through notation the affect-driven, decentred Barthesian subject finds its voice.

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Introduction: Barthes’s relevance today

Author(s): Harri Veivo / Language(s): English Issue: 1/2008

Roland Barthes (1915–1980) was one of the leading scholars who developed semiotics into an academic discipline and gave it intellectual credibility in the latter half of the 20th century. Barthes’s theoretical reflection and analytical case-studies covered a vast field. His work on theory was based on Ferdinand de Saussure and Louis Hjelmslev, but his texts refer also to Roman Jakobson, Sigmund Freud, the Ancient philosophers and rhetoricians, and even to Charles S. Peirce. In casestudies, he focused on topics as diverse as, for example, toys, cars, cinema, photography, cities, fashion, and literature, which remained central all through his career. It is fair to say that Barthes’s importance for semiotics is matched only by few exceptional figures, such as Juri Lotman, Umberto Eco, and Algirdas J. Greimas.

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Vico and Lotman: poetic meaning creation and primary modelling

Author(s): Tuuli Raudla / Language(s): English Issue: 1/2008

The article is based on theories of meaning creation and the concepts of archaic mind of Juri Lotman and Giambattista Vico. It compares the notions fantasia, ingegno, memoria and poetic logic by Vico with Lotman’s concepts of text, memory and modelling systems. Donald Phillip Verene’s and Marcel Danesi’s interpretations of Giambattista Vico’s work are also taken into consideration in the analysis. The article aims to bring out the characteristic features of archaic meaning creation. The archaic mind is considered to be fundamentally poetic. Its main mechanism of generating new meaning is metaphorical identification of two otherwise separate elements. The creativity of this act lies in the presumption that imagination is needed to bring these two elements together — they cannot be identified with each other by the means of syllogistic logic. The archaic mind does not operate mainly with generic concepts, as rational mind does. It forms imaginative universals instead, which are based on the sense of identity between objects or their parts, not on the sense of similarity/ dissimilarity of distinct features of objects. This process forms the basis of poetic modelling, which is primary in relation to verbal modelling.

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Ways of keeping love alive: Roland Barthes, George du Maurier, and Gilles Deleuze

Author(s): Heta Pyrhönen / Language(s): English Issue: 1/2008

The article examines Barthes’s A Lover’s Discourse (1977) in conjunction with du Maurier’s Trilby (1894) in order to present an argument about the similarities they share with the male masochistic fantasy as theorised by Deleuze in his Coldness and Cruelty (1989). Barthes’s insistence on the connection between art and love directs my approach. Trilby deals with love and aesthetics in the contexts of art, music, and narrative. The discourses of Trilby’s competing lovers over the same woman serve as a point of comparison against which I read Barthes’s dramatisation of a lover’s discourse. I argue that Barthes’s lover shares a number of central discursive figures with the Deleuzian masochistic lover. I examine Barthes’s suggestion about the tension between the non-narrative discourse of love and the metalanguage of conventional love stories. I focus on those figures in a lover’s discourse that Barthes identifies as keeping this discourse from turning into a love story. My argument is that many of these figures are among the hallmarks of the masochistic fantasy. In particular the formula of disavowal safeguards the lover’s discourse, hindering it from turning into a conventional narrative about love.

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On myths and fashion: Barthes and cultural studies

Author(s): Patrizia Calefato / Language(s): English Issue: 1/2008

Roland Barthes’s work has confronted contemporary culture with the question of what happens when an object turns into language. This question allowed Barthes to “construct” well known cultural objects — from novels to music, from images to classical rhetoric, from love to theatre — in an unthought way, and to create new, even more unknown ones — from contemporary myth to fashion, from Japan to food culture. In this paper, Barthes’s cultural criticism is considered alongside with the issues raised by Cultural Studies. More specifically, Barthes’s constant reflection on the myth undoubtedly entitles us to connect his cultural criticism to the work that, in those same years, was being produced by the English forge of Cultural Studies, namely the so-called “Birmingham school”. Even today, Barthes’s work makes it possible for semiotics to be, to use his expressions, both “the science of every imagined universe”, and a mathesis singularis, rather than universalis, that is to say a systematic way to approach the singularity of the objects of knowledge. On the basis of this “transcendental reduction”, we can therefore wish for a “second birth” and a transvaluation of linguistics and of semiotics, both to be applied through varied and disseminated forms of intellectual activism. What

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Towards a semiotic theory of hegemony: Naming as hegemonic operation in Lotman and Laclau

Author(s): Andreas Ventsel,Peeter Selg / Language(s): English Issue: 1/2008

The article concentrates on the possibilities of bringing into dialogue two different theoretical frameworks for conceptualising social reality and power: those proposed by Ernesto Laclau, one of the leading current theorists of hegemony, and Juri Lotman, a path breaking cultural theorist. We argue that these two models contain several concepts that despite their different verbal expressions play exactly the same functional role in both theories. In this article, however, we put special emphasis on the problem of naming for both theorists. We propose to see naming as one of the central translating strategies in the politico-hegemonic discourse. Our main thesis is that through substituting some central categories of Laclau’s theory with those of Lotman’s, it is possible to develop a model of hegemony that is a better tool for empirical study of power relations in given social formations than the model proposed by Laclau, who in his later works tends more and more to ground it in psychoanalytic ontology.

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Voicing Le Neutre in the invisible choir in Richard Wagner’s Parsifal

Author(s): Anne Sivuoja-Gunaratnam / Language(s): English Issue: 1/2008

Roland Barthes was suspicious about the ability of music and voice to signify, as revealed in many of his writings. However, his somewhat limited views on music and voice need not to restrain from profiting his semiotic theorising and his reasoning, which can be adapted for musical instances in ways not envisaged by Barthes. The Neutral (Le Neutre) is a recurrent topic in Barthes’s oeuvre from his first book, Writing Zero Degree (1953) up to his 1978 lecture series on The Neutral in Collège de France (published in 2002). This paper explores how Barthes’s Neutral may enhance a special kind of listening. The enigmatic sonorities emitted by the Invisible Choir in Richard Wagner’s Parsifal (1882) serve as the foil in this task, more precisely a phrase voiced by female altos and male tenors (“Nehmet hin meinen Leib [...]”, Act I). It is not its semantic content mediated by (written) language that is of interest here but how this phrase has been voiced, and furthermore, how Barthes’s Neutral may be heard in and beneath it. Several commercially available live recordings made in Bayreuth have offered playground for listening to and for The Neutral. As my analysis shows, the audible Neutral is not a separate entity but works in conjunction with other modes of signification: visual, textual, biographical, spatial.

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Semiospheric transitions: A key to modelling translation

Author(s): Elena Maksimova,Edna Andrews / Language(s): English Issue: 2/2008

Lotman’s contribution to semiotic theory, anthroposemiotics, the study of artistic texts and defining the relationship between language and culture represent some of the most powerful work produced within the Tartu–Moscow School of Semiotics. The importance of translation is one of the central principles that unites all of Lotman’s work. In the following paper, we will consider Lotman’s definition of translatability in the context of (1) the definition of semiospheric internal and external boundaries and the importance of crossing these boundaries, (2) the role of no fewer than two languages as a minimal unit of semiotic meaning-generation, (3) culture text-level generation of collective memory, and (4) the ever-present tension in the communication act. In our concluding section, we will offer an extended model of the communication act, based on the fundamental principles given in Jakobson, Sebeok and Lotman, in order to specify important moments of the translation process.

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Meanings come in six

Author(s): Andres Luure / Language(s): English Issue: 2/2008

Though it seems to be reasonable to restrict the scope of semiotics, in order more completely to understand the semiotic phenomena it is necessary to specify all conceivable types of sign and meaning. The method of sextets is introduced that yields a uniform six-item structure of both general and special sign typologies. A general typology of signs and meanings in language and speech and a typology of referring are presented as the paradigms for the structure. In any sign typology in the framework of this structure, the categorisation of the unit of meaning is analogous to the first three items of the first paradigm. In any sign typology in this framework, the relation between the sign and the meaning is analogous to the relation of referring.

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From semiosis to semioethics: The full vista of the action of signs

Author(s): John Deely / Language(s): English Issue: 2/2008

How anything acts depends upon what it is, both as a kind of thing and as a distinct individual of that kind: “agere sequitur esse” — action follows being. This is as true of signs as it is of lions or centipedes: therefore, in order to determine the range or extent of semiosis we need above all to determine the kind of being at stake under the name “sign”. Since Poinsot, in a thesis that the work of Peirce centuries later confirmed, the proper being of signs as signs lies in a relation, a relationship irreducibly unifying three distinct terms: a foreground term representing another than itself — the representamen or sign vehicle; the other represented — the significate or object signified; and the third term to or for whom the other-representation is made — the interpretant, which need not be a person and, indeed, need not even be mental. The action of signs then is the way signs influence the world, including the world of experience and knowledge, but extending even to the physical world of nature beyond the living. It is a question of what is the causality proper to signs in consequence of the being proper to them as signs, an indirect causality, just as relations are indirectly dependent upon the interactions of individuals making up the plurality of the universe; and a causality that models what could or might be in contrast to what is here and now. To associate this causality with final causality is correct insofar as signs are employed in shaping the interactions of individual things; but to equate this causality with “teleology” is a fundamental error into which the contemporary development of semiotics has been inclined to fall, largely through some published passages of Peirce from an essay within which he corrects this error but in passages so far left unpublished. By bringing these passages to light, in which Peirce points exactly in the direction earlier indicated by Poinsot, this essay attempts a kind of survey of the contemporary semiotic development in which the full vista of semiosis is laid out, and shown to be co-extensive with the boundaries of the universe itself, wherever they might fall. Precisely the indirect extrinsically specificative formal causality that signs exercise is what enables the “influence of the future” according to which semiosis changes the relevance of past to present in the interactions of Secondness. Understanding of this point (the causality proper to signs) also manifests the error of reducing the universe to signs, the error sometimes called “pansemiosis”.

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О понятии «перевод» в трудах Юрия Лотмана

Author(s): Silvi Salupere / Language(s): Russian Issue: 2/2008

The notion of “translation” in the works of Juri Lotman. The present article deals with the concept of “translation“ and other related concepts (“re-codification”, “exact translation”, “adequate translation”, “equivalence”, “transformation”) in the works of Juri Lotman, demonstrating among other things possible relations with the ideas of Roman Jakobson and Louis Hjelmslev. Two main areas of research have been distinguished where the concept of “translation” clearly stands out. First are Juri Lotman’s works on structural poetics, where he discusses mainly the specifics of translating artistic texts. The other is his articles on the typology of cultures where translation is seen as a dialogue, the principal operational mechanism of culture.

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Translation as communication and auto-communication

Author(s): Peeter Torop / Language(s): English Issue: 2/2008

If one wants to understand translation, it is necessary to look at all its aspects from the psychological to the ideological. And it is necessary to see the process of translation, on the one hand, as a complex of interlinguistic, intralinguistic, and intersemiotic translations, and on the other hand, as a complex of linguistic, cultural, economic, and ideological activities. Translators work at the boundaries of languages, cultures, and societies. They position themselves between the poles of specificity and adaptation in accordance with the strategies of their translational behaviour. They either preserve the otherness of the other or they transform the other into self. By the same token, they cease to be simple mediators, because in a semiotic sense they are capable of generating new languages for the description of a foreign language, text, or culture, and of renewing a culture or of having an influence on the dialogic capacity of a culture with other cultures as well as with itself. In this way, translators work not only with natural languages but also with metalanguages, languages of description. One of the missions of the translator is to increase the receptivity and dialogic capability of a culture, and through these also the internal variety of that culture. As mediators between languages, translators are important creators of new metalanguages.

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Roman Jakobson and the topic of translation: Reception in academic reference works

Author(s): Elin Sütiste / Language(s): English Issue: 2/2008

The article describes and analyses connections established between Roman Jakobson’s scholarly legacy and the topic of translation in a selection of academic reference works. The aim in doing so is twofold: first, to look beyond the conventionalised image of Jakobson as an influential scholar for several disciplines, such as translation studies, linguistics and semiotics, and to provide an overview of the actual reception of his ideas on the level of general academic knowledge as presented by scholarly reference works in these fields. Another aim is to find out whether and how Jakobson’s ideas on translation are seen to relate to his other ideas concerning language and communication. It appears that — while there also exist some differences fieldwise as well as among individual reference works — the general reception of Jakobson is based predominantly on just two of his articles (out of his overall legacy of several hundred works) and to a large extent ignores the inner logic of Jakobson’s thought as it manifests in his different works (i.e. there are few connections made between his ideas expressed in his different works).

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Translation as sentimental education: Zhukovskij’s Sel’skoe kladbishche

Author(s): George Rückert / Language(s): English Issue: 2/2008

Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made it possible for Russian poets to think within an entirely new, though by no means foreign system of signs.

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Susan Petrilli named seventh Thomas A. Sebeok Fellow of the Semiotic Society of America

Author(s): Frank Nuessel / Language(s): English Issue: 2/2008

The thirty-third annual meeting of the Semiotic Society of America meeting was held at the Renaissance Houston Hotel Greenway Plaza October 16–19, 2008 in conjunction with the University of St. Thomas in Houston, Texas.21At this meeting Professor Susan Petrilli of the University of Bari, Italy was inscribed as the seventh Thomas A. Sebeok32 fellow. Professor Petrilli’s Fellow address was delivered on October 17, 2008 12:45–14:00 in a plenary session. Her presentation, entitled “Semioethics and responsibility: Beyond specialisms, universalisms and humanisms”, was an outstanding presentation on the topic semioethics and its importance to all of us in the twenty-first century. The large audience was entranced by her insightful observations. 3 Professor Petrilli was born in Adelaide, Australia and she received her doctorate from the University of Bari, Italy in 1993 in Language Theory and Sign Sciences.

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Toward a concept of pluralistic, inter-relational semiosis

Author(s): Floyd Merrell / Language(s): English Issue: 1-2/2007

Brief consideration of (1) Peirce’s ‘logic of vagueness’, (2) his categories, and (3) the concepts of overdetermination and underdetermination, vagueness and generality, and inconsistency and incompleteness, along with (4) the abrogation of classical Aristotelian principles of logic, bear out the complexity of all relatively rich sign systems. Given this complexity, there is semiotic indeterminacy, which suggests sign limitations, and at the same time it promises semiotic freedom, giving rise to sign proliferation the yield of which is pluralistic, inter-relational semiosis. This proliferation of signs owes its perpetual flowing change in time to the inapplicability of classical logical principles, namely Non-Contradiction and Excluded-Middle, with respect to elements of vagueness and generality in all signs. Hempel’s ‘Inductivity Paradox’ and Goodman’s ‘New Riddle of Induction’ bear out the limitation and freedom of sign making and sign taking. A concrete cultural example, the Spaniards’ world including the Virgin of Guadalupe and the Aztecs world including their Goddess, Tonantzín, are given a Hempel-Goodman interpretation to reveal the ambiguous, vague, and complex nature of intercultural sign systems, further suggesting pluralism. In fact, when taking the ‘limitative theorems’ of Gödel, Turing, and Chaitin into account, pluralism becomes undeniable, in view of the inconsistency-incompleteness of complex systems. A model for embracing and coping with pluralism suggests itself in the form of contextualized novelty seeking relativism. This form of pluralism takes overdetermination, largely characteristic of Peirce’s Firstness, and underdetermination largely characteristic of Peirce’s Thirdness, into its embrace to reveal a global context capable of elucidating local contexts the collection of which is considerably less than that global view. The entirety of this global context is impossible to encompass, given our inevitable finitude and fallibilism. Yet, we usually manage to cope with processual pluralism, within the play of semiosis.

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Ethnolinguistic identity and social cognition: Language prejudice as hermeneutic pathology

Author(s): David Herman / Language(s): English Issue: 1-2/2007

Analysts studying the nexus between language and ethnic identity have characterized ethnolinguistic ideologies as the deep structure of overt language practices. By contrast, this exploratory analysis argues for the advantages of shifting from a multi-level to a single-level explanatory model, consisting of interpretive frames and data (= aspects of sociocommunicative behavior) interpreted by way of those frames. The single-level model affords, arguably, a more unified treatment of people’s everyday inferences about ethnolinguistic identity, on the one hand, and research paradigms for studying language as an ethnosemiotic resource, on the other hand. Yet the “singletiered” model does not void socioideological considerations. Instead, it assumes that a continuum stretches between (1) entrenched language prejudices, (2) efforts to use language theory to question or dislodge such prejudices, and (3) the moment-by-moment hypotheses and inferences in terms of which humans make sense of their conspecifics’ linguistic behavior, along with other ethnosemiotic cues.

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Time, change, and sociocultural communication: A chronemic perspective

Author(s): Thomas J. Bruneau / Language(s): English Issue: 1-2/2007

The temporal orientations of any sociocultural grouping are major factors comprising its central identity. The manner in which the past (memories), the present (perception), and the future (anticipation/expectation) are commonly articulated also concern cultural identity. The identity of a cultural group is altered by developmental changes in time keeping and related objective, scientific temporalities. Three modes of temporality, objective, narrative, and transcendental, congruent with different kinds of brain processes, are common throughout our planet. Objective temporality tends to alter and replace traditional narrative and transcendental (spiritual) time, timing, and tempos. Objective temporality is concerned with what is transitory, modern and “progressive”. Objective time is not a traditional form of cultural time; it is a derived Westernized scientific imposition, rather than any cultural formation. This essay develops a new conception of how semiosis occurs. All information is essentially rhythmic, transduced through sensory systems as signals in a space-time domain, but deposited for use into a spectral thermodynamic domain in the human cortex. A “chronemic” perspective, (temporality as it is based in semiotic processes related to human communication) is assumed throughout. Such a perspective appears to be somewhat novel in both communication and semiotic studies.

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