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Notes on modal semiotics
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Notes on modal semiotics

Author(s): Herman Tamminen / Language(s): English Issue: 24/2023

Tamminen’s prefatory article discusses modal semiotics. Its aim is to describe thinking and behaviour in/of different cultures and their modalities three-dimensionally from an impartial third-person metalevel standpoint. By adopting the structural approach in accordance with Algirdas Greimas’ theory of modalities, the becoming of a base value from its paradigmatic-virtual mode of existence to its consequent syntagmatic-actual existence viz. the axiologization and consequent ideologization of value will be described in the first part of the text. The second part provides a thorough overview of modal methodology as developed by David B. Zilberman, so as to propose their mutual methodological complementarity, and to suggest future pathways as to their reconciliation and further development. The description of modal structures, values, and categories can be used as a “shortcut” in attaining to understand differences in types of thinking and behaviour per (cultural) tradition as a metaphysical frame of reference for (a) the norms, values, and ideas objectified in culture; (b) the temperament, character, and interest observable in phenomenal behaviour; and (c) the significance, signification, and meaning subjectified in consciousness. Academically, Tamminen is devising the construct for modal semiotics, a project of which the paper at hand is also a part of; other texts concerning the same topic include “Body ground ‘red’ – integrating Peirce, Kristeva, and Greimas” and the upcoming “Blood gilded time – reflections on the sublogical bearings between passion, possession, and perish”. His many interests include, but are not restricted to, consciousness, dreaming, the symbol, thinking, culture, the analogous structure and function of the individual and collective intellects, modal semiotics, and the inevitable.

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Enchantment
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Enchantment

Author(s): Andrew Mark Creighton / Language(s): English Issue: 24/2023

This chapter seeks to define and demonstrate the development of the concept of enchantment in semiotic and culture-studies terms. Enchantment is examined in a literature review of prominent classical and contemporary views on the subject, especially in regards to rationalization, consumerism, and meaning-making. The concept is then viewed in relation to ritual and social dramaturgy on micro and macro levels. Creighton concludes by noting that enchantment is both a product of ritual and social performances, as well as ingrained in these processes themselves, and furthermore, that enchantment is linked to obscenity and the loss of referents. Basic academic interests are rationalization, consumerism, semiotics of emotions, enchantment, ritual, and critical methods (see “Umwelt, enchantment, and McDonaldization”, 2022; “Postemotionalism, McDonaldization, and transmedial worlds as commodifying mechanisms in fan fiction communities”, 2022).

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Rhetoric of the image: contributions to a philosophy of photography

Rhetoric of the image: contributions to a philosophy of photography

Author(s): Paulo M. Barroso / Language(s): English Issue: 1/2023

Photography is a peculiar and powerful medium, based on an inherent rhetoric of the image capable of influencing the viewers. This article conceptualizes and problematizes such power of the image, addressing to a critical and reflexive perspective on the visual rhetoric language of photography. Following a theoretical and conceptual approach in the framework of a philosophy of photography, the purpose of this article is a) to argue the relevance and the practical and social effects of visual rhetoric and its relation to press photographs, i.e. understand visual rhetoric applied to photographic images in journalism; and b) to understand the repercussions of this approach on visual communication to the relevant and emergent perspective of a philosophy of photography, when the cultures are more and more visual in a civilization of the image, which is mixed with the social phenomenon of misinformation in a digital age.

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Decline of a national icon: Derogatory representations of the Romanian peasant in recent television programs

Decline of a national icon: Derogatory representations of the Romanian peasant in recent television programs

Author(s): Anca Șerbănuță / Language(s): English Issue: 2/2024

Intellectuals and artists have been crafting an image of the Romanian peasant as the building block of the nation since the second half of the 19th century. The process went hand in hand with the modernization of the elites, and the peasant was thus mainly ‘discovered’ within the cultural framework of Romanticism, as the ‘eternal autochthon’ (Mihăilescu,2017, p.173), creator of the specific Kultur of the Romanian people. However, dramatic social transformations such as the difficult transition period of the ʹ90s have shifted the focus from a complimentary representation of the peasant as the national foundation – and all the positive characteristics of his/her habitus in terms of material, spiritual and aesthetic values– to a rather alienated and anachronistic figure coming across as a burden that has to be carried into modernity by the enlightened social strata. This paper uses visual analysis, grounded in Barthesian semiotics, to explore the changes in modes of representation of the peasant in popular media from the depository of national values to a marginal lower class, striving to keep up with the urban lifestyle. Various portrayals of peasants in TV series and sketches, movies and memes point to the degradation of the peasant figure in the public imagination. Images of poverty, bad taste and a lack of hygiene seem to pollute the bodies, garments and home environments of the rural characters, with a toxic effect on their language and behaviour as well. Although there have always been derogatory images of the peasants in the discourse of the elites (Mihăilescu also coined the term ‘domestic primitive’ for the representation associated with the historical tendency to portray the peasants as a backward population incapable of progress), in recent times this tendency has prevailed, especially with the rural-themed successful TV series Las Fierbinți, for mainly ideological reasons which will be discussed. Thus, apart from deconstructing a national myth, I argue that the representation of contemporary peasants and their degenerating habitus also contributes to the polarization in the Romanian society.

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Kapsēta pilsētā: kultūrsemiotisks ieskats Rēzeknes ebreju kapu dekoratīvajā grafikā

Kapsēta pilsētā: kultūrsemiotisks ieskats Rēzeknes ebreju kapu dekoratīvajā grafikā

Author(s): Olga Senkāne / Language(s): Latvian Issue: 54/2024

The study aims to employ visual semiotics to analyse the ritual graphic signs – both sacred and secular – present in the Rēzekne Jewish cemetery, treating it as an integral part of the city and examining its “signifier” and “signified”. The Star of David, serving as the primary symbol within the ritual graphics, is observed to gradually lose its status as a purely sacred symbol and, on certain tombstones, confirms the structure of a symptom, conveying a reminiscence or simple message. The paper seeks to elucidate not only the cultural and social factors contributing to these changes but also to the mechanisms underlying the mutual transitions between symbols and symptoms, along with the differences in the coding of these types of signs. Ritual graphics is an important indicator of the regularity of cultural processes within ethnically diverse environments. A survey of Jewish cemeteries in the Latgale region highlights clear distinctions in the choice of visual graphics between urban and rural settings. Furthermore, alongside verbal accounts of the deceased, ritual graphics, on the one hand, complement these narratives as integral components, while, on the other hand, maintain an independent existence. This is because, for observers, the primary and sometimes sole point of contact (particularly for those unfamiliar with Hebrew and Yiddish) is the visual or non-verbal sign. The study emphasises the divergence between the sacred symbolism of the hexagram and the secular interpretation of the yellow star or “badge”, exploring the causal relationships underlying their usage and perception from the point of view of visual semiotics and cultural philosophy, specifically examining phenomena of symbolization and desymbolization.

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Husserl,  Ajdukiewicz, and  Blaustein on meaning

Husserl, Ajdukiewicz, and Blaustein on meaning

Author(s): Daniele Nuccilli,Rafał Lewandowski / Language(s): English Issue: 1/2024

The aim of this article is to investigate the reception of Husserl’s theory of meaning by Ajdukiewicz and Blaustein, two members of the analytically-oriented Lvov-Warsaw School, who, in different ways, were attracted to and confronted with Husserl’s phenomenology. The discussed hypothesis is that Ajdukiewicz’s interpretation of Logical Investigations, and his original theory of meaning influenced both Blaustein’s critical reading of Husserl’s theory of intentionality and his account of meaning-intention. After outlining the central elements of “First Logical Investigation” the paper shows how itis interpreted by Ajdukiewicz in his Lvov lectures on logic and in his directival theory of meaning. What emerges is a psychological-descriptive interpretation of Husserl’s concept of meaning, and are consideration of his theory of intentionality within the inferential structure of beliefs in premises that motivates a person who speaks a language to believe in conclusions of a certain form. This leads Ajdukiewicz to his own original conventionalist account of meaning which is based on the identification of three main directives of meaning that represent the matrix of a given language, i.e., the grid in which each meaning finds its place. These elements allow one to demonstrate how Ajdukiewicz’s interpretation resonates in Blaustein’s critique of Husserl in his early writings, where, in addition to a psychological-descriptive reading of phenomenology we also find a conventionalist conception of meaning acts and signitive presentations. According to Blaustein, a sign can represent an object only through the conventions arising from the directives of meaning that belong to a given natural language.

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A biosemiotic approach to landscapes: Alois Riegl’s theories of Kunstwollen and Stimmung revisited in the contexts of cognitive and evolutionary aesthetics

A biosemiotic approach to landscapes: Alois Riegl’s theories of Kunstwollen and Stimmung revisited in the contexts of cognitive and evolutionary aesthetics

Author(s): Jui-Pi Chien / Language(s): English Issue: 3-4/2023

This study explores the art historian Alois Riegl’s heuristic terms ‘Kunstwollen’ and ‘Stimmung’ in the contexts of cognitive and evolutionary aesthetics. To begin with, the author draws on notions of instinct theorized by George Romanes, Charles Darwin and Charles Peirce. They are shown to have embraced instinct and associated it with states of mindfulness, good reasoning and intelligence of survival. Another art historian, August Schmarsow, is also shown to have favoured instinctive attitudes and mental trials and errors as the sophisticated approach to art. These rigorous theorizations of instinct serve to expand Riegl’s idea that Kunstwollen suggests a relatively strong human will and desire for art. Further, to verify how viewers may attain states of Kunstwollen and Stimmung, the author draws on two landscapes (Landscape with Roman Ruins, 1536; The Heart of the Andes, 1859) to broaden viewers’ horizons. Viewers are advised to take full advantage of the medium made up by light, air and space so as to work out perspectives that favour their mental wellbeing and the reception of artworks. Finally, the author integrates Riegl’s theories into current research and emphasizes the necessity of unifying biological and cultural factors for the attainment of knowledge or original thinking in inquiries. In brief, Riegl’s theories appear fairly biosemiotic when we consider the rich evolutionary, psychological and semiological contexts surrounding the birth of his insights.

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Stylistic Heritage of Ukrainian Avant-Garde Theatrical Costume

Stylistic Heritage of Ukrainian Avant-Garde Theatrical Costume

Author(s): Iryna Ivanivna Nesen / Language(s): English Issue: 117/2023

The article offers a comprehensive analysis of the evolution and significance of avant-garde theatrical costumes in Ukrainian art during the early 20th century. Distinctly emphasizing the shift of stage costume from mere functional apparel to a symbolic imagery, the study investigates the blending of local Ukrainian traditions with external avant-garde influences from Western Europe and Russia. It underscores the significant roles of artists like Malevich and Exter in the fusion of futurism and cubism within theatrical designs. The avant-garde movement in Ukraine transformed theatrical costume design by introducing non-standard shaping methods, innovative materials, and techniques that prioritize symbolic over aesthetic values. The article concludes with the avant-garde's revolutionary impact on scenographic approaches, accentuating its role in the artistic synthesis of performance, stage design, and costuming. This study serves as a crucial reference for scholars exploring avant-garde influences in theatrical design and its implications in art history and theatre studies.

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Costume and Body Language of Ethnic Dance Drama under Semiotics: An Analytical Study

Costume and Body Language of Ethnic Dance Drama under Semiotics: An Analytical Study

Author(s): Chong Pan,Farideh Alizadeh / Language(s): English Issue: 7/2024

Dance drama is a dramatic form with dance as its main means of expression, which has been developed in China for less than a century. In recent years, the development of Chinese dance drama, especially ethnic dance drama, has shown an obvious upward trend. Several excellent dance drama works have appeared, forming some distinctive dance drama styles, among which The Journey of a Legendary Landscape Painting, The Peacock, and The Railway to Tibet are quite representative. This study will investigate the above three dance dramas based on semiotics. An analysis of costume and body language is carried out in this study based on the semiotics, from the morphological characteristics of dance and costume. In addition, the author makes a comprehensive exploration of the integration of the external form, fabric, structure and pattern of costume and body language, tries to reveal the way of interaction between costume symbols and body symbols in dance drama, and summarises the artistic connotation of the integration of dance costumes and body language. Then, it provides ideas for the role creation and education of dance drama.

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НАЦІОНАЛЬНО-КУЛЬТУРНИЙ ЗМІСТ В ОБ’ЄКТАХ ВІЗУАЛЬНОЇ КУЛЬТУРИ: СИМВОЛІКА КОЛЬОРУ СУЧАСНИХ ПАТРІОТИЧНИХ МУРАЛІВ

НАЦІОНАЛЬНО-КУЛЬТУРНИЙ ЗМІСТ В ОБ’ЄКТАХ ВІЗУАЛЬНОЇ КУЛЬТУРИ: СИМВОЛІКА КОЛЬОРУ СУЧАСНИХ ПАТРІОТИЧНИХ МУРАЛІВ

Author(s): Yevhen Pavlichenko / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to reveal the features of the expression of national and cultural content in the colouring of objects of visual culture on the example of patriotic murals. Research methods. General methodological methods of cognition are applied: logical-analytical, subject-analytical, system-analytical, typological, as well as the method of cultural, hermeneutical, and semantic analysis for the purpose of comprehensive and objective research of the given problem. Scientific novelty. The peculiarities of the expression of national and cultural content in the colouring of objects of visual culture have been studied using the example of patriotic murals; the symbolism of colour in Ukrainian culture has been clarified; a semiotic analysis of the visual representation of the colours of the national flag of Ukraine has been carried out; the variability of the use of the triad of white-black-red and blue-yellow colours in modern murals in the context of expressing national identity has been considered. Conclusions. At the present stage, colour symbolism is actively used for the formation of national identity in works of visual culture. The study has shown that in modern Ukrainian society, semiotic colour codes in objects of visual culture are used in accordance with historical, socio-cultural, and political conditions. The colours of the national flag of Ukraine (as a symbol of the great Ukrainian state, a symbol of victory over enemies, a sign of memory of those who gave their lives for the freedom of their homeland, a way of visualising patriotic feelings) and the triad of white-black-red colours (as a personification of the concentration of the basis of the life-giving essence of the world in Ukrainian cosmology) are most often used to construct national identity and express national and cultural content.

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Conceptualizing digital reality through metaphors: Semiotic and interdisciplinary perspective

Conceptualizing digital reality through metaphors: Semiotic and interdisciplinary perspective

Author(s): Kristian Bankov,Federico Biggio / Language(s): English Issue: 1/2025

Metaphors have always played a fundamental role in conceptualizing digital realities. Their everyday use, however, makes them challenging to recognize, as they have solidified in our shared imagination. This crystallization is precisely what enables a community of interpreters to attach meaning to a signifier, allowing mutual understanding.

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Conceptualizing visual metaphors in high tech products advertising: Results and conclusions from an empirical research

Conceptualizing visual metaphors in high tech products advertising: Results and conclusions from an empirical research

Author(s): Sevim Taneva / Language(s): English Issue: 1/2025

The use of visual metaphors is a popular method of advertising nowadays. This paper briefly reviews the theoretical framework of metaphorical expression in advertising, and particularly the use of visual metaphors. It then continues with presenting results and findings from an empirical study on the use of visual metaphors in the ads of high-tech products. Given the nature of metaphors, the analysis is based on both qualitative and quantitative readings of the data, in order to reach more insightful conclusions. Based on the research findings and following the theoretical introduction, the paper concludes with implications and guidelines for the marketing utility of exploring the meaning and other features of visual metaphors.

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Semiotic mediation for the sustainable digital empowerment of older adults

Semiotic mediation for the sustainable digital empowerment of older adults

Author(s): Alyse Yilmaz,Khaldoun Zreik / Language(s): English Issue: 1/2025

As digital technologies proliferate, older adults are still facing significant challenges in achieving sustainable digital empowerment. This qualitative study examines the metaphorical registers spontaneously mobilized by seniors when discussing digital tools. It also highlights subjective semiotic framings which hinder their digital acculturation. Through ethnographic observations of digital literacy training, we identify diverse metaphorical projections conveying apprehensions (technologies as “nests of problems”, “magical” realms) but also motivating drivers towards meaningful digital appropriation. The findings underscore the importance of symbolic mediation strategies, in order to deconstruct inhibiting traditional theories and foster technology uses rooted in the life contexts of seniors. By elucidating the complex interplay of cognitive, emotional and cultural tensions shaping digital relationships, our research project argues for designing digital training less as technical instruction than as holistic empowerment journeys integrating identity-related dimensions. Ultimately, research on these semiotic foundations contributes to broader societal efforts that ensure equal voices for diverse knowledge approaches in an increasingly AI-dominated world. Only through such inclusive mediation efforts can we truly accompany digital “immigrants” toward affirmative technological citizenship.

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The mythical and technomagic aquatic metaphors of digital aesthetics as a semiotic empowerment of the female, oneiric, and translucent imaginary in the techno-art

The mythical and technomagic aquatic metaphors of digital aesthetics as a semiotic empowerment of the female, oneiric, and translucent imaginary in the techno-art

Author(s): Paulo da Silva Quadros / Language(s): English Issue: 1/2025

This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. ​ This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. ​ For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. ​ Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.This essay aims to reflect critically on how the technomagic concept, elucidated by the French philosopher Michel Maffesoli, proposes itself as a new way of understanding the contemporary aesthetics of the digital based on the immersive visual effects of liquid, dreamlike, and ethereal poetic sounds and visualities present in several examples of artistic contemporary productions. This philosophical and aesthetic perspective, brought about by technomagic evocates liquid and aquatic metaphors of digital artistic creations, as well as a way of understanding social human relationships in the digital sphere in an optimistic context of re-enchantment for human existence. For him, it was a process of feminization of the world, evocating mythical metaphors of cultural imaginaries and symbolics. Methodologically, this work intends to contemplate cultural semiotics as an enlightening approach by understanding digital culture as technological mediation for analyzing digital language which reflects the paths of technomagic in the expressions of technological art characteristics of digital media.

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Alteritatea ființei prin limbaj și semnul lingvistic în concepția Sfântului Augustin

Alteritatea ființei prin limbaj și semnul lingvistic în concepția Sfântului Augustin

Author(s): Cristian Pașcalău / Language(s): English Issue: 4/2024

The current essay is meant to revisit a core theme in the philosophy of language, namely the role of the subjectivity and alterity in shaping human consciousness through language and linguistic signs, associated with the understanding of reality as inner construct in the fabric of human mind. A loose critic against some paradigms that reduce language to a means of communication, or an abstract, logical device is provided. We also briefly examine Saint Augustine's semiotic project, as it unfolds from some of his most seminal works.

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Imaginarul plurivalent. Șansa dialogului dintre arte

Imaginarul plurivalent. Șansa dialogului dintre arte

Author(s): Alice Jurcoveț / Language(s): Romanian Issue: 4/2024

The article aims to illustrate that the boundaries between the arts are extremely subtle, and it is the imaginary that creates the closest connections between the arts. The fantastic carves out one of its meanings as the temporal segment between the acceptance of the uncanny in everyday life or, on the contrary, another meaning, in which one vehemently denies any possibility of witnessing something extraordinary, which can only be explained by logical inferences, mathematical calculations or famous chemical reactions and verified theories

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Conceptualizing digital reality through metaphors in public service announcements: A semiotic perspective

Conceptualizing digital reality through metaphors in public service announcements: A semiotic perspective

Author(s): Nataliya Lysa / Language(s): English Issue: 1/2025

This article discusses the conceptualization of digital reality through metaphors in public service announcements (PSAs), employing a semiotic perspective. PSA is viewed as a complex sign in the space of culture generated by social institutions to be shared with the general public and to raise awareness about important issues of society. The discussion is based on three basic claims: firstly, as digital reality increasingly spreads throughout modern life, digital technology shapes how we understand and experience the world and profoundly alters meanings and cognitive structures; secondly, the creation and reconfiguration of meanings and cognitive structures caused by digital artifacts occurs through metaphorization processes resulting in the creation of digital metaphors; thirdly, digital metaphors are the driving force behind creation and a way of producing original PSAs and display commitment to innovation reflected in the selection of signs. The article proposes a theoretical framework that integrates the concepts of “digital metaphor” and “representation” in Peircean view, thus creating a semiotic perspective of interpreting the “discoverability” i.e. public perception and comprehension of PSAs. Special attention is paid to the multimodal nature of the complex cultural signs under study and the representative characters of different representamens. The analysis of some PSAs containing digital metaphors is provided to substantiate the potential of the suggested theoretical framework. The article draws inspiration from works by Charles S. Peirce (1903), Umberto Eco (2014), Ibrus Indrek and Peeter Torop (2015), Kristian Bankov (2022), Eric Chown and Fernando Nascimento (2023), and others.

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Еnhancing city identity through digital metaphors

Еnhancing city identity through digital metaphors

Author(s): Konstantinos Digkas / Language(s): English Issue: 1/2025

City branding is a discipline focused on unveiling the unique character of cities and enhancing their visibility, identity, and cultural impact. In recent years, cities have been exploring new methods to promote themselves and attract more visitors. This has led stakeholders and those involved in city branding to find new pathways to create “a new identifiable image” of the city (Riza et al. 2012), making it an attractive destination (Kotler & Gertner 2002). With the rise of digital technologies and globalization, the possibilities for city branding have significantly increased. In the digital era, many cities that pivoted from traditional models of branding have succeeded in renewing their identity using digital media and the incorporation of digital metaphors in their branding campaigns. As a result, many cities have managed to rebrand and refashion their identity. This paper aims to explore how cities are represented in digital media and which digital metaphors are used to attract a younger, more technologically savvy audience. Through a multimodal framework, I will analyze the recent branding campaign of the city of Thessaloniki to identify how digital metaphors are used and their impact on younger audiences.

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Digital realities and metaphorical constructs: A multimodal semiotic and intermedial analysis of Blade Runner 2049

Digital realities and metaphorical constructs: A multimodal semiotic and intermedial analysis of Blade Runner 2049

Author(s): Maria Katsaridou,Loukia Kostopoulou / Language(s): English Issue: 1/2025

The concept of metaphor has long been explored in film in a variety of ways, from Eisenstein’s experimentations to more contemporary examples. Contemporary theoreticians such as Forceville (2016) have enhanced the concept of metaphor, moving away from its purely linguistic quality and underlying its multimodal aspect. In this article, we will use Force-ville’s paradigm of multimodal metaphors as implemented in films. We will analyse Blade Runner 2049 (Villeneuve 2017), focusing on its representation of digital reality through multimodal metaphors. The film, widely acclaimed for its philosophical depth (Shanahan et al. eds. 2020) and visual storytelling, is set in a dystopian future where human-like androids coexist with humans and serve as a means for exploring digital metaphors in a society dominated by artificial intelligence and augmented reality. We examine the film’s use of visual, auditory, and narrative elements, in order to construct a metaphorical framework that reflects contemporary digital concerns. Through an in-depth exploration of its visual, auditory, and narrative dimensions, this analysis uncovers a dense metaphorical structure within the film. This structure mirrors pressing societal concerns regarding the evolution and impact of digitalisation, augmented reality, and artificial intelligence, providing a critical lens on contemporary technological advancements. The study aims to enrich the discourse on digital metaphors in media, highlighting the evolving interplay between human experiences and technological advancements.

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Cultural Anthropology And Cognitive Science: Mapping The Environment

Cultural Anthropology And Cognitive Science: Mapping The Environment

Author(s): Jelena Ćuković / Language(s): English Issue: 1/2024

Cognitive sciences have initiated the revolution in the interdisciplinarity of the research of the human mind, but cultural anthropology as one of the founding disciplines has gradually withdrawn from this group. The reasons for this are manifold, butthe space emptied by anthropology has since then remained as such, or has been filled with predominantly psychological content or the content of cultural neuroscience. In recent years, developments in psychology, neuroscience and AI studies (shifts to constructivism) have led to a renewed call for anthropology to contribute its findings to an interdisciplinary understanding of the human mind and cognition through culture. This shift is evident in the field of environmental and space perception, which is pivotalfor the understanding of the concept of reality. The aim of the paper is to present findings of the comparative analysis of classical anthropological theories and emerging theories in other cognitive disciplines regarding this topic, especially in neuroscience.The broader goal is to emphasize the importance of re-evaluating our categories of scientific disciplines and the separation of nature and culture as a distinguishing feature, and also to begin to fill the gap in the anthropological literature on this topic that hasexisted for almost a decade.

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