“How Do Signs Come To Mean?” Reflections on the Goodwinian Interactional Approach to Empirical Investigations of the Human Semiotic Ecology

Author(s): Johanne S. Philipsen,Lasse Vöge Jensen / Language(s): English Issue: 19/2018

If we are to point to the most central and sustained feature of Chuck Goodwin’s impressive work, it is his persistent resistance to simplify the richness of human meaning-making in face-to-face interaction. Through a unique methodological combination of semiotics, linguistics, cognition, and phenomenology, he has continuously sharpened our understanding of the semiosis in co-action without compromising the empirical complexity of it.

“It Goes Without Saying”

Author(s): Timothy Koschmann / Language(s): English Issue: 19/2018

The one and only time I had an opportunity to sit down and chat with Harold Garfinkel, he talked at length about a comment once made by Stanley Fish. Fish (1967) had noted that though Christ’s name is never mentioned in Paradise Lost, his presence is sensed in every line written by Milton. His name, it would seem, is present by virtue of not being stated. As Harold put it, “it goes without saying.” How things come to mean was an obsession for Garfinkel, as it is for Fish, though they tend to work the topic from different angles. It has been an obsession throughout his career for Chuck Goodwin as well.

Типографія як форма візуальної комунікації

Author(s): Natalia Sergeevna Udris-Borodavko / Language(s): Ukrainian Issue: 40/2018

Purpose of the article. The research is related to the identification with the reasons for the coexistence of opposing tendencies of domination of visual images in communicative practice and the widespread use of verbal texts in graphic design. The concept of «typography» is clarified in the context of social communication and recommendations for practitioner designers are formulated. Methodology. The research methodology consists of an empirical method, analysis, comparison and generalization. This methodological approach provides an opportunity to study trends in modern visual communication with the help of products of graphic design, to observe the dynamics of certain techniques and tools, in particular, typography, and to predict the impact on socio-cultural status in society. The scientific novelty of the work consists in expanding the perceptions of typography as a factor of visual communication and a scientific substantiation of the gravity of graphic designers to the creation of visual images based on verbal elements. Recommendations for the effective use of typography by the concept "form – content" for practical designers are formulated. Conclusions. The domination of visual communication in society in the 21st century is ensured by the products of graphic design. The power of visual communication in the 21st-century society is provided by the products of graphic design. At the same time, in the information space available in the Internet resources, over-saturation with a variety of graphic elements is observed. Visual images facilitate the perception of information through their visibility. At the same time, in the information space available in the Internet resources, over-saturation with a variety of graphic elements is observed. Visual images facilitate the perception of information through their visibility. At the same time, the addressees require refinements of the content, which can be achieved by introducing into the visual image verbal elements. That is why in recent years there has been a tendency to use typography in graphic design projects. Texts as content elements themselves form a visual image or complement graphics and photographic images. With the help of such reception, the meaning of the message is fixed, and the results of visual communication are predictable.

Толерантност, дискриминация и език

Author(s): Valeri Lichev / Language(s): English,Bulgarian Issue: 3/2018

Political correctness is blamed by its opponents for the failed model of multiculturalism, the influx of migrants, and the threat of terrorist acts. The author refers to the contemporary achievements in semiotics, hermeneutics and philosophical anthropology. His criticism is directed at: 1) the paradoxes of postmodern philosophical attempts to justify the idea of political correctness; 2) the way new terminology is introduced, leading at a linguistic level to exclusion, not inclusion, of disadvantaged people: E. Benveniste asserts that the third person is rather a non-person. The article concludes that politically correct language should be grounded on a basis that takes into account the three persons of the conjugation of verbs. Similar philosophical and ethical ideas can be found in the works of J. Kristeva, T. Todorov, P. Ricoeur. This is one of the possible ways to overcome the exclusion of disadvantaged people who are named using terms, but are not in a way that designates them as participants in social and political dialogue.

Традиціоналізм у складі стильової парадигми мистецького мислення ХХ століття

Author(s): Lyudmila Alexandrovna Ivanova / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is a realization of tradiтionalism as mеtаdirection of art in XX century that historically comparable with mеtаdirection of styles modern-vanguard, jointly forming artistic paradigm of the past century, then the last becomes firmly established in nеоrеnaissаnce world-outlook according to with "system of Leonardo da Vinci" P. Valéry. The methodology of the study is a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Traditionalism forms mеtаdirection since in base this style unity prescribed expressiveness of romanticism-pоstromanticism and realism XIX century that forms analogies to mеtаstyle forming of the modernism (vеrism at the end XIX - at the beginning initially XX century, "hard" type of the neoclassicism I. Stravinsky and P. Hindemith, others), in which vanguard took place as focus of the symbiosis of the styles-directions expressionism, futurism, primitivism, having formed new unity of the vanguard of the second wave in the manner of nеоexpressionism.

Тракийското наследство в РИМ – Сливен: за семантиката и функциите на „женските предмети” в царското погребение

Author(s): Nikolay Sirakov / Language(s): Bulgarian Issue: 3/2019

The article comments the semantics and the functions of Thracian metal engravings in the collection of the Regional History Museum – Sliven, acquired predominantly throughout the study of some rich graves in the region of Sliven. Marriage is a form of transition from a particular social status to a different one. Through the marriage the hero joins the goddess and turns into a god-man – the highest position in society which is available only for the king. From ideological point of view wedding is a form of choosing of the ruler by the god. The ritual burial of female objects might be interpreted as a sacred symbolic signifier of a marriage between the diseased ruler and the Great Goddess. Its meaning implies the new birth of the ruler after his death. The elements of the opposition birth-death in the mythological consciousness are equal as elements of the general structure of the rites of birth, marriage, death. This is necessary in providing the main eschatological reason for the existence of the tomb as a cult building – to secure a new birth of the deceased ruler in the outer world.

Трансформація ідеї "дзеркала" у некласичному філософсько- естетичному дискурсі

Author(s): Oksana Aleksandrovna Kolotova / Language(s): Ukrainian Issue: 2/2011

The transformation the idea of "the mirror" gets in the non-classical philosophical and aesthetic discourse – new modes of " the mirror" in modern philosophical reflections, new semantic of "mirror" metaphors, new areas of the principle of "reflectivity" in humanities research – is revealed in the article.

Три насти - современная русская литература и философия воскресения

Author(s): Aleksandr Dvoeglavov / Language(s): Russian Issue: 2/2005

The article analyzes the generalized literary image of teenage Nastia in three texts (V. Sorokin, A. Platonov, S. Anufriyev and P. Peperstein). The concept of the resurrection and various types of its realization are discussed. V. Sorokin's narrative "Nastia" is intertextually analyzed in the context of N. Fedorov's resurrection theory.

Тялото на езическия български владетел

Author(s): Oksana Minaeva / Language(s): Bulgarian Issue: 4/2021

The article discusses notions referring to the ruler and his body according to the pagan views of the Bulgarians in the epoch before Christianity was adopted in the Bulgarian lands. Drawing on written sources and material evidence, an attempt is made to interpret ideas, signs and objects which form the system of the ruler’s ideology. Typological similarities are pointed out between the ruler’s ideology of the Bulgarians and that of the peoples of the Eurasian Steppes, Central Asia, and with other peoples from the Migration period.

Удвояване или за любословието на филологията

(Рецензия на „Модерният мимесис: Саморефлексията в литературата“ на Камелия Спасова, 2021)

Author(s): Miglena Nikolchina / Language(s): Bulgarian Issue: 10/2021

Modern Mimesis: Self-Reflexivity in Literature is a passionate defence of philology that traverses the distances from Ancient Hellas to present-day Japan, from Ulysses to robots. This movement follows a logic described by the author as reconceptualization, and creates conceptual nodes configured through horizontal and vertical, temporal and spatial self-reflexive reduplications. The broad arc from the libraries of Alexandria and Pergamum to the mimetic valleys of robotics thus turns out to be underpinned by the reconceptualization of the ancient dispute between ‘analogy’ and ‘anomaly’, turning any attempt at ordering into an ‘endless series of rearrangements’.

Феномен семіозису: історико-теоретичний аспект

Author(s): Olena Kapichina / Language(s): Ukrainian Issue: 3/2010

The phenomenon of semiosis, his determination in historian-theoretical aspect is considered in article. They are analyses key semiotic concepts, in which is formulated problem of semiosis and are defined typical particularities to interpretation sign.

ФЕНОМЕНОЛОГІЯ СВЯТА: КУЛЬТУРОЛОГІЧНИЙ АНАЛІЗ

Author(s): Larisa Babushka / Language(s): Ukrainian Issue: 1/2017

Purpose of Article. The purpose of the article is to identify the main concepts of Phenomenology of a Holiday, which are structural subsystems of Phenomenology of Culture. Methodology. The methodology involves using of the scientific methods such as typology (to identify the key characteristics of the need holidays); phenomenological reflection (to differentiate phenomenal forms of the "stream of consciousness" and deep intentionality "pure consciousness"); cultural approach (to analyse the nature of the phenomenon). Scientific novelty. The scientific novelty of the research is to determine the nature of the phenomenon. The proposed classification of the basic conceptions that characterize Phenomenology of a Holiday. The latter is a subsystem of the Phenomenology of Culture. Conclusions. Phenomenology of a Holiday is a subsystem of Phenomenology of Culture. It includes creative activity of organizers and participants of any holiday. In addition, it has its own individual differences. Phenomenology of a Holiday is the "Alma mater" of the festive culture phenomena, a ritual, a ceremony, a rite. It considers reality and illusion as ambivalent effect on the audience. All in all, Phenomenology of a Holiday implements functions of holidays that are the concepts of Phenomenology.

Фестивація як ритуалізований арт-простір у вимірах глобалізму та альтерглобалізму

Author(s): Larisa Babushka / Language(s): Ukrainian Issue: 11/2018

The purpose of the research is to describe the effective mechanisms, archetypes and the realities of the festivation within the limits of the ritual and the ideation as a kind of aesthetic the mechanism of the cultural culture of everyday life in the context of globalization and alterglobalization intentions. The research methodology suggests the semiotic method, that is, the semiotics of sign communication realities is closely related Presented as a socio-cultural space, where the image of modern holiday is formed (Festive), which becomes synthetic, dialectical and at the same time a transformational total character that mimics between globalization and alterglobalization intentions. The method is also used sociopragmatics in the context of linguistic paradigms, sociological, as well semiotic approaches related to presentation and analysis communicative messages of text, screen, visual, which characterize the phenomenon of artistic activity in the context of constructing models of art- space The study also uses phenomenological, historical- genetic, philosophical and culturological and comparative methods which are were used to explicate the culture of the creative process and clarification of their semantic intentionality. Scientific novelty of work is to expand the aesthetic features of the festivation category within the existing one’s mechanisms of communicative systems, in particular, sociopagramatics, symiosis and actualization of cultural-historical potential. And also in detection the cultural aspects of the communicative pragmatics of the festivation as real active mechanism of mass culture. Conclusions. Festival events are available the output of art in the context of the culture of everyday life that goes on with the help of art practice and appear to be the scene of blurring of art and art amateur creativity. Festive element is increasingly transformed into a peculiar opportunity for experimental shaped platforms (the most diverse genre specificity of «Fest», ethno-folklore: «Sheshory», «Kraina Mriy», «Ringing pearls of Verkhovyna» (Holyday of «Kolomyika»), «Gogol Fest», festivals-competitions «Chervona ruta», «Oberig», «Dancing with stars», etc.) and other theatrical, musical festivals, in which the opportunity for experimentation is unlimited.

Філософсько-релігієзнавчі аспекти співвідношення внутрішнього і зовнішнього в людині

Author(s): Irina Vasylʹyeva / Language(s): Ukrainian Issue: 1/2010

The article is devoted to philosophical and religious aspect ratio of internal and external to the person. The concept of "internal" and " external" occupy a special place among the characters, which thoughts about everything that happens in a mythological-semiotychny process.

ФОЛКЛОРИСТИЧКИТЕ НАРАТИВИ И СИМБОЛИЧКИТЕ РЕЛАЦИИ НА ПАУНОТ И ПАУНОВИТЕ ПЕРЈА

Author(s): Jasminka Ristovska-Piličkova / Language(s): Macedonian Issue: 1/2022

The semantic relations manifested in myth, ritual, and visual narratives can be detected in many folkloristic manifestations and forms. As an example, we will point out the appearance of the peacock, as an archaic animal, a symbol of divinity, the royal insignia and supreme spiritual achievements, manifested in Macedonian and Balkan folklore. During the analysis of the semantic function of pound, we shallmention the peacock feathers worn on the head by girls and fiancees from Macedonia, including the Lazar`s girls – as part of their ritual costume. Furthermore we shall look at the specific silver or other type of female metal jewelry that is part of the festive female costume as headgear, usually given to them by their fiancee. The semantic relationship between the peacock, the flowers and the vine can also be traced in the skirts of girls and brides from the region of Mavrovo in which they appear as archetypal cosmogonic symbols of virginity, fertility and immortality - a phenomenon that we find in antiquity, but also in the wider cultural area, as symbols of the highest insignia and divinity. The series of examples including early Christian iconography, for which more examples from Macedonia are indicated, testify to the continuity of the appearance of this bird in these areas. The importance of this bird is illustrated by a series of folk songs, as well as the use of peacock feathers in ritual magic. We also show the symbolism of the peacock in the esoteric teachings of Europe, as a symbol of the final phase of the internal transformation and improvement of man, which corresponds to its exceptional importance in the cultures developed in the East.

Форми побутування смислів у культурі

Author(s): Alla Y. Doroha / Language(s): Ukrainian Issue: 3/2010

The text is devoted to the topic of cultural transmission of the sense. The last one includes preferences, beliefs, and norms of behavior which is the result of social interactions across and within generations. It is emphasized that the art is important for what we have capacity to make the world meaningful. Art’s genres and styles must be understood as distinct way of sense’s transferring.

ХАРАКТЕРНІ ОСОБЛИВОСТІ СТИЛЮ WORLD MUSIC КРІЗЬ ПРИЗМУ ТВОРЧОСТІ ГУРТУ "ДАХАБРАХА"

Author(s): Veronica Tormakhova / Language(s): Ukrainian Issue: 1/2016

The article analyzes the characteristics of styles World music. Group "DakhaBrakha" that works in this direction shows the connection of various ethnic musical traditions, including not only the Ukrainian folklore, but also Russian, African and Indian. Special style is to appeal to archaic layers of folk melodies, lyrics, frets and toolkit. A striking visual image of the group, which also infused various Ukrainian folk traditions, is filled with theatrical and spectacular entertainment. World music is one of the leading areas of modern art that is associated with the emergence of a kind of counter-culture in relation to mass music. Appeal to ancient folklore layers of different ethnic groups intertwined with the latest discoveries in the field of musical acoustics, technological advances in sound processing and actual practices, such scratching, sampling and etc. The group "DakhaBrakha" is one the most prominent representatives of Ukrainian music space, working towards World music. The main and basic principle of style World Music appeals to the earliest archaic forms of folklore around the world. World Music is a kind of synthesis of different ethnic (folk) music traditions into a single whole, accompanied by contemporary reporting, urgent sound and work with modern technologies. Participants characterized by surprisingly wide approach to the selection tools. Actually, each of the musicians playing several instruments, besides all can act as vocalists. Tools that use of the band members can be divided into "classic" and "ethnic". In classical composition symphony, orchestra and orchestra of folk instruments are cello, flute, accordion, trombone, bass drum and percussion. Instead, the second group – "ethnic" instruments rather little known to the public audience, which allocated a significant amount of percussion: Djembe (West African drum), darbuka (percussion instrument indeterminate pitch, a small drum, widespread in the Maghreb, Egypt, Turkey, the Caucasus and the Balkans), and table (Indian percussion instrument). Also in some compositions used zhaliyka (Slavic brass reed musical instrument), bag-pipes, bittern (bass friction instrument), accordion, didgeridoo (a wind instrument musical Aboriginal Australia, which is one of the oldest wind instruments in the world). One of the important features of the group "DakhaBrakha" is its strong national Ukrainian flavor, which, as already noted, is manifested at different levels. This external factors, like the visual design of Ukrainian folk costumes and internal use of folk melodies, texts, modes, rhythms. In addition, the musical material that attracts musicians in their compositions – is authentic songs they collected mainly in the central region of Ukraine. The band members consciously seek to revive Ukrainian folklore. As the M.Halanevych: "Of course, no Ukrainian authentic music would not be our creativity; Ukrainian song tradition is the basis of our experiments. And even if our songs do not sound any Ukrainian motif, still is the music of Ukraine. We play the music world with our understanding of what it may "[3]. In ancient times the sense of time was quite different, due to sunlight employment accompanied by songs that consisted of a large number of solos that had somehow eased the long and monotonous work.The characteristics of folk and ritual traditions are collective, variance, anonymity and syncretism. It is archaic layers of folk art form of the rite indissoluble unity, in which a correlation descendants of ancestors, laws ordering the world, and therefore reflects the outlook of Ukrainian. The researcher points out that each cultural epoch has typical archetypes, images, symbols, values and myths that contribute peculiar to this ethnic group ways of interpreting the traditions, customs, rituals, lifestyle and mentality. This is the heritage of Ukrainian folklore, oral folk literature fullness images, symbols, archetypes and values. In the work group "DakhaBrakha" revived archaic folklore layers, which in combination with a novel created a reconstruction of ancient Ukrainian life.

Херметични влияния в съчиненията на Константин Костенечки

Author(s): Hristo Saldzhiev / Language(s): Bulgarian Issue: 3/2022

The present article regards the influence exerted by the Hermetic philosophy on the original works of one of the last representatives of Tarnovo literary school – Konstantin Kostenechki. They are found not only in the explicit mention of Hermest Trismegist in “The Biography of Stefan Larzarević” among philosophes to whom God has partly revealed “the truth” but also in one long and sophisticated syllogism where God Father is presented as “Mind” and “The Sources of the First Mind”. Some specific terms, the description of the Serbian anchorites and one unusual transformation of the Gospel text (Mathew 6:6) also must be ascribed to Hermetic influence. All of these hermetic elements most probably have been loaned from Greek sources having included fragments of “Corpus Hermeticum” and some other hermetic texts.

Холокауст, бог и „пацовски канали“ философије

Author(s): Oleg Soldat / Language(s): Serbian Issue: 22/2021

The subject of this paper concerns two mechanisms wich help philosophy to circumvente the subject of Holocaust. These are: the philosophy of Heidegger and the neo-marxists tenets of so called Frankfurt School, especially those of Theodor Adorno. While Heidegger is seen in this paper as a resulting prioritization of chtonic symbolism within the the culture of Wiemar Germany, which pushes out the alternative of Ernst Cassirer, the leftist matrix of Adorno’s thought is equally seen as a distancing paradigm that abolishes Biblical language, through metaphysics. Paper investigates in some details these mechanisms which aim at abolishing strategic solutions of both Jewish nation and Holocaust – in the package of Zionist ideals. Author sees philosophical fixation on generic trajectoria of man-as-species, as a way of devious handling of the specifics of the Jewish existence.

Художньо-педагогічна парадигма мімезису у навчанні майбутніх фахівців з образотворчого мистецтва на пленері

Author(s): Mykola Pichkur,Galina Ivanivna Sotskaya / Language(s): Ukrainian Issue: 1/2019

Purpose of the article is to substantiate the artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air. The methodology is based on the terminological principle, the application of general scientific methods (analysis, synthesis, synthesizing). The scientific novelty lies in the fact that for the first time: the content of the category «artistic-pedagogical paradigm» is defined, the methodology is revealed and its universalism is proved in the training of future specialists in fine arts in the open air on the basis of ancient principles of mimesis, and advantages and disadvantages of this process are just ified. Conclusions. The artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air covers the appropriate objectives, selection and application of methods, techniques and means of depicting nature as an aesthetic semiotic successful implementation of color, tonal, plastic, rhythmic and compositional tasks of creating an objectively valuable artistic image of nature.