The Semiotics of Photography: Towards Objective Hermeneutics
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On the Monitor, Darkly. from Mediation to Media by Way of Reality 73
Siegener Periodicum zur Internationalen____ Empirischen______ Literaturwissenschaft Herausgegeben von Reinhold Viehoff (Halle/Saale) Gebhard Rusch (Siegen) Jg. 25 (2006), Heft 1 Peter Lang Internationaler Verlag der Wissenschaften SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 25 (2006), Heft 1 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://www.d-nb.de> abrufbar. ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2009 Alle Rechte Vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. www.peterlang.de Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL 25 (2006), H. 1 Mediale Wende - Ansprüche, Konzepte und Diskurse / Mediatic turn - Claims, Concepts, and Discourses hrsg. von / ed. by Theo Hug (Innsbruck) Die Heftbezeichnung SPIEL 25 (2006), H. 1 ist produktionstechnischen Gründen geschuldet und bezieht sich nicht auf das tatsächliche Erscheinungsjahr dieses Bandes, 2008. Dafür bittet die Redaktion um Verständnis. Das Heft wird zitiert: Theo Hug (Hg.), 2008: Mediale Wende - Ansprüche, Konzepte und Diskurse. Frankfurt/Main: Peter Lang. (= special issue SPIEL, 25 (2006), H. 1). Owing to technical reasons of production, the title SPIEL 25 (2006), H. 1 does not refer to the actual year of publication of this issue. The editorial team asks for the readers’ indulgence. -
Board of the International Association for Cognitive Semiotics
Book of Abstracts for the 3rd Conference of the International Association for Cognitive Semiotics Multimodalities Book of Abstracts for the 3rd Conference of the International Association for Cognitive Semiotics Multimodalities Toronto, Ontario (Canada) July 13–15, 2018 IACS-2018: Third Conference of the International Association for Cognitive Semiotics | 1 Local Organizing Committee of IACS-2018 Some rights reserved. Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Among other sponsors, this project was made possible by funding from the Dean of the Faculty of Arts, Ryerson University, in addition to funding from the Ryerson University Office of the Vice President for Research and Innovation and the Ryerson University Department of Languages, Literatures and Cultures, including a Knowledge Dissemination Grant (KDG), an Undergraduate Research Opportunity Grant (URO) and an Event Funding Grant. Please see the back cover of this manuscript for a full list of project partners. No responsibility is assumed by the IACS-2018 Local Organizing Committee for any injury and/or damage to persons or property as a matter of product liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein. Printed in Toronto, Ontario (Canada) 2 | IACS-2018: Third Conference of the International Association for Cognitive Semiotics About the International Association for Cognitive Semiotics The International Association for Cognitive Semiotics (IACS) was founded in 2013 at Aarhus University, Denmark, in connection with the Eighth Conference of the Nordic Association for Semiotic Studies (NASS). Cognitive semiotics is the study of meaning-making, both in language and by means of other sign vehicles, as well as in perception, and in action. -
The Category of Code Is Widely Used Not Only in Semiotics, but Also In
Nadezda N. Izotova The category of code is widely used not only in PhD in Cultural Studies, Associate Professor of the semiotics, but also in other humanitarian disciplines Department of the Japanese, Korean, Indonesian and Mongolian languages, Moscow State Institute of and is significantly promising. French philosopher and International Relations (MGIMO) of the Ministry of cultural theorist Michel Foucault notes that the Foreign Affairs of the Russian Federation. 119454, 76 Vernadskogo av., Moscow, Russian Federation. fundamental codes of any culture play a key role in a ORCID: https://orcid.org/0000-0002-2817-004X. person’s life and determine “the empirical orders with E-mail: [email protected]. which he will be dealing and within which he will be at Received in: Approved in: home” (FOUCAULT, 1977, p. 37). Despite different 2021-01-10 2021-02-02 DOI: https://doi.org/10.24115/S2446-6220202172681p.33-41 approaches to the classification and interpretation of the ontological status and to the culture code functioning, scholars agree that the culture code is a part of the cultural process, its semantic core, rather than a description of a cultural phenomenon per se. The relevance of understanding and interpreting culture codes is determined by the necessity of arranging, classifying, and analyzing the code systems. The decryption of the culture codes and the reconstruction of the corresponding historical and cultural contexts are vital tasks not only for culturology, but also for other humanities. The study of culture codes is regarded as one of the basic means for understanding the mentality and value orientations of both any particular individual and the “cosmo-psycho-logos” of any ethnic group (GACHEV, 1995). -
Discourse Types in Stand-Up Comedy Performances: an Example of Nigerian Stand-Up Comedy
http://dx.doi.org/10.7592/EJHR2015.3.1.filani European Journal of Humour Research 3 (1) 41–60 www.europeanjournalofhumour.org Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy Ibukun Filani PhD student, Department of English, University of Ibadan [email protected] Abstract The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self- praising and self denigrating. Keywords: discourse types; stand-up comedy; contexts; jokes. 1. Introduction Humour and laughter have been described as cultural universal (Oring 2003). According to Schwarz (2010), humour represents a central aspect of everyday conversations and all humans participate in humorous speech and behaviour. This is why humour, together with its attendant effect- laughter, has been investigated in the field of linguistics and other disciplines such as philosophy, psychology, sociology and anthropology. -
Degree Project Document.Docx
Semiotics of Humanitarian Photography Konstantinos Paglamidis, May 2013 Malmö University Abstract Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fundraising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fundraising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development. Communication for Development, 2013 1 Table of Contents Introduction 3 Research Question 4 Background 4 Case Studies Access to Life (The Global Fund to Fight AIDS, Tuberculosis and Malaria 9 Candies for the Pain of the Other (Médecins Sans Frontières) 11 Walk in Her Shoes (CARE) 14 It Shouldn’t Happen Here (Save the Children) 16 Health Care in Danger (International Committee of the Red Cross) 17 Analysis 20 Summary 26 References 27 Annex 29 2 Introduction The world is not a fair place for everybody. -
Media Theory and Semiotics: Key Terms and Concepts Binary
Media Theory and Semiotics: Key Terms and Concepts Binary structures and semiotic square of oppositions Many systems of meaning are based on binary structures (masculine/ feminine; black/white; natural/artificial), two contrary conceptual categories that also entail or presuppose each other. Semiotic interpretation involves exposing the culturally arbitrary nature of this binary opposition and describing the deeper consequences of this structure throughout a culture. On the semiotic square and logical square of oppositions. Code A code is a learned rule for linking signs to their meanings. The term is used in various ways in media studies and semiotics. In communication studies, a message is often described as being "encoded" from the sender and then "decoded" by the receiver. The encoding process works on multiple levels. For semiotics, a code is the framework, a learned a shared conceptual connection at work in all uses of signs (language, visual). An easy example is seeing the kinds and levels of language use in anyone's language group. "English" is a convenient fiction for all the kinds of actual versions of the language. We have formal, edited, written English (which no one speaks), colloquial, everyday, regional English (regions in the US, UK, and around the world); social contexts for styles and specialized vocabularies (work, office, sports, home); ethnic group usage hybrids, and various kinds of slang (in-group, class-based, group-based, etc.). Moving among all these is called "code-switching." We know what they mean if we belong to the learned, rule-governed, shared-code group using one of these kinds and styles of language. -
Semiotic Effect in Visual Communication
ISSN 2414-8385 (Online) European Journal of Jan-Apr 2016 ISSN 2414-8377 (Print) Multidisciplinary Studies Vol.1 Nr. 2 Semiotic Effect in Visual Communication Diana Njirić di_njiric@yahoo. com Ivica Miloslavić ivicamiloslavic@yahoo. com Abstract The paper attempts to define the term semiotics of photography. Approach to the theme was started from the concept of semiotics. Since the 60s of the last century, "semiotics", which studies the characters, has begun to affect changes in the humanities and natural sciences. After Ferdinand de Saussure, the study of signs focused on humans need labeling, especially on the logic of "communication" and disclosure "codes" that form the background of diverse cultural phenomena. Semiotics provides to understand in a different way, by language and framework, the link between the image and society. It is also a method that can be used to expose photos, studying mass media, literary texts and systematically analyze a number of other features of the popular culture. In the modern, technologically developed world, man is exposed to photos more than ever (billboards, advertisements, magazines, art photography... ). Visual impact, as the most convincing form of attracting attention, affects the formation of opinions and attitudes, encouraging consumption and serves in many other commercial or political purposes. Therefore, semiotics, science which studies signs and their meanings, is becoming more important scientific discipline in explaining sociosemiotic aspects of society. In the paper is analized the photo in a different context using semiotics to understand it. Assuming that the symbolism of the publicly engaged photos exposed to the public differs from those intended for the specialized or limited audience, will be attempted to prove that the former is expected to influence with emotions, more shocking attempt to attract attention, and the later let observers themselves to decode picture. -
The Aesthetic Code of Russian Postmodernism
Russian Culture Center for Democratic Culture 2012 The Aesthetic Code of Russian Postmodernism Mark Lipovetsky Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Lipovetsky, M. (2012). The Aesthetic Code of Russian Postmodernism. In Dmitri N. Shalin, 1-36. Available at: https://digitalscholarship.unlv.edu/russian_culture/19 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Aesthetic Code of Russian Postmodernism [1] Mark Lipovetsky Introduction Postmodernist discourse has become central to literary criticism in the 1990s. Unlike many other literary discourses, it was never formally announced, yet beginning in the late 1980s (with Mikhail Epstein’s articles) it took over almost all literary publications and effectively led to a new polarization of literary -
Photographie Présentation Photography Presentation Jan Baetens, Hilde Van Gelder and Isabella Pezzini
Document generated on 09/26/2021 3:12 a.m. Recherches sémiotiques Semiotic Inquiry Photographie Présentation Photography Presentation Jan Baetens, Hilde Van Gelder and Isabella Pezzini Photographie Photography Volume 28, Number 1-2, 2008 URI: https://id.erudit.org/iderudit/044584ar DOI: https://doi.org/10.7202/044584ar See table of contents Publisher(s) Association canadienne de sémiotique / Canadian Semiotic Association ISSN 0229-8651 (print) 1923-9920 (digital) Explore this journal Cite this document Baetens, J., Van Gelder, H. & Pezzini, I. (2008). Photographie : présentation. Recherches sémiotiques / Semiotic Inquiry, 28(1-2), 3–13. https://doi.org/10.7202/044584ar Tous droits réservés © Association canadienne de sémiotique / Canadian This document is protected by copyright law. Use of the services of Érudit Semiotic Association, 2010 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 78013 001-254.pdf_out 9/15/10 3:34 PM K 3 Photographie Présentation: J. Baetens, H. Van Gelder & I. Pezzini KU Leuven / La Sapienza À qui parcourt la table des matières du présent numéro de Recherches sémiotiques/Semiotic Inquiry, l’idée pourrait venir qu’il tient entre les mains la livraison d’une publication davantage interdisciplinaire que proprement sémiotique, tant sont divers les objets et les méthodologies réunis en ses pages. -
Handbook-Of-Semiotics.Pdf
Page i Handbook of Semiotics Page ii Advances in Semiotics THOMAS A. SEBEOK, GENERAL EDITOR Page iii Handbook of Semiotics Winfried Nöth Indiana University Press Bloomington and Indianapolis Page iv First Paperback Edition 1995 This Englishlanguage edition is the enlarged and completely revised version of a work by Winfried Nöth originally published as Handbuch der Semiotik in 1985 by J. B. Metzlersche Verlagsbuchhandlung, Stuttgart. ©1990 by Winfried Nöth All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress CataloginginPublication Data Nöth, Winfried. [Handbuch der Semiotik. English] Handbook of semiotics / Winfried Nöth. p. cm.—(Advances in semiotics) Enlarged translation of: Handbuch der Semiotik. Bibliography: p. Includes indexes. ISBN 0253341205 1. Semiotics—handbooks, manuals, etc. 2. Communication —Handbooks, manuals, etc. I. Title. II. Series. P99.N6513 1990 302.2—dc20 8945199 ISBN 0253209595 (pbk.) CIP 4 5 6 00 99 98 Page v CONTENTS Preface ix Introduction 3 I. History and Classics of Modern Semiotics History of Semiotics 11 Peirce 39 Morris 48 Saussure 56 Hjelmslev 64 Jakobson 74 II. Sign and Meaning Sign 79 Meaning, Sense, and Reference 92 Semantics and Semiotics 103 Typology of Signs: Sign, Signal, Index 107 Symbol 115 Icon and Iconicity 121 Metaphor 128 Information 134 Page vi III. -
Accommodation of Conversational Code-Choice
Accommodation of Conversational Code-Choice Anshul Bawa Monojit Choudhury Kalika Bali Microsoft Research Bangalore, India ft-anbaw,monojitc,[email protected] Abstract code-choice may be unexpected and noticed by other speakers, and is likely to affect other speak- Bilingual speakers often freely mix lan- ers’ subsequent code-choice. In other words, guages. However, in such bilingual con- speakers may accommodate to each other’s code- versations, are the language choices of choice, positively or negatively (Genesee, 1982). the speakers coordinated? How much In this work, we propose a set of metrics to does one speaker’s choice of language study the social accommodation of code-choice affect other speakers? In this paper, as a sociolinguistic style marker. We build upon we formulate code-choice as a linguis- the existing framework on accommodation by tic style, and show that speakers are in- Danescu-Niculescu-Mizil et al.(2011) and adapt deed sensitive to and accommodating of that for code-choice by introducing relevant fea- each other’s code-choice. We find that tures for code-choice. We then motivate and illus- the salience or markedness of a language trate the effect of code markedness on the degree in context directly affects the degree of of accommodation - the more salient code is more accommodation observed. More impor- strongly accommodated for. We further generalize tantly, we discover that accommodation of the framework to also account for delayed accom- code-choices persists over several conver- modation, instead of only next-turn or immediate sational turns. We also propose an alter- accommodation. native interpretation of conversational ac- In addition, we introduce an alternative view of commodation as a retrieval problem, and accommodation as a query-response task, and em- show that the differences in accommo- ploy mean reciprocal rank, a well-understood met- dation characteristics of code-choices are ric from the domain of Information Retrieval, as a based on their markedness in context. -
Postmodernism in Therapy: Meanings and Concerns Jeffrey Joseph Crane Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1999 Postmodernism in therapy: meanings and concerns Jeffrey Joseph Crane Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Clinical Psychology Commons Recommended Citation Crane, Jeffrey Joseph, "Postmodernism in therapy: meanings and concerns " (1999). Retrospective Theses and Dissertations. 12447. https://lib.dr.iastate.edu/rtd/12447 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps.