Is Language a Primary Modeling System? on Juri Lotman's Concept
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Dialogism and Biosemiotics
Dialogism and biosemiotics AUGUSTO PONZIO The notions of ‘modeling’ and ‘interrelation’ play a pivotal role in Sebeok’s biosemiotics. In dialogue with Thomas A. Sebeok’s doctrine of signs, we propose to inquire into the action of modeling and interrelation in biosemiosis over the planet Earth, developing the concept of interrelation in terms of ‘dialogism’. Indeed, in the light of Sebeok’s biosemiotics we believe that the concept of dialogism may be extended beyond the sphere of anthroposemiosis and applied to all communication processes, which may be described as being grounded not only in the concept of modeling, but also in that of dialogism. And remembering that the concept of dialogue is fundamental in Charles S. Peirce’s thought system, we also propose that the approach we are formulating be viewed as an attempt at developing the Peircean matrix of biosemiotics. Modeling systems theory and global semiotics ‘Modeling’ and ‘interrelation’ among species-specific semioses over the entire planet Earth are two issues that Thomas A. Sebeok’s puts at the center of his ‘doctrine of signs’ — the expression he prefers to ‘science of signs’ or ‘theory of signs’. The present paper focuses on these two topics developing them in the light of our own personal perspective. The term ‘dialogism’ in the present paper designates a development with respect to the condition of interrelation in global semiosis, as described by Sebeok. In our opinion modeling and dialogism are the basis of all communication processes. Another pivotal topic in Sebeok’s ‘doctrine of signs’ is his belief that humans alone are capable of ‘semiotics’, that is, of consciousness, of what we may designate as ‘metasemiosis’, the capacity to suspend the immediacy of semiosic activity and deliberate. -
The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine Et Jonathan Hope
Document généré le 28 sept. 2021 03:48 Recherches sémiotiques Semiotic Inquiry The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine et Jonathan Hope J. M. Lotman Résumé de l'article Volume 35, numéro 1, 2015 Parmi les notions développées par Lotman, celle de sémiopshère est certainement celle qui a été la plus commentée. Dans cet article, nous URI : https://id.erudit.org/iderudit/1050984ar explorons ses dimensions écologiques et biologiques, en remontant au concept DOI : https://doi.org/10.7202/1050984ar de biosphère proposé par Vernadsky et à la vision environnementale de l’art qui apparaît chez Lotman dès La Structure du texte artistique. Notre enquête Aller au sommaire du numéro expose les aspects biosémiotiques de la pensée lotmanienne, aspects qui permettent l’émergence, en son sein, d’un modèle cyclique, homéostatique de la culture, contrebalançant ainsi une vision moderniste où l’art participe à un progrès naïvement linéaire. Éditeur(s) Association canadienne de sémiotique / Canadian Semiotic Association ISSN 0229-8651 (imprimé) 1923-9920 (numérique) Découvrir la revue Citer cet article Patoine, P.-L. & Hope, J. (2015). The Semiosphere, Between Informational Modernity and Ecological Postmodernity. Recherches sémiotiques / Semiotic Inquiry, 35(1), 11–26. https://doi.org/10.7202/1050984ar Tous droits réservés © Association canadienne de sémiotique / Canadian Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Semiotic Association, 2018 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. -
John Benjamins Publishing Company
John Benjamins Publishing Company This is a contribution from Emotion in Language. Theory – research – application. Edited by Ulrike M. Lüdtke. © 2015. John Benjamins Publishing Company This electronic file may not be altered in any way. The author(s) of this article is/are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. Permission is granted by the publishers to post this file on a closed server which is accessible to members (students and staff) only of the author’s/s’ institute, it is not permitted to post this PDF on the open internet. For any other use of this material prior written permission should be obtained from the publishers or through the Copyright Clearance Center (for USA: www.copyright.com). Please contact [email protected] or consult our website: www.benjamins.com Tables of Contents, abstracts and guidelines are available at www.benjamins.com Introduction From logos to dialogue Ulrike M. Lüdtke Leibniz University Hannover This book is inspired by many years of pedagogic and therapeutic work with children and adults in preschool, school and clinical settings. The miracle of language devel- opment and the joy of expressive language on the one hand and the vulnerability of language and the sorrow and grief caused by its distortion or even loss on the other opened my eyes to the inseparability of emotion and language. Even though I had just been part of the editing team for Moving Ourselves, Moving Others: Motion and Emotion in Intersubjectivity, Consciousness and Language (2012), I felt there was a strong need for an interdisciplinary volume focusing exclusively on the enormous importance of emotion in language. -
The Heroic Fairy Tale Villain
The Heroic Fairy Tale Villain Application of Vladimir Propp’s formalist schema to the creation of a revisionist cinematic fairy tale in which the traditional villain is transformed into an anti-hero. Scott Hamilton B.E., Dip. Film & Television Production. Submitted in fulfilment of the requirements for the degree of Master of Fine Arts (Research). School of Creative Practice Faculty of Creative Industries, Education and Social Justice Queensland University of Technology 2021 Keywords Screenwriting, screenplay structure, feature film, revisionist fairy tale, character, archetype, hero, anti-hero, villain, protagonist, antagonist. i Abstract Recent trends in the Hollywood film industry have seen a rise in revisionist fairy tale films in which the traditional literary story villain has been transformed into a cinematic anti-hero. Although many of these commercial blockbuster films have been financially successful at the box office, they are often criticised for their reliance on the Hero’s Journey structural approach of Christopher Vogler, which is a mainstay in Hollywood hero-origin style narratives. This creative practice-led research analyses this character transformation construct and addresses this criticism by formulating a new approach to screenplay structure. This is achieved by utilising the formalist schema of literary Russian fairy tales outlined by Vladimir Propp in Morphology of the Folktale—which has thus far primarily been used within Film Studies academia as an analysis tool of pre-existing film texts and not as a screenplay development tool—and mapping it to Syd Field’s three-act structural paradigm, which is the dominant narrative structure in mainstream Hollywood cinema. Transformation of the villain to anti-hero and application of this new structural approach was used in the writing of this exegesis’ creative work The Devil’s Symphony, a feature-length dramatic screenplay based on the fairy tale The Pied Piper of Hamelin. -
Accomplishing Identity in Participant-Denoting Discourse Stanton Wortham University of Pennsylvania, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarlyCommons@Penn University of Pennsylvania ScholarlyCommons GSE Publications Graduate School of Education January 2003 Accomplishing Identity in Participant-Denoting Discourse Stanton Wortham University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/gse_pubs Recommended Citation Wortham, S. (2003). Accomplishing Identity in Participant-Denoting Discourse. Retrieved from http://repository.upenn.edu/ gse_pubs/50 Published as Journal of Linguistic Anthropology, Volume 13, Issue 2, 2003, pages 189-210. © 2003 by the Regents of the University of California/ American Anthropological Association. Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U.S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California/on behalf of the American Anthropological Association for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® on Caliber (http://caliber.ucpress.net/)/AnthroSource (http://www.anthrosource.net) or directly with the Copyright Clearance Center, (http://www.copyright.com ). This paper is posted at ScholarlyCommons. http://repository.upenn.edu/gse_pubs/50 For more information, please contact [email protected]. Accomplishing Identity in Participant-Denoting Discourse Abstract Individuals become socially identified when categories of identity are used repeatedly to characterize them. Speech that denotes participants and involves parallelism between descriptions of participants and the events that they enact in the event of speaking can be a powerful mechanism for accomplishing consistent social identification. -
Umberto Eco on the Biosemiotics of Giorgio Prodi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals from University of Tartu 352 Kalevi Kull Sign Systems Studies 46(2/3), 2018, 352–364 Umberto Eco on the biosemiotics of Giorgio Prodi Kalevi Kull Department of Semiotics University of Tartu Jakobi 2, Tartu 51005, Estonia e-mail: [email protected] Abstract. The article provides a commentary on Umberto Eco’s text “Giorgio Prodi and the lower threshold of semiotics”. An annotated list of Prodi’s English-language publications on semiotics is included. Keywords: history of biosemiotics; lower semiotic threshold; medical semiotics Biology is pure natural semiotics. Prodi 1986b: 122 Is it by law or by nature that the image of Mickey Mouse reminds us of a mouse? Eco 1999: 339 “When I discovered the research of Giorgio Prodi on biosemiotics I was the person to publish his book that maybe I was not in total agreement with, but I found it was absolutely important to speak about those things”, Umberto Eco said during our conversation in Milan in 2012. Indeed, two books by Prodi – Orizzonti della genetica (Prodi 1979; series Espresso Strumenti) and La storia naturale della logica (Prodi 1982; series Studi Bompiani: Il campo semiotico) – appeared in series edited by Eco. Giorgio Prodi was a biologist whom Eco highly valued, an expert and an encyclopedia for him in the fields of biology and medicine, a scholar whose work in biosemiotics Eco took very seriously. Eco spoke about this in a talk from 1988 (Eco 2018), saying that he had been suspicious of semiotic approaches to cells until he met Prodi in 1974. -
Semiosphere As a Model of Human Cognition
494 Aleksei Semenenko Sign Systems Studies 44(4), 2016, 494–510 Homo polyglottus: Semiosphere as a model of human cognition Aleksei Semenenko Department of Slavic and Baltic Languages Stockholm University 106 91 Stockholm, Sweden e-mail: [email protected] Abstract. Th e semiosphere is arguably the most infl uential concept developed by Juri Lotman, which has been reinterpreted in a variety of ways. Th is paper returns to Lotman’s original “anthropocentric” understanding of semiosphere as a collective intellect/consciousness and revisits the main arguments of Lotman’s discussion of human vs. nonhuman semiosis in order to position it in the modern context of cognitive semiotics and the question of human uniqueness in particular. In contrast to the majority of works that focus on symbolic consciousness and multimodal communication as specifi cally human traits, Lotman accentuates polyglottism and dialogicity as the unique features of human culture. Formulated in this manner, the concept of semiosphere is used as a conceptual framework for the study of human cognition as well as human cognitive evolution. Keywords: semiosphere; cognition; polyglottism; dialogue; multimodality; Juri Lotman Th e concept of semiosphere is arguably the most infl uential concept developed by the semiotician and literary scholar Juri Lotman (1922–1993), a leader of the Tartu- Moscow School of Semiotics and a founder of semiotics of culture. In a way, it was the pinnacle of Lotman’s lifelong study of culture as an intrinsic component of human individual -
An Analysis of Narrative-Based Educational Software
AN ANALYSIS OF NARRATIVE-BASED EDUCATIONAL SOFTWARE by DAVID NOAH (Under the direction of Lloyd Rieber) ABSTRACT Instructional designers often rely on stories to structure interactive learning environments. There is little evidence that they bring contemporary critical theory to these designs, especially as it pertains to the narratological implications of a hypermedia environment. The use of stories in these designs raises issues about the relationship between learning, interactivity, and story. Interactivity undermines traditional narrative structures, diminishing their power as structural agents. However, it also creates constructivist affordances for the instructional designer. How are designers resolving this conflict? How are they using story? This research study examines the use of story and instructional design in selected educational CD-ROMs. The works of Propp, Campbell, and Gagne are used as models for the analysis of the stories and instructional events. The results indicate that instructional presentation in narrative environments is usually sequestered from the main narrative, though there is some relation between story elements and instructional design. The designers do use story to engage learner attention, though there is little consistent correlation with the story models chosen for this research. Character transformation, important in narrative, is not addressed in the software. Simulations offer the most integrated approach to story and instruction, but at the cost of traditional story models. I conclude that story and instruction are largely incommensurable when instantiated within a hypermedia environment. Instruction is transparent in the sense that we go to it in order to get something else: learning. On the other hand, story is opaque in the sense that it is an end in itself. -
By ROLAND BARTHES
ROLAND BARTHES by ROLAND BARTHES , \) Translate^Jyy Richard Howard >!)• IP /i I UNIVERSITY OF CALIFORNIA PRESS Berkeley • Los Angeles University of California Press Berkeley and Los Angeles, California Translation © 1977 by Farrar, Straus and Giroux, Inc. \ Originally Published in French as Roland Barthes par Roland Barthes \ * © 1975 Éditions du Seuil \ All rights reserved Published by arrangement with Hill and Wing, a division of Farrar, Straus &_ Giroux, Inc. Printed in the United States of America First California printing, 1994 Library of Congress Cataloging-in-Publication Data Barthes, Roland. [Roland Barthes. English] Roland Barthes /by Roland Barthes ; translated by Richard Howard, p. cm. ISBN 978-0-S20-08783-S I. Barthes, Roland. 2. Semiotics. 1. Title. P8S.B33A3 1994 MO'.92—dc20 [B] 94-7S4S CIP 08 07 10 9 8 The paper used in this publication is both acid-free and totally chlorine-free (TCF). It meets the minimum requirements of ANSI/ NISO Z39.48-1992 (R 1997) (Permanence of Paper). © My thanks to the friends who have kindly helped me in the preparation of this book: Jean-Louis Bouttes, Roland Havas, François Wahl, for the text; Jacques Azanza, Yousseff Baccouche, Isabelle Bardet, Alain Benchaya, Myriam de Ravignan, Denis Roche, for the pictures. ft must all be considered as if spoken by a character in a novel. j / To begin with, some images: they are the author's treat to himself, for finishing his book. His pleasure is a matter of fascination (and thereby quite selfish). I have kept only the images which enthrall me, without my knowing why (such ignorance is the very nature of fascination, and what I shall say about each image will never be anything but . -
The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine and Jonathan Hope
Document generated on 09/29/2021 12:07 a.m. Recherches sémiotiques Semiotic Inquiry The Semiosphere, Between Informational Modernity and Ecological Postmodernity Pierre-Louis Patoine and Jonathan Hope J. M. Lotman Article abstract Volume 35, Number 1, 2015 The notion of semiosphere is certainly one of Lotman’s most discussed ideas. In this essay, we propose to investigate its ecological and biological dimensions, URI: https://id.erudit.org/iderudit/1050984ar tracing them back to Vernadsky’s concept of biosphere and to Lotman’s DOI: https://doi.org/10.7202/1050984ar environmental vision of art articulated in his early work, The Structure of the Artistic Text. Our investigation reveals how the biosemiotic undercurrents in See table of contents Lotmanian thought enable the emergence of a cyclical, homeostatic model of culture that counterbalances a Modernist vision of art as a force working for unquestioned linear progress. Publisher(s) Association canadienne de sémiotique / Canadian Semiotic Association ISSN 0229-8651 (print) 1923-9920 (digital) Explore this journal Cite this article Patoine, P.-L. & Hope, J. (2015). The Semiosphere, Between Informational Modernity and Ecological Postmodernity. Recherches sémiotiques / Semiotic Inquiry, 35(1), 11–26. https://doi.org/10.7202/1050984ar Tous droits réservés © Association canadienne de sémiotique / Canadian This document is protected by copyright law. Use of the services of Érudit Semiotic Association, 2018 (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. -
Alf Arvidsson Vladimir Propp's Fairy Tale Morphology and Game Studies
Computer games as fiction and social interaction A project sponsored by Vetenskapsrådet, 2003-2005 Institutionen för kultur och medier Umeå universitet Alf Arvidsson Vladimir Propp’s fairy tale morphology and game studies Working paper Vladimir Propp’s model of the structure of fairy tales has since its introduction to western scholarship during the 1950s, been regarded as one of the milestones in semiotic analysis and narratology, both for its inspiring function and taken for face value. It comes as no surprise that it also is suggested as a work of significance for game studies. I can agree on that; however, its meaning within the field of folklore studies and its range of appliability must be discussed. What is the content of Propp’s model? How has its basic ideas been further developed by later generations of folklorists? How can it be used? What claims can be based on it? What are its limits? My questions are trigged by the claims that sometimes are made for a universal applicability of Propp’s 31-function pattern. For instance, Arthur Asa Berger states in a recent introductory book, Video Games:A Popular Culture phenomenon, that “His thirty-one functions … are, it can be argued, at the heart of all narratives – not just the Russian folktales Propp analyzed in obtaining his list” (Berger 2002:34). I can agree with Berger that Propp’s model is worthy of attention in narrative studies. However, the claims of its universality go to far. It goes beyond the russian folktales, but halts somewhere after. The historical scientific context of Propp’s study is European folk tale studies, as they were in the 1920s with a history going back to the Grimm brothers showing the contemporary existence of an oral narrative genre with presumably ancient roots, within the popular classes. -
Thomas A. Sebeok and Biology: Building Biosemiotics
Cybernetics And Human Knowing. Vol. 10, no. 1, pp. xx-xx Thomas A. Sebeok and biology: Building biosemiotics Kalevi Kull1 Abstract: The paper attempts to review the impact of Thomas A. Sebeok (1920–2001) on biosemiotics, or semiotic biology, including both his work as a theoretician in the field and his activity in organising, publishing, and communicating. The major points of his work in the field of biosemiotics concern the establishing of zoosemiotics, interpretation and development of Jakob v. Uexküll’s and Heini Hediger’s ideas, typological and comparative study of semiotic phenomena in living organisms, evolution of semiosis, the coincidence of semiosphere and biosphere, research on the history of biosemiotics. Keywords: semiotic biology, zoosemiotics, endosemiotics, biosemiotic paradigm, semiosphere, biocommunication, theoretical biology “Culture,” so-called, is implanted in nature; the environment, or Umwelt, is a model generated by the organism. Semiosis links them. T. A. Sebeok (2001c, p. vii) When an organic body is dead, it does not carry images any more. This is a general feature that distinguishes complex forms of life from non-life. The images of the organism and of its images, however, can be carried then by other, living bodies. The images are singular categories, which means that they are individual in principle. The identity of organic images cannot be of mathematical type, because it is based on the recognition of similar forms and not on the sameness. The organic identity is, therefore, again categorical, i.e., singular. Thus, in order to understand the nature of images, we need to know what life is, we need biology — a biology that can deal with phenomena of representation, recognition, categorisation, communication, and meaning.