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Защо огледалният образ е знак

Author(s): Veronika Azarova / Language(s): Bulgarian Issue: 1/2014

In an article by Umberto Eco, published in 1984, the author develops the theses that the mirror is not a sign, and he supports it by seven arguments.With all due respect to the above mentioned author, in the present text I would like to argue that the mirror is a real sign, on one hand, and on the other - to remind shortly how the mirror is interpreted in art.First argument - the mirror is not a sign, as it "stands" for the object it represents, it is standing in front of him. Against the First argument - there are a lot of situations when the content, or more precisely - the referent exists together and at the same moment with the sign. There are even cases when the signs are heavily dependent on their referents and "co-existing" becomes a key word.Second argument - the mirror reflection is caused by the object. Against this - a lot of indicative signs, for ex. the knocking on the door, caused by hand, are in casuistic dependence.Third argument - the mirror reflection is not independent on the "channel" (the mirror, the material it is made of). During the ages, mirrors have been made by different materials, of course. The fact that the reflection will not be the same in different mirrors is valid for many other signs. The Christ`s image on Santa Veronika`s cloth is such a mirror image.Forth argument - it is not possible the mirror to be used for cheating. Of course - this is not true - we can just think of the deformed mirrors, which deform the reflection. Similarly, photos also "lie".Fifth argument - the mirror reflection does not create copies of itself. Yes, mirrors do not meet this criteria, but most paintings also exist in only one copy. This is true for most of the "short-living" signs.Sixth argument - the mirror reflection presupposes the meaning. A lot of other signs also do not presuppose the meaning, such as the pronoun "I". When an author uses the "I" pronoun it is not its "duty" to open the character of the person.Seventh - it is impossible to interpret the mirror image. Shortly - this is not true, - interpretation of the mirror image is what the dentist is doing while working on the tooth, or the woman, placing lipstick on her lips.

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Cultures of the (masked) face

Author(s): Gabriele Marino / Language(s): English Issue: 3-4/2021

What we generally regard as ‘the face’ should be semiotically understood not as something given and monolithic, but rather stratified – it is at least threefold: biological (face), physiognomic (expression), perceivable (visage) – and relational as it has to be put within a narrative in order to make sense. The face lies at the centre of a whole semiotic system, the form of life, revolving around the issue of identity (which the face – the visage, to be precise – embodies and still does not resolve). What we may call ‘the natural face’ is not, as common sense would suggest, the precondition of the ‘culturalized’ one (featured with modifications ranging from make-up and proper masks to surgery), but rather just one of the possible semiotic masks a person may choose to wear. At the same time, the mask does not have to be reduced to a deceptive device only (nor to be meant merely as a material object), being in fact at the centre of a more complex axiology. The classic veridictory square articulating the opposition between Being and Seeming may provide a suitable model for the semiotic square of ‘visageness’, so that we would have: Face, Disguise (the place of the mask proper), Fake, Anonymity. Based on these theoretical premises, the paper finally addresses popular music and outlines a provisional map of the pragmatics of the mask (subtractive vs. additive, ritualistic vs. continuous, material vs. virtual, mask as face vs. face as mask), as a suggestion for further studies.

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Consciousness, Creativity, Innovation, and Survival

Author(s): Stephen Schwartz / Language(s): English Issue: 1/2022

SchwartzCreativity is an individual event, but it only becomes meaningful with social acceptance, and society and our survival as a species faced with climate change will be determined by our creative solutions to problems so well-known their recitation has become cliché. Therefore, our proficiency in understanding the creative process and our success in nurturing its dynamic in our culture will also determine how we as a species navigate the cataclysmic change that is coming. One does not need to be sophisticated in historical analysis to recognize the impact a single creative individual can have in a society supportive of breakthroughs, and how harmful suppression of creative initiative because of religious or political doctrine can be on a culture, both the individuals and the commonweal. This paper presents decades of research studying creativity and describes a recurring six step process that notably creative individuals across history have reported. If we can come to better understand the relationship between creativity, intuition, and innovation, and the process that invokes moments of genius we will make ourselves better and more insightful researchers, clinicians, and business people. And here is the promise: Someone who undertakes the journey may change both themselves, and the course of history.

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The Story of Dialectics and the Trickster of History

Author(s): Joseph Grim Feinberg / Language(s): English Issue: 43/2021

Drawing on Hegel’s interpretation of narrative and Lyotard’s rejection of “grand” dialectical narratives, this paper addres-ses the relationship between emancipatory dialectics and nar-rative form. It begins by establishing the intimate connection between dialectical thought and narration. On this basis, the paper argues that varying conceptions of dialectics can be as-sociated with varying structures of narrating history. Finally, the paper makes the case for identifying a specific narrative form adequate to the radical re-readings of Hegel that have replaced the perspective of the master (the subject privileged by a given system of historicity) with the perspective of the slave (who, while excluded from historicity, struggles against this exclusion). This narrative form corresponds to none of the classical Greek genres; it is best described as a trickster tale.

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Aruanne: semiootika osakonna elu-olu

Author(s): Kalevi Kull / Language(s): Estonian Issue: 19/2022

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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Jakobsoni keelefunktsioonide skeemist

Author(s): Rasmus Rebane / Language(s): Estonian Issue: 19/2022

Roman Jakobsoni keelefunktsioonide skeem artiklis “Lingvistika ja poeetika” (2012 [1960]) on vaieldamatult üks semiootika põlistest klassikutest, millega semiootikaõppuril tasub tutvuda – Juri Lotmani jt Tartu semiootika ammuste ja nüüdiste suurkujude paremaks mõistmiseks – niipea kui võimalik. Ma ise mäletan selgelt üht 2011. aasta sügisõhtut, mil läksime kursavennaga Tartu Ülikooli peahoone keldris toimuva Semiosalongi ootuses varakult kohale ja mul oli kaasas kuueleheküljeline väljatrükk ühest selle artikli hilisematest taasavaldamistest (Jakobson 2000), mida ajaviiteks lugeda, ning kuidas sealsamas valge võlvkaarlae all sain esmakordselt valgustatuks kuuest keele põhifunktsioonist.

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Etüüd punases

Author(s): Antti Saari / Language(s): Estonian Issue: 19/2022

Kõik perekonnad on sarnased isemoodi. Nagu Mihhail Lotman, kasvasin ka mina kolmelapselises peres, koos kahe vennaga. Kuid et mina olin vendadest keskmine, saan ma ehk andeks, et alustan juttu Lotmanite pere keskmisest vennast. Kunstniku ja kunstiõpetaja Grigori Lotmaniga puutusin ma kokku peamiselt kultuuri- ja džässiklubis Illegaard, mis vaevalt oleks oma nimetust väärinud, kui mõned progressiivsemad noored, nende hulgas mina paari sõbraga, poleks suutnud seal Shirley Bassey ja Stan Getzi igaõhtusse kordumisse määratud menukite vahele plaadimasinasse sokutada mõnd veidi värskema kõlaga albumit. Žanripiire torpedeerida me ei püüdnud, liiati arvestades, et meie maksejõud, mille eest muusikat tellida, oli toona vähem kui kasin. Peamiselt lakkusime sidruniga teed või granaatõunasiirupiga õlut, õlleraha puudusel aga erilist kokteili keefirist ja sestsamast siirupist, paksu valget rüübet, mis jättis kõrge klaasi seinale karmiinpunastes sukkades “sääred” – midagi nii kaunist olen hilisemas elus väga harva kohanud. See oli meie moloko plus, piim nugadega, kui tsiteerida Anthony Burgessi Kellavärgiga apelsini.

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Juri Lotmani õpetus kui kõnelus

Author(s): Ülle Pärli / Language(s): Estonian Issue: 19/2022

Head kuulajad, olen tänulik võimaluse eest kõnelda Juri Lotmanist, minu õpetajast ja hilisemast kolleegist, tänu kellele täna eksisteerib Tartu Ülikoolis üks väheseid semiootikas akadeemilist haridust andvatest institutsioonidest. Samas annan enesele aru, et võin oma lühikese sõnavõtu raames vaid pelgalt puudutada mõnda tahku tema tegevusest ja vaadetest. Juri Lotmani positsioon ajas ja ruumis on juba ise semiootiliselt laetud: pärinedes Peterburi juudi haritlaste perekonnast, saanud hariduse Peterburis, õpetajatelt, kes kuulusid oma aja kirjandusteaduse eliiti, sai tema akadeemiline karjäär olema aastakümneid seotud Tartu Ülikooli vene kirjanduse kateedriga. Teaduslikud huvid lähendasid Lotmanit omakorda Moskvas 1960ndatel aastatel välja kujunenud semiootika koolkonnaga. Millest just tänu Lotmanile saab Tartu–Moskva koolkond.

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THE PRAGMATIC THEORY—TRUTH TRANSLATED INTO ACTION

Author(s): Giulia Cirillo / Language(s): English Issue: 2/2022

Regardless of the form it may take, the process of translation still tends to be viewed as a technical activity, a cumbersome yet necessary operation to be performed in pursuit of higher goals. Yet as a phenomenon, with its profoundness it seems to be calling for closer attention. Thus the following work aims to prove how relevant the notion of translation is for the philosophical debate—specifically, for the enquiry into the nature of truth as considered from the pragmatic perspective. Firstly then, theories of the two fathers of pragmatism, Charles Sanders Peirce’s and William James’s, will be briefly recalled. Subsequently, the analysis will expose the role of translation process in each account. Recognition of the translative element will shed a new light on Peirce’s and James’s dispersed remarks concerning truth and offer an interesting ground on which they may be consolidated. Finally, the study yields a broader perspective on the idea of translation process as such, underscoring its philosophical potential.

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TEORIA PRAWDY HAIMA GAIFMANA. WĄTPLIWOŚCI I ZARZUTY

Author(s): Zbigniew Tworak / Language(s): Polish Issue: 2/2022

In this article, I discuss the theory of truth proposed by Haim Gaifmanfrom the perspective of dealing with various problematic sentences. Iintend to show that this concept is open to serious objections as much as Saul Kripke’s related theory. The theory is motivated by the strong liar puzzle and tries to solve it correctlyin a formally precise way.According to Gaifman, we should assign truth values not to sentence types, but to their tokens. The truth value of token depends on not only its sentence type, but also the network among tokens. Hence the presented theory is a paradigm of the contextual theory of truth. Two tokens of the same sentence type might have different truth values. For generality Gaifman prefers to use the term pointerinstead of token. Truth value is assigned to pointer by the algorithm called pointer semantics. The paper contains an exposition of the technical apparatus of the theory and its disadvantages.

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"Интеллектуальный» досуг и «простые" развлечения: предпочтения в искусстве как сигналы групповой идентичности

Author(s): Nadezhda Sokolova / Language(s): Russian Issue: 3/2022

Scholarship where cultural consumption is intertwined with the issues of stratification focuses on the possibilities and consequences of using cultural capital as a signal in interaction. In this case authors not only study differences in consumption patterns, but also examine boundary-defining activity. It is assumed that individuals form groups based on similarity of cultural preferences and exclude those whose interests are recognized as “bad taste.” Signals of expression of “good” or “bad” taste are the type of information that allows an individual to divide social space into groups. In this line of research the main question is focused on connection between cultural consumption and social position. Social position is determined not only as membership in a class, following the tradition of Pierre Bourdieu, but also in terms of occupational status or education level. In this article I pose questions about the coherence of the system of signals and the ways to use it. Are individual expressions of “good” and “bad” taste similar, and what kinds of signaling functions do they use? Based on interviews conducted in Saint Petersburg, Russia, I conclude that, despite the coherence of the classification system of cultural objects, only representatives of the group with greater resources maintain external boundaries based on cultural consumption patterns, while for the group with fewer resources cultural consumption is not such type of signal.

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Representational choices of the visit of King Charles III to Romania in June 2023 in the speeches of President Klaus Iohannis and King Charles III – a comparative approach

Author(s): Marina-Cristiana Rotaru / Language(s): English,Romanian Issue: 1/2023

The aim of this paper is to compare and contrast two speeches, the speech of the Romanian president, Klaus Iohannis, and the speech of the British monarch, King Charles III, on the latter’s unofficial visit to Romania between 2-5 June 2023. The analysis focuses on their discourse regarding the royal visit and on how the king’s attachment to this country is reflected in the presidential speech and the monarch’s speech. We will draw mainly on the concepts of material action, semiotic action and reaction proposed by Theo van Leeuwen in order to identify the manner in which social action is represented at text level. We will also use van Leeuwen’s taxonomy to show how the king’s attachment to Romania is revealed in the text.

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ФИЛОЗОФИЈА НА ПОЕЗИЈАТА: НИШТОТО НЕБИДНИНАТА КАКО ФИЛОЗОФСКА КАТЕГОРИЈА КАЈ МАЛАРМЕ И ШОПОВ

Author(s): / Language(s): Macedonian Issue: 2/2023

The study problematizes some questions of the philosophy of poetry, a new sub-discipline in the hermeneutic-phenomenological exploring of poetic texts, which has a philosophical background. In this case, we have focused on the relations between philosophers and their poets, Sartre and Mallarme in French literature, and Stardelov and Shopov in Macedonian literature. Subsequently, we try to compare two philosophical terms in their work and draw some parallels, not only between the philosophers and authors but also to their poetics.

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Affordance and Ton: The meaning-carriers of semiosis

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Affordance and Ton: The meaning-carriers of semiosis

Author(s): Alec Kozicki / Language(s): English Issue: 24/2023

In his article, the distinction between an affordance and a Ton is explored, and the role of the environment in the transformation of objective characteristics into species-specific meaning-making qualities is highlighted. The goal of this article is to broaden the theoretical concept of affordances, as it relates to the designer’s creative process of an artifact and the user’s semiosis of the designed artifact. An affordance occurs as a result of a relation between two or more subsystems that objectively exist in physical reality, and the affordance is enacted by a user during the subjective reality’s perceptual functioning (umwelt). A Ton, on the other hand, emerges and exists within the subjective user’s umwelt; the user must learn, recall, and understand what the object signifies as a meaning-carrier. Overall, environmental boundaries orient the quintessential function of translating quantitative characteristics into qualitative polysemic qualities. Kozicki’s central research focus aims at providing a deeper theoretical understanding of the design of techno-living spaces. His research for this topic constructs a transdisciplinary approach that provides insight on how we, as creators and users, are living within technology, which allows for a novel approach to modelling how perception and meaning-making acts are changing with the continual development of techno-living spaces. His most recent work related to this topic “Umwelt in an umwelt: Co-developing within immersive virtual environments and the paradoxical nature of reality and hyperreality” can be found in Signs Systems Studies. Beyond the modelling of techno-living spaces, Kozicki also focuses on cultural psychology research, such as the role of inner speech during the interpretation process of artistic texts, and the semiotic scaffolding of value relations (see “Emergent imputative symbols: in one word”, upcoming in Jaan Valsiner’s anthology about dynamic semiosis).

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Addendum: Concepts in action: The semiotics of a photographic analysis

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Addendum: Concepts in action: The semiotics of a photographic analysis

Author(s): Kalevi Kull,Anti Randviir,Oscar S. Miyamoto Gómez,Erik Kõvamees / Language(s): English Issue: 24/2023

For the twenty-fourth volume in the series Tartu Semiotics Library, a final editorial step was choosing the cover photograph. Between the editorial team, it was decided that undertaking an ad hoc semiotic analysis – that is, an analysis involving semiotic concepts – of the photographic materials in question would help in finding the photograph that best represents the purpose of the collection. Three photographs were selected as finalists, and were analyzed by the co-authors of this article. In effect, this led to the following situation: To complete a book of articles dedicated to semiotic concepts – primarily from the theoretical perspective – the editors had to actually apply semiotic concepts in an empirical study.

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Scene biblice pictate pe planuri perpendiculare

Author(s): Costin Popescu / Language(s): Romanian,Moldavian Issue: 3/2023

In some orthodox churches, scenes painted on perpendicular planes show a constantly pursued intention. Already scenes of larger or smaller length on a wall claim different rhythms of reading and understanding; when represented on perpendicular planes, they change their reference: it is not the wall anymore, but the whole sacred room. The fluidi-ty of these scenes emphasizes their narrativity and involve in higher degrees the beholder.(coherence of meaning) of the scene and to restore the unity of the forms on one surface. The beholder has to see the scene on a single plane too and to compare the messages of both. The effort of this perceptive and mental come-and-go, be-tween the one-plane variant and the two-plane variant, with the interpretive processes which go with it, can take some time and stress a connotative play meant to enrich the meaning of the scene.Second, the organisation of a scene on perpendicular planes depends on a new factor too, the edge that separates the planes. The edge creates two uneven subfields and this sui generis axis becomes the rival of the axis the beholder expects in the same scene on one plane (this axis is central); the play between these axes creates for every scene a new relationship between stability and dynamism. The painters use different criteria to organise the scene following the edge: for example, they create oppo-sitions (divine / mundane), temporal sequences (moment a in the first plane, moment b in the second), or, when a clear and efficient criterium lacks, fill a plane with jammed architecture.

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Boriss Uspenski ja meelsuse korraldamine/korrastamine

Author(s): Karl-Joel Hussar / Language(s): Estonian Issue: 20/2023

Selles essees üritan leida ning analüüsida võimu ilmnemist ja käsitlust Uspenski tekstides “Ajalugu ja semiootika” ning “Historia sub specie semioticae” (tlk: “Ajalugu semiootilisest vaatevinklist”), võttes appi ka mujalt teadusmaailmast tuntud mõtlejaid, kes aitavad antud nähtust paremini ilmestada. Silmas tuleb pidada ka binaarsusi, mis on meelsuse kujundamisel mingi nähtuse suhtes vägagi tähtsal kohal. Semiootikutele meeldivad millegipärast binaarsused, kuid see on täiesti arusaadav, arvestades semioosi kui nähtamatu nähtuse uurimise keerukust. Binaarsused on kõige lihtsamad viisid inimmõistuses korra loomiseks, mille abil saab mõtestada kellegi või millegi agentsust või luua struktuure erinevate narratiivide vahel, mis võivad keerulise liblikaefekti tulemusel tekkida. Olgu binaarsusteks siis holistlik vs. atomistlik; vaimulik vs. ilmalik; “meie” vs. “nemad”, mida võib analüüsitavate tekstide puhul võrdsustada binaarsusega “meie“ vs. Peeter Esimene

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Praktyka utowarowienia a postać politycznie uwikłana i jej samochód Wartburg 312/1 – na podstawie Idy Pawła Pawlikowskiego oraz prospektów samochodowych z epoki

Author(s): Maciej Adamski / Language(s): Polish Issue: 72/2024

Commodification is a practice that can be identified across various disciplines. It has permeated the spheres of common trade but is discernible in the products of culture such as film too. This paper includes an analysis of car scenes form the Oscar winning Polish film Ida. Highlighting the importance of narativisation of objects in visual culture, it primarily presents the semiotic background of commodification for the analysis. Wartburg 312/1 in Ida is a silent witness to the history and tragedy of the main character, Wanda. It should not be thus perceived as just unidentified prop from the film setting. Commodification is in Ida an underlying parameter as it shows the significance of the vehicle and a hypothetical purchasing decision seemingly made by the main character seen in a diachronic perspective on the basis of car brochures from the epoch.

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O filozofii formalnej Miguela Ángela Asturiasa

Author(s): Irmina Szubert / Language(s): Polish Issue: 40/2023

This paper analyses the linguistic structure, creative modes of expression and stylistic properties ofMiguel Ángel Asturias’s Legends of Guatemala (Leyendas de Guatemala, 1930). Furthermore, it at-tempts to classify Asturias’s prose fction, which is often multifaceted, by defning the unique characterof its complex linguistic mechanisms that create his debut short-story collection. All texts in Legendscontain references not only to events of the Mayan cosmogony, mythological tropes and motifs (thathave been developed and put into a new context), but also to their mimetic relationship with theritual language used in the Popol Vuh. The word order variations and certain combinations of vowelsand consonants, as well as the specifc syntactic parallelisms and enumerations (stylistic and lexical“props”) imitate formulaic phrases which are important elements in oral style. Pre-Columbian themes –especially those chosen by the Guatemalan writer for the narrative content of his works – are full ofvisual symbols with rich folk meanings; the melodic sound of Asturias’s narration (and its internalrhythm) seems attuned to the worldview belonging to both particular and universal human communities.

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SEMIOTIC IMPLICATION AS AN ENTHYMEMATIC IMPLICATION: SEMIOTIC, MATERIAL AND LOGICAL VALIDITY

Author(s): Miroslava Trajkovski / Language(s): English Issue: 2/2024

In the paper I explore semiotic implication in the context of contemporary debates on enthymemes. The concept is introduced in “The Origin of Semiotic Validity ––Peirce and Aristotle on Reasoning by Signs” (Trajkovski, forthcoming 2024a) as the first order implication that states the semiotic relationship between its predicates. Semiotic implication is related to semiotic validity. The latter is developed through a comparative analysis of Aristotle’s concept of enthymemes as inferences through signs and C.S. Peirce’s attempts to define deduction, abduction and induction in terms of index, icon and symbol.I juxtapose semiotic implication with intuitionistic implication which is claimed to be enthymematic (Anderson&Belnap, 1961). I argue that semiotic implication is enthymematic in a complementary sense. I compare semiotic validity with material goodness. The latter is employed in the claim that the inference from “It is raining” to “The streets will be wet” is not an enthymeme but a materially good inference (Brandom, 2000). I argue that it is an enthymeme which assumes a semiotic implication.

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