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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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Publication of the text of Umberto Eco’s talk given at a symposium held in honour of Thomas A. Sebeok (1920–2001) in San Marino in 2002.
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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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This paper provides a short overview of anticipation as a field of enquiry that is closely related to semiotic biology. Anticipation can be seen as addressing both empirically and conceptually certain key features of (bio)semiotic processes, including their open-ended and non-deterministic structure, (self-)referential and relational features, contingency and constructiveness. Outlines are given of some main theoretical frameworks and sources informing current anticipation research. The parallel (and complementarity) between independently developed foundational traditions is highlighted, and seen as a relevant fi eld of future analysis.
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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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The objective of this article is to analyse collective identity formation as a strategic narrative, focusing on a specific case where identity is formulated by casting the enemy as antithetic. The article outlines discursive strategies that justify and preserve an antithetical identity and describes the inherent dangers of these strategies, the prime example being a potential security dilemma. The author also proposes ways to relieve these kinds of security dilemmas. The theoretical framework is illustrated with a brief meta-analysis of the foreign policy discourse of Russia, foregrounding its strategic narratives and their antithetical dimension.
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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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The chief purpose of this paper is to advance a defence of the old-fashioned view that empty names are neither proper names nor any other kind of interpretable expressions. A view of this sort usually makes it easy to account for the meaning of first-order sentences in which they occur in subject position: taken literally, they express no fully-fledged particular propositions, are not truth-evaluable, cannot be used to make assertions and so on. Yet, semantic issues arise when those very sentences are embedded in the scope of propositional attitude verbs. Such (intensional) constructions, indeed, turn out to be literally meaningful, truth-evaluable, and eligible for making assertions. The novel solution put forward here is to combine a version of sententialism with the idea that de dicto reports play a distinctive kind of metalinguistic expressive function. Roughly, that of enabling the ascriber to make explicit a mismatch between the way the embedded sentences are used by the ascribee and the way they are ordinarily used ̶ and, in turn, a mismatch between the way the (empty) names occurring in them are used by the ascribee and the way they are ordinarily used. Fictional names are then regarded as a mere subset of empty names. Accordingly, the above strategy is applied to account for the meaning and use of parafictional (and fictional) sentences and fictional vocabulary in general.
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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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We consider breath as a vast prospect that includes actions and traces of them, that builds images and texts, that involves the human being and the extra-human context; we call this great scenery ‘breathscape’. We then study how breathscape interacts with the human apparatus of the face, both giving rise to signs, but also giving rise to a liminal zone of extremely intriguing interpretative processes on a mereological scale. How and where do the territory of breath and the body interact? Which processes of signification do they give rise to? And which signs are created in their phenomenal and semantic encounter? Art is certainly the most appropriate language for studying this process, as well as for letting opacities emerge and exploring outstanding contrasts. There are various concepts of ‘breathscape’ that, grounded in different cultures, are immediately associated with ancient and contemporary philosophies. As a reverberation from a semiotic interaction and through the discretization and identification of semantic fields relevant to the concerned scenario, and introducing textuality, a phenomenon seen as a crystallization of the transition between outer text (the text of reality) and text (subject/object), we consider those visual texts which are crossed by a common faculty that is both descriptive and inventive: by approaching some inferential and cultural regimes and analysing their specific enunciative practices, we then contribute to their renovation. The texts related to the practices as part of the narratives intrinsic to cultural semiospheres underline the insatiable vastness of epistemological content to be dealt with, and the functional reductionism of the corpus is only a first approach to the field that is intended to shed light on the general panorama and to stimulate subsequent debate and insights.
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Hetki, neid olevikke, päris tegelikkust, on üüratult palju. Igaüks oma episood, igaühel omamoodi. Episoodiline mälu on inimhingedele antud – kuid kuipalju hetki mahub meelde? Päris terviku mõistmiseks on ju samuti vaja ruumi, õige-õige palju. Tähendus on üksnes ses hetkes. Ses vabaduse sekundis mil võib teha nii või naa, mäletada seda või teist, mõelda millest iganes, siis kui maailm just kujuneb ja on. Päris paradoksaalne, et vabadele võimalustele vaatamata keski-miski kaua kesta saab. Miks ja kuidas ikkagi kestab ja püsib, väärib uurimist, semiootikuil iseäranis. Sest semiootiline vabadus on vahel äärmiselt destabiliseeriv, aga vastutus hoida käib samuti just semiootilise vabaduse ehk valikute kaudu.
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Vision is one among the several important topics that Charles Goodwin has been studying. He radically de-psychologized vision by re-specifying it as what is publicly achieved in the unfolding distinct activity rather than what is privately lodged in the mind or the brain (Goodwin 1994).
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For my part in the celebration of Chuck Goodwin’s accomplishments, I return to the past to show the alignment of the 1987 essay to follow with the expansive ideas of context he and Alessandro Duranti put forth in their 1992 book, Rethinking Context. Reading their description of context as inseparable from language and as dynamic was both a starting point and a way forward for my message.
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Augmented reality facial effects represent a new trend in social media communication based on ‘short forms’. The article proposes a tripartite analysis: a semiotic analysis of digital facial effects used to empower the natural users’ faces; a deconstructionist analysis of Spark by Meta, one of the major software applications to create such effects and, finally, a critical reflection on the practices prescribed by Spark and the stereotypical aesthetics of augmented selfies. The conclusion states that such forms of augmented reality effects must be conceived not as oriented to the cognitive improvement of users’ performance but rather as forms of users’ empowerment and self-awareness.
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