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Once translated into images, food acquires a broader meaning. Food is no longer merely something to eat, but to show, share and look at. The increasing amount of images and pictures of dishes on our social networks, associated with hashtags such as #foodporn, expresses this renewed social, communicative and provocative function of food. However, the exhibition of these images is quite ambivalent when it comes to establishing determined patterns of visual and social relationships with and between users. The aim of this article is to analyze and attempt to provide mediation to this ambivalence. The pornographic exposition of food images no longer presupposes a transitive form of consumption by the user, but becomes pure and self-reflexing spectacle. The images are obscene (Baudrillard [1981] 1994) and characterized by an excess of transparency on their object which abolishes any form of seduction (Baudrillard [1979] 1990). Barthes ([1980] 1981) defines this kind of image as unary. Pornographic images are an emblematic example. In terms of their self-evident objectivity, these pictures lack any punctum, any piercing sign of a relationship with or openness to the observer (see Eco 1962; 1979). Nevertheless, behind their apparent transparency, the images are always products of specific perspective cuts, and still able to convey mystery, meaning and involvement. The unary image of food is a further fragment in a series of multiple perspectives on the same object. Such potentiality is actualized in our (social) media culture in which sharing and continuous remediation of images and pictures of food constitute a complex storytelling of the object. This, in turn, fosters further participation by the users. The ambivalence between the indifference of the pornographic image and the involvement in the serialization of the detail is synthetized by the notion of fetishism (Baudrillard [1972] 2019). The social (and) media scenery seems to exemplify and radicalize a sort of commodity fetishism, in which social relationships between users are shaped and mediated by (social) media relationships between images of food.
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This anthology book is published on the occasion of the bicentennial of the birth of Friedrich Engels, an exceptional thinker and theorist of the revolution. Editors Maroje Višić and Miroslav Artić gathered renowned domestic and international scientists who tried to reevaluate Engels' works and his scientific contribution. The idea behind the book is to point out the everlasting value and significance of Engels’ revolutionary philosophy. Contributing authors offered analytical reading of Engels' ideas, addressing pressing issues in economics, politics, religion, feminism, ideology and in other segments of contemporary society. The papers in an anthology are organized under the chapters: The Reception of Engel’s Philosophy, Actuality of Engels Today with subchapters on working-class and precariat, peasantry as the subject of change, early Christianity as an inspiration; and the last chapter is Revalorization of Family and State. The first chapter tackles the questions if Engels was more than an interpreter of Marx or simply the first Marxist who contributed to the banalization of Marx. It then investigates reception of Engels’ philosophy in ex-Yugoslavia specifically and in philosophical theory in general. The second chapter demonstrates actuality and relevance of Engels today by discussing the topics of working-class and precariat, by making comparison between early industrial society and contemporary society and by tracking development of socialism from utopia to a science. Chapter also deals on the peasantry whose role as a subject of change is thoroughly problematized. Special part of the chapter is dedicated to the influence of the practice of early Christianity on the formation of Engels’ revolutionary idea and to what extent original Christian community served affected the development of Engels’ thought. Final chapter brings papers that, under new circumstances, re-examine the understanding of the state-family relation and their dynamic. This comprehensive anthology attempted to revalorize and appraise Engels’ own contribution to science and philosophy 200 years after his birth. For this it was necessary to “divorce” Engels from Marx so that the fallacy of statement that Engels was second violin to Marx becomes striking.Chapter one tackle the question of whetherEngels was more than an interpreter of Marx or simply the first Marxist to contribute to the banalization of Marx.= Engels' reception is then examined both in the former Yugoslavia and in philosophical theory in general.Special part of the chapter is dedicated to influence of the practice of early Christianity on the formation of Engels’ revolutionary idea. That is, to what extent the examples of the original Christian communities influenced the development of Engels' thought
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We’re talking about J. Anthony Lucas’s classic argument that Gödel’s Second Incompleteness Theorem rules out man-machine equivalence. This is an argument that Penrose revived and popularized in the 1990s. This fallacious argument is a thoroughly dead horse. But I’ll give it another beating here. Do note that the Lucas-Penrose argument is a completely distinct issue from PenroseHameroff speculation that the brain can act as a coherent quantum computer. It’s to Penrose’s credit that he’s associated with multiple controversial ideas!
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The article discusses some semiotic approaches to the relation between nature and culture. Starting with outlining the structuralistic approach to this issue, especially the ideas of Juri Lotman and Algirdas Julien Greimas, the author finds parallels between different views on the relation between the natural world and human beings. First, the juxtaposition of Eero Tarasti’s existential semiotics with selected concepts of biosemiotics is discussed. The following part of the paper is dedicated to Bruno Latour’s ideas on nature–culture relation, hybrids and mediations. Then the author refers to Lotman’s notion of the semiosphere as the common space for all living and inanimate elements. Closing the paper with a return to biosemiotics, the author comes back to Tarasti’s ideas and compares these with some ideas in biosemiotics, paying special attention to the concepts of unpredictability, choice and dynamics. The comparison shows that some intuitions, assumptions and theses of these different scholars turn out to be surprisingly convergent. The author believes that the outlined parallels between Tarasti’s view, Latour’s and Lotman’s concepts, and biosemiotics may be promising for further research, inviting detailed study.
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The study focuses on the repeated visits of Russian-born Harvard linguist Roman Jakobson to Slovakia. The author traces Jakobson’s Slovak contacts from the interwar period up to 1968. Based on analysis of secret police documents and memoir literature, the research offers an insight into contemporary academic and cultural life in 20th century Czechoslovakia.Jakobson’s first Slovak contacts in the 1920s were linked to his activities in the Prague Soviet legation and the Charles University. In the 1930s he visited Bratislava more frequently, while teaching at Brno University. During the Stalinist era in Czechoslovakia, a number of his friends and colleagues were politically prosecuted. Only in 1957, was he able to return to Czechoslovakia for Slavonic Studies conferences in Prague and Olomouc, using this occasion to give a lecture also in Bratislava. In the approaching wave of hate-campaign against local “unreliable intellectuals” he was denounced as a “cosmopolitan” and “Western agent”. Subsequent attempts for Jakobson’s academic and public rehabilitation, urged by his Czechoslovak friends, became a reality only during his visit in 1968. The presentation ceremony of the Golden medal of the Slovak Academy of Sciences to Roman Jakobson was scheduled in Bratislava on August 21, 1968, the day of the Soviet-led invasion of Czechoslovakia by the Warsaw Pact.
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Advertising is one of the most well-known parts of marketing communication. Advertisement text has a specific structure and consists of a headline, sub-headline and body copy. These elements belong to different language levels: phonetic, grammatical (morphological and syntactical), and lexical. To make the advertisement effective different promotional strategies are employed, which imply the use of various linguistic and extralinguistic means. Linguistic means include paradigmatic and syntagmatic expressive means and stylistic devices. We may mention lexical, syntactic, phonetic, and semasiological expressive means (speech) and stylistic devices (language). Extralinguistic means include colours, different types of fonts, pictures and so on and can be considered as visual communication with the potential customer. Advertisement text often contains basic semiotic elements: icon, index, and sign. Some of them are used as a trademark or logo and accompany advertisement. The visual perception of the advertisement is very important; linguistic means enhance it. The combination of linguistic and visual means allows us to consider the advertisement text as a semiotic construal.
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Subject: A diatonic harmonica as the cultural and symbolic text containing extensive information about the Adyghe traditional culture. Purpose of study: To disclose the sense of the basic national notions and the ideals coded in a harmonica as a material and spiritual object of culture. Methods: Comparative-typological, semiotic and field observations.
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According to the quotational theory of meaning ascriptions, sentences like “‘Bruder (in German) means brother” are abbreviated synonymy claims, such as “‘Bruder (in German) means the same as ‘brother’”. After discussing a problem with Harman’s (1999) version of the quotational theory, I present an amended version defended by Field (2001; 2017). Then, I address Field’s responses to two arguments against the theory that revolve around translation and the understanding of foreign expressions. Afterwards, I formulate two original arguments against both Harman’s and Field’s versions of the theory. One of them targets the hyperintensionality of quotations and the other raises a problem pertaining to variant spellings of words.
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Conscience is an element of the linguistic portrayal of the human person. The manner in which conscience is conceptualized in a language certifies that it is an intellectual judgment, moral imperative, moral reflection, a force to do good and a force restraining from evil. Specific linguistic connections certify what is meant by conscience in contemporary Polish. The contexts of occurrence of conscience allow for distinguishing two orientations, which are not only characteristic of Christian thought. They are: axiological orientation and pragmatic orientation. The first can be found in texts of a legislative nature, the second – points to the sociological and psychological motivations for using the concept in a specific context. This allows for a reconstruction of the image of conscience on the basis of specific mental operations that affect the formation of specific language constructs.
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In the study, the movie La Montana Sagrada (1973) was analyzed using the method of semiotic analysis. The works in the film have been analyzed in two sections as "Footprints of the Past" and "The Modern World". In this context, the reinterpretations of works such as Goya's 3 May, Michelangelo's Pieta, an anonymous work Gabrielle d'Estrees and Sister's Portrait and the works directly used by artist Manuel Falguerez were analyzed. In the section "Footsteps of the past", some of the most striking examples of art history are semiotically revived in the transfer of difficult concepts such as religion, politics and exploitation. In the "Modern world" part of the film, postmodern works were used as a means of transmission in re-questioning concepts such as religion, war and exploitation that evolved in a different direction after modernism. With this film, Jodorowsky made a narrative through the works and at the same time revealed one of the most interesting examples of performance art.
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Matériels et suppléments pour systé- Cet ouvrage a été publié premièrement matisation. Publié par «Rilindja» Pri- en langue serbe - croate par l’Acadéshtinë, 1983, 243 pages. La traduction mie des Sciences et de l’Art de Bosnie en albanais a été faite par Zef Mirdita. et de Herzégovine, Sarajevo, 1981.
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Review of: Aleksandër Stipçeviq - SIMBOLET E KULTIT TE ILIRËT. Materiale dhe suplemente për sistematizim. Botuar nga «Rilindja», Prishtinë, 1983, 243 faqe. Përkthimi shqip është bërë nga Zef Mirdita. Kjo vepër së pari u botua në serbo-kroatisht nga Akademia e Shkencave dhe e Artit e Bosnjes dhe e Hercegovinës, Sarajevë, 1981. Review by: Mark Tirta
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Minimalism developed in the late 1950s as a reaction to the decorative art of abstract expressionism. Advocates of this movement in art and design emphasized purity, clarity and simplicity. Minimalism first showed its influence in the field of graphic design during the international typographic style era that emerged in Switzerland. In minimalist graphic design, sans serif typefaces, limited use of colors, dense negative areas and geometric shapes stand out. Minimalist designers aim to create objective and non-interpretive designs by eliminating all aspects of illusion and visual illusion and discarding the details that are not required to be used in the design. In this study, the use of the minimalist approach in packaging design was examined. In the field of packaging design, minimalism creates a contrasting approach with the dynamic visual language that consists of bright packaging materials, saturated colors, various fonts and three-dimensional typography that try to attract the attention of the consumer. In contrast to this traditional trend that is dominant today, minimalism strikes a balance between environmental considerations and the aesthetics of simplicity. In the examples examined in the research, it is seen that, minimalist packaging design products tries to create a sense of functionality, quality and in the consumer, as well as referring to ecology and sustainability issues.
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Ancient Greek art and culture had served as a significant guide for Western civilisation for centuries. Greek philosophy, literature and mythology as well as art and architecture had a major impact on artists especially in the periods of Renaissance and Neoclassicism. It is interesting to see that Ancient Greek sculpture has still been inspiring for the 20th century western painters, sculptors and performance artists. This article will focus on the visual representations of four statues -Apollo Belvedere, Venus of Milo, Nike of Samothrace and Sleeping Ariadne- in the imagination of artists working in various styles. Depictions of aforenamed statues and their novel and distinctive interpretations had been the subject of this descriptive research. 20th century creations have been scanned for traces of Ancient Greek sculpture. These timeless paragons of Classical and Hellenistic periods acquired a fresh life thanks to the 20th century art world’s admiration and respect for the Ancient Greek sculpture. It can be concluded that by juxtaposing classical and contemporary imagery, artists created memorable and engrossing works.
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This article introduces an ecosemiotic approach to the two great challenges facing humanity in the 21st century: solving an escalating environmental crisis, while also safeguarding and further improving human living conditions. An ecosemiotic framework for the study of societal transformations is presented and political and other normative aspects of what I call transformative semiotics are discussed. This envelops socio-cultural and socio-ecological developments framed in terms of umwelt theory and Deep Ecology. In the long run, developments in human ecology as reflected in our changing relations to non-humans are expressed in the umwelt trajectory of humankind. The question of how the environmental crisis can best be solved is therefore tantamount to the question about what direction the human umwelt trajectory should take in this century. I outline different plausible umwelt scenarios for human ecology in the 21st century, focused on business-as-usual, ecomodernist and Deep Ecology scenarios. In a concluding discussion on technology and sustainability, the scenario development eventually includes a distinction between flexible and inflexible development paths.
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The article focuses on the ways in which identity is created through its antithesis that is constructed as its mirror image. Thus, political unity is based on the figure of the enemy, the creation of which will be discussed from the standpoint of semiotics and strategic narratives. The first approach makes sense of antithetical meaning-making, while the second one makes it possible to formulate specific strategies used to create and consolidate the antithetical identity. The result of this synthesis offers a new theoretical framework, able to dissect both the functions and the limits of antithetical identity creation, demonstrated by a possible security dilemma as an example. This model is then used to analyse the foreign policy of the Russian Federation.
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In the Book of Revelation there are many symbols with broad meaning. The dragon is one of them. He is also one of the forms taken by Satan. This being represents a plenitude of malevolent forces opposing humans and God. The number of the dragon’s heads as well as horns and diadems is not accidental. They have their hidden meaning, not only emphasizing the might and aggression of the monster. They find their hidden meaning in the Old Testament as well. Although attributes indicate enormous strength, but at the same time they show weakness and finiteness in the creature in reference to God. The author of the Book of Revelation presenting the image of the dragon is inspired by the character of Leviathan, biblical beasts and monsters from other religious circles. At the same time, he creates his own image of a monster.
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This research aims to evaluate Arnold Böcklin's fantastical and mythological narrative through the concept of melancholy. Concept of melancholy continued to exist within the reality of each period. The concept is presented to the audience with different narratives and artistic works of the artists. The research found that the inspiration or sources of Arnold Böcklin's works in the creation process how and to what extent if reflects melancholy in its works. İn this context the emotional states of the artist's melancholy works produced through the theme of death will be interpreted.
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