Peirce's Semiotics

Global Semiotics Bridging Different Civilizations THE 11TH WORLD CONGRESS OF THE INTERNATIONAL ASSOCIATION FOR SEMIOTIC STUDIES

Under the Auspices of THE INTERNATIONAL ASSOCIATION FOR SEMIOTIC STUDIES THE CHINESE ASSOCIATION FOR LANGUAGE AND SEMIOTIC STUDIES THE CHINESE SEMIOTIC RESEARCH CENTER OF NANJING NORMAL UNIVERSITY THE INTERNATIONAL SEMIOTIC RESEARCH INSTITUTE OF NANJING NORMAL UNIVERSITY

School of Foreign Languages & Cultures Nanjing Normal University, No. 122, Ninghai Road, Nanjing, China October 5-9, 2012

NANJING CHINA

Plenary Speeches 大会发言

1 Signs and Phenomena. Phenomenological-Semiotic Considerations

Bernhard Waldenfels Both, phenomenology and semiotics have to do with the basic question as to how our experience is functioning. But considering the fact that phenomenology tries to go back to the intuitively given things themselves, whereas semiotics stress the mediating role of signs, there remains a certain tension between both approaches. This tension leads to unbridgeable conflicts only if one side tries to dominate or to replace the other. In this case the extreme attempt to proceed ultimately without using signs clashes with the opposite presumption that basically everything is made of signs or words. However, in my view we should and can seek the so-called things themselves through the medium of signs, of words, and of pictures and so on. There is an intermediary sphere closely connected with our own body and with the relations between one’s own and the Other’s body. This basic assumption shall be tested by referring to a series of key issues like saying and showing, materiality of signs, sign and trace, sign and affect, use and creation of signs. We will cite authors like Husserl, Heidegger, Merleau- Ponty, Derrida and Wittgenstein and, on the other side, authors like Bachtin, Bühler, Jacobson and Peirce. As to the bridging over civilisations, our considerations will by no means lead to a global form of being everywhere, but rather to the chance to be at once here and elsewhere, leaving room for singularity and otherness.

2 Eero Tarasti: Semiotics as the Transcultural Metalanguage

Plenary speech for the Nanjing World Congress of the IASS/AIS

The challenge of semiotics, in whatsoever school or conceptual system, is in the problem whether it transgresses the boundaries of the culture which created it. In the cultural studies approach even the abstract symbolic forms such as scientific methodologies are stemming from their context, in other words, they are seen as absolutizations of personal experiences of their authors. This means to put the quest of universality of the semiotic approach in other terms. If we think of such semiotic theories, as Peirce, Saussure, Greimas, Lévi-Strauss, Lotman, Eco and others of our own time, my own existential semiotics included therein, we must ask whether they hold true for all cultures. This problem has also its pragmatic side, namely whether semiotics can be used as a theory of multiculturality, guaranteeing the peaceful cohabitation of world cultures, as the counterforce to the idea of clash of civilizations. If we think of history of semiotic theories - whether they emphasize communication or signification - they are largely focusing on the fact there is something looming behind the sign. For structuralists the essential issue was structure itself which was hidden in the deep structure beyond the immediate perception. Even Peirce’s semiotics, albeit not a structuralist one, supposes that there is behind the triadic semiosis the so-called dynamic object which ‘kicks off’ the process of signification. Yet, not all semioticians have accepted this episteme in which the phenomena of the reality are reduced to some postulated abstract entity. The other idea, likewise questioned by mane scholars – in the side of deep structure – is that signification has a center. However, I shall first discuss the problem of deep structure. The phenomenological turn of semiotics rendered talk about deep structures problematic, that occurred a.o. in the Paris school; nowadays, one may also speak of ‘cognitive turn’ or ‘existential turn’. The famous doctrine of linguistic turn – one of the criteria of any theory to be considered ‘analytic philosophy’ – has got a new shape; it is now possible to study the surface of the reality and its expressivity and signifiance as such. Even if there were looming in the background something transcendental, even it is has to become actualized or realized (as the Polish scholar Roman Ingarden taught) in the individual and unique. Is it possible to make a science of it? In other word are we able to elaborate a scientific metalanguage accounting such issues, the meaning as experience, and not only the inherent structures making the meanings possible (U. Eco). What is involved is the problem of what is pertinent: signification as experience or signification as generation. If they fall in conflict, which one will win? To which extent a meaning which is a kind of ‘genosign’ (in the sense it carries along all the phases which lead to its creation), is still credible ad hoc, although the meaning as phenosign would be against it? The Hegelian dilemma: if facts do not fit to theories, the worse to the facts. There is also the possibility that meanings i.e. geno- or phenol-signs can get beyond the control. Generation can be so complicated and hierarchical a process that subject is no longer able to direct and master it. On the other hand, the surface experience can be so strong that causes a turn around, a change, a transformation from which there is no return. Big realms have collapsed due to the gap of surface level and structure. Karl Jaspers, German hermeneutic and existential philosopher used the term Scheitern or collapse, breaking down of such an experience. Centralized government management no longer corresponds to the experience on surface i.e. in the reality itself. People suddenly stop believing in Mr. Deep Structure. In fact, the idea that the process of

signification could be controlled and mastered is an illusion. From errors positive things can follow like the Persian semiotician Reza Hamid Shairi has stated in his paper at our recent Imatra congress of semiotics. Correspondingly to be in right can lead into catastrophes. In next, I shortly present some major semiotic models regarding the aspect of generation and center whereform they unfold. In Heidegger’s philosophy all is derived from being, wherefrom he could ‘generate’ the phenomena of Dasein. In principle, this process is organic but it could also be distorted and transformed into das Man Sein. In semiotics Greimas’s ‘generative course’ was basically of same type: from a deep level or isotopies one could infer all the signs and meanings. (In music theory this model is known in the so-called Schenker theory, which claims that in musical texts all was improvisation from the primal nucleus , Ursatz). In linguistics the model was crystallized by Noam Chomsky by his tree model, which was also the ideal of Greimas in the 1980s.) At the same time in Tartu- Moscow school one arrived at a model of structure of cultural texts and levels from, down to up: phonetics, metrics, syntax, semantics, symbols...and ultimately the semantic gesture (Jan Mukarovsky) or dominant (Roman Jakobson) as the all-pervading and centralizing principle. Kristeva’s model of ‘iceberg’ is of same nature but she returned the entities upside down: low in the depths was the realm of khora, and above it, the symbolic order. Nevertheless, these are all centripetal models, they all postulate a center of signification. In Jaan Valsiner’s cultural psychology likewise there is a model of personal boundaries around the core self. Moreover, the Saussurean semiology shares the basic vision of such an hierarchy in the respect that behind the chain of signifiers there looms the world of signifieds, the origin of all. However, if in this thought the center disappears, then no sign alone and as such is the core of being but signs have value only in relation to other signs (Therefore axiologically speaking the Saussurean value theory which serves as the implicite theory of present globalized world of communication, is a relative theory, not absolute one, the values are what a community decides). In the Shannon and Wiener model of communication, and its consequent Roman Jakobson’s model, the center can be either in the sender or in the receiver or in whatsoever member of the chain, when we also get different functions of communication. The Uexküllian biosemiotic model is also de-centric: subject or organism and object of Umwelt are in interaction of Merken und Wirken and therefore , what is involved, is a process without a center. Dialogue does not have a center and therefore it cannot be dominated, its end result is always unpredictable as Mihail Bakhtin already argued in his semiotics of disputes. Instead, the British cultural studies view on culture is centripetal: in the center stays our own globalized Western culture with its concepts, issues, interests, values; all the other cultures and previous historic phases of our own culture are its derivatives. In this manner models of power, discourse, gender, genre, narrativity are straight ahead projected to other cultures without paying attention if they were anachronistic or articifical when implanted to different contexts. It is typical of this theory that it underlines the role of theory without any own theory whatsoever (see Barker 2008:37). It also quotes great semioticians from Lévi-Strauss to Barthes and Foucault but only as individual genius scholars and not as semioticians stemming from this tradition of thought. All postmodern models of signification are ex-centric, i.e. subject has abandoned its central position. Deleuze- Guattari’s vision of cultural rhizome is a passionate argument against the generative tree model, which they interprete to be a kind of metaphor of the nocious centralization: “Chomsky’s grammaticality...is more fundamentally a marker of power than a syntactic marker…(D-G 1987:7)… rhizome is made only of linear,. ..it is an antigenealogy, it is a short term memory, or antimemory. …Rhizome has no beginning or end, it is always in the middle between things, interbeing intermezzo… Where are you going? Where are you coming from? What are you heading for? These are totally useless questions (p. 25)” . Instead the schizo-analysis emphasizes ideas like multiplicity, deterritorialisation, nomadology. But truth is that one cannot understand this theory without first

having studied basics of semiotics, albeit Deleuze- Guattari treat their core issues like double articulation, for instance, totally metaphorically and ideologically. Now, I come to my own recent theory of existential semiotics; its first model (Tarasti 2000) with the journeys of its subject to ‘transcendence’ and its returns to Dasein is also ex-centric in the linear sense, since we cannot know to which direction this process is going, just as in the Emanuel Levinas’ thought going towards l’infini. In the later versions of existential semiotics, or in the so-called ‘zemic’ model or in the four modes of Moi/Soi i.e. in M1 (body), M2 (person), and S2 (practice), S1 (norms) , neither there is any center of subject, individual or collective; this subject is always in movement or gliding from one mode to the other. In fact, subject is or is defined just as this movement. The term ‘zemic’ is again stemming from letter ‘Z’ which portrays the shift from M1 to S1 and viceversa; moreover, ‘emic’ is a reference to the anthropological concepts of ‘emic’ i.e. meaning that phenomena are scrutinized from inside. Furthermore, one may ask whether these models have any place for manifesting of the unexpected, unanticipated? In fact, if the modes of the ‘zemic’ model are put as superimposed levels à la Yuri Lotman, one notices that in practice the levels are often in incompatibility and conflict among each other. It is this constant contradiction which keeps signification processes in motion and prevents them from stagnating into one single position or center. Therefore, the meaning is not in ‘zemic’ model necessarily any organic process, but can contain clashes, negations of its different elements – as well as strong affirmations, so that these may leave in shadow all subsequent events in the levels of meaning. literature: Chris Barker 2008 Cultural Studies. Theory & Practice. Los Angeles, London, New York: Sage Gilles Deleuze and Félix Guattari 1987 A Thousand plateaus, Capitalism and schizophrenia. translated and foreword by Brian Massumi. Minneapolis, London: University of Minnesota Press. Jaan Valsiner 2007 Culture in Minds and Societies. Foundations of Cultural Psychology. Los Angeles, London, New Delhi, Singapore: Sage Publications Eero Tarasti 2000 Existential Semiotics. Bloomington: Indiana University Press “ 2009 Fondements de la sémiotique existentielle. Paris : L’harmattan « 2010 Fondamenti di semiotica esistenziale. Bari: Giuseppe Laterza Edizioni 2012 “Existential Semiotics and Cultural Psychology”. In Jaan Valsiner ed. The Oxford Handbook of Culture and Psychology. Oxford: Oxford University Press. “ 2012 Existential Semiotics (the Chinese translation). Zhendu: Sichuan University Press

3 The Study of Cognitive Semiotics in China

Hu Zhuanglin

Peking University

Abstract： The study of cognitive semiotics first took the form of “cognitive linguistics + Peircean semiotics” in China in 2005. Two years later, the term “cognitive semiotics” began to be introduced to the Chinese scholars, who came to learn the names of those pioneers, such as Daddesio, Brandt, Thom, Stjernfelt, Bundgaard, and others, mainly in Europe. Since then, the Chinese CS scholars devoted themselves to the theoretical exploration of CS, such as metaphor and symbolization, cognitive steps in semiosis, humor comprehension, interpretation of polite utterances, the deictic center, etc. For another thing, some scholars have focused on the application of the theory in fields such as literary analysis, the interpreter’s mind style, education, disaster symbols, architecture, etc.

Keywords: cognitive semiotics, cognitive linguistics, Peircean semiotics

4 Figures of the Body and Semiotics of Imprint

JACQUES FONTANILLE

University of Limoges

Semiotics of the body consists essentially, in a current use, in gestural and mimo-gestural semiotics. At best, in an integrated semiotic approach, communicative gesture involved the construction of a syncretic expression plane, combined with verbal discourse. The body as conceived by psychoanalysts is, on the contrary, the source and the seat of energy itself (impulses), from which psychic instances feed their representations. The psychoanalytical body is thus both the source and the significant substance from which the semiotic actant may take form. In the phenomological conception developed by Merleau-Ponty, the proper body is that entity, the “vehicle of our being in the world,” which belongs both to “I” and to “the world for me”, which takes shape in perception, where the first (I) experienced the second (world for me). The phenomenological body seems at first sight an adjuvant, which turns out to be, for a second sigth, the very principle of actantiality and intentionality.

More recently, psychoanalysis has tried to develop a conception of proper body that is not a simple field of forces and barriers opposed to these forces, but that opens on to a figurative typology of body : it is the theory of « I- skin », in D. Anzieu, which combines the properties of the proper body, similar to that of phenomenology (an integral entity, a wholly shape) and compatible with the energetic topology used by psychoanalysis. It is then the specific experience of the proper body as a sensory and psychic envelope, as a pellicle, border and membrane that separates and connects the self and the world for me. The diverse functions assigned to it by Anzieu: maintenance, container, protective shield, qualitative filter, intersensory connector, receiver of pleasure and pain, energy charging and discharging barrier, surface of inscription for signifying external traces, make body, furthermore, the melting pot of the semiotic function, and the concrete manifestation of enunciative instances constitution.

There is also an explicit reference to the phenomenological body in contemporary cognitive science, which consider it as the center of the sensory experience, and thanks to sensory-motricity, as the source of axiological and cognitive schemas, including spatial patterns. In Lakoff, the sensory-motricity provides axiological orientation (and positive or negative emotions) in structuring metaphors ; in Varela, Thompson and Rosch, the sensory- motricity is the real correlate of intentionality, through the movement.

In this quick overview of the different « implicit semiotics » of the body, it acquires a status of an actantial basis, because, as an actant, it is directly involved in the process of incorporation of agentivity and intentionality, and with two different and recurrent representations: one according to movement, and the other according to envelope. Forces and form, in short. We decide to name them (arbitrarily for now, but we'll return to this point) the first “Me” and the second “Myself”. • « Me » is the referent instance, consisting both of sensitive matter and energy, the substrate and the dynamic bodymark for all figures and all enunciations. In short, it will be the “Me-flesh.”

• « Myself » is the body-in-construction, the living vehicle of intentionality and the interactions support, and therefore, particularly the support of confrontation with otherness ; and, through these interactions, it provides the actant a patterned form through which it may be identified. In short, this is “Myself-envelope”.

Returning to basic body experiences, one can define the positions of a minimal typology, based on predicates, and as an answer to the question: what predicates do we assign to the body considered as an actant ? : • the predicative relation to the body may be (1) existential and referential, or (2) attributive and identitary: the actant is a body (Me), or the actor has a body (Myself) ; • it can be (1) subjectivating (a reflexive relation, from Myself to Me) or (2) objectifying (a transitive relation, from Myself towards the Other): the body is either the place and the substrate of the experiment (the actant feels X or Y), or a part of the world which it

At each of these figures of the body, is a figure of movement. Movements affecting the shape of the envelope are deformations, including formation of meaningful envelopes and inscription surfaces (see Anzieu). The inner body provides an internal space for scenes where the actors can move in different directions, the perception of such inner proper movements is that of internal turmoils. The movement which affects the deictic reference position allows to perceive the relative movement between a the body and another body; so, the perception of movement applied to the deictic is a displacement. The moving flesh, finally, supports changes in consistency and density, which are experienced as expansions and contractions, in short as intimate motions.

We have to move now from the elementary experience to enunciations which result of them. In this perspective, the body figures support enunciative instances, that are responsible for the production of different kind of meanings. Four different semiotic body figures allows us to predict four different modalities of the imprint and of corporal memory. For this, we must specify (i) the mode of production of the imprint, and (ii) its mode of interpretation. “Production” and “interpretation” both involve a modus operandi, and the one of interpretation must find and adopt the own principles and process of the one of production. Imprints that were inscribed on the envelope are made to be “read” and decrypted, because they are immediately given to perceive, while the imprints that were buried in the moving flesh have to be unburied: encryption and decryption on the side of figures inscribed on the envelope, burial and unburial on the side of figures marked in the flesh.

5 Subject-Object Contrast（主客対立）and Subject-Object Merger（主客

合一）in ‘Thinking for Speaking’

--- A Typology of Cognitive Processing in Linguistic Encoding and Its

Homologues in Pictorial Encoding

Yoshihiko IKEGAMI

The speaker of language is not simply a person who utters sentences, but also --- and more importantly --- a person who, before uttering sentences, makes sense of the situation to be linguistically encoded in a way most relevant to himself at the moment of his speaking. The crucial importance of this latter aspect of the speaker (cf. Slobin 1996: ‘thinking for speaking’) is fully recognized in cognitive linguistics and the term ‘construal’ is applied to the process. Now as a cognizing subject, who ‘construes’ the situation to be encoded, the speaker of language is known to manifest both a universalistic and a relativistic aspect. On the one hand, the speaker of language is universally known to have an ability to construe one and the same situation in a number of alternate ways (Langacker 1991). On the other hand, it is also known that being faced with one and the same situation, the speakers of one language may prefer to construe it in one way, while the speaker of another language may prefer to construe it in another way. A set of specific types of encoding favored by the speakers of the language in question constitutes what Whorf (1956) once called ‘fashions of speaking’. Underlying these ‘fashions of speaking’ are presumed to be certain cognitive stances in construal preferably opted for by the speakers of the language in question. In my presentation, I propose to concentrate on just one particular case of the relativistic aspect of the speaker’s practice of linguistic construal, namely the speaker’s two contrastive stances in construal, called ‘subjective construal’ and ‘objective construal’. The two stances can be contrastively described as follows (Ikegami 2008, etc., modifying Langacker 1991, etc.):

Subjective construal: The speaker is located in the very same situation he is to construe and construes it as it is perceivable to him. If he is not located within the situation he is to construe, he mentally displaces himself into the situation he is to construe and construes it as it would be perceivable to him. The speaker, who construes the situation, is embedded in the very same situation he is to construe and his stance here is characterizable as ‘subject-object merger’. Objective construal: The speaker is located outside the situation he is to construe and construes it as it is perceivable to him. If he is embedded in the very same situation he is to construe, he mentally displaces himself outside the situation he is to construe, leaving, however, his counterpart behind – in other words, the speaker undergoes a self-split here, himself stepping out of the situation but at the same time, leaving his counterpart behind in the situation. The speaker, who construes the situation, is detached from the situation he is to construe and his stance here is characterizable as ‘subject-object contrast.’

I suggest as a native speaker of Japanese specializing in English that Japanese speakers tend to indulge in subjective construal with significantly more readiness than English speakers (and for that matter, probably than

speakers of Indo-European languages in general). I am going to illustrate the point by referring to pairs of Japanese and English text pieces in interlingual translation, which supposedly describe one and the same scene but which apparently diverge from each other considerably (because their underlying construals are different – one in terms of subjective construal and the other in objective construal). This is supplemented further by citing a number of idiomatic expressions in the two languages which are used in equivalent situations but which literally mean different things because their underlying construals of the situations diverge from each other. (Just a single example: why is it that being lost and asking the way, speakers of some languages say “Where am I?” (as in English), while speakers of other languages say something like “WHAT PLACE IS THIS (PLACE)?” (as in Japanese) and that either group of speakers find the turn of expression used by the other group unnatural and strange?) Three further points will be added (insofar as time permits) to the general account above: (i) The preference between ‘subjective construal’ and ‘objective construal’ is manifested in decoding as well as in encoding. Thus, speakers of Japanese as readers are prone to displace themselves into the situations described in the text, feeling as if they themselves were directly experiencing the situation being described. Cf. ‘reader- responsibility’ (Hinds 1987). (ii) In subjective construal, the speaker is embedded in the situation he is going to construe and linguistically encode. He perceives his environment but not himself (who is situated at the origin of his own perceptual coordinates), hence he is linguistically not encoded. This in fact accounts for a sizable number of cases in which the speaker is encoded as zero in Japanese. (iii) A beautiful parallelism can be found between representation by means of language and representation by means of painting in traditional Japanese culture – an interesting case of ‘homology’. On the one hand, Japanese narratives of the past events are well known for their characteristically frequent alternations between past-tense forms and present-tense forms. On the other hand, traditional Japanese paintings are known for their apparent disregard of perspective, objects nearby and objects in the distance being painted in their respective same size. This results from one and the same stance taken by writers and painters. When narrating about past events, writers mentally jump over the temporal distance into the past and writes about past events as if they are witnessing them now. Similarly, when painting far objects, painters mentally jump over the spatial distance to the places where those objects are located and paint them as if they were witnessing them here. The parallel mental operations are motivated in terms of one and the same cognitive stance --- the subject (i.e. writer / painter) being merged with the object (i.e. events / objects to be described). The technique of perspective in painting is considered to have been generally unknown in Japanese until it was introduced from the West in the nineteenth century.

The semiotics of Karl Marx: a historical and theoretical excursus through the

sciences of signs in Europe

Augusto Ponzio

“The only thing I can say is that I am not a Marxist” (Karl Marx)

Abstract ： To use a concept introduced by Thomas A. Sebeok, Karl Marx no doubt can be considered as a “cryptosemiotician”. The focus of this paper is on Marx's semiotics. The claim is that as a cryptosemiotician and a philosopher Marx practiced semiotics. Therefore, this presentation will examine Marx’s semiotics together with its historical and theoretical developments in Europe. As anticipated in the title, my aim here is not to focus on the problem of European Marxism in itself, but rather to compare Marxian semiotics with Marxist conceptions, or rather, self-proclaimed and self-styled Marxist conceptions in Europe. The relation between semiotics and Marxism is understood in the sense that the study of signs is not secondary with respect to historical-dialectic materialism; semiotics is not a mere opportunity to broaden the field of “application” of Marxism. On the contrary, the study of signs is fundamental to the development of Marxism itself, semiotics is structural to the materialist perspective. Nor is this just a question of formulating the relation between semiotics and Marxism in terms of a Marxist approach to semiotics. Such an exercise is pointless in terms of determining methods, fields and objects of scientific research; it also risks provoking a distorted vision of the problem itself. “Marxism” and “Marxist” are abstractions – it seems that Marx himself once said that, “The only thing I can say is that I am not a Marxist”. The introduction of Marxism generally gives rise to defensive attitudes in semiotics that appeal to the distinction between “science” (semiotics) and “ideology” (Marxism). Such defensive attitudes claim to safeguard the “purity of scientific research” from any “ideological” and “political” element that may eventually corrupt it. All this is based on the false assumption that signs and ideology are separate and predetermined with respect to the semiosic processes in which they are constituted. But signs and ideology are inextricably interrelated. They are structural to determining the methods, categories, and even the objects themselves of semiotic research. Therefore, from the point of view of the present paper, the study of signs in the relation between semiotics and Marxism is not an accessory with respect to historical-dialectical materialism, a mere opportunity to broaden the field of application of the latter, but rather it acts as a constitutive element in the development of Marxism itself. As such, semiotics is foundational to the historical-materialist perspective. Marxism is an “open system” in the sense that the elements that constitute it are related in such a way that modification of one element provokes modification of the others. It is an open system because it is a scientific system. Therefore, it is subject to the laws of science and this means to be continuously susceptible to verification and exposed to confutation.

With reference to social reality and human knowledge, such a system develops new elements which can provoke the transformation and renewal of old ones, to the point even of superseding Marxism itself as a special theoretical-ideological system. In fact, as a dynamic scientific system open to renewal and change, always ready to question itself, Marxism may even cease to exist. Like all scientific systems, this is a risk that Marxism is exposed to, and it goes without saying that such a risk must not obstacle investigation into Marxist theory itself. This process of examination and verification inevitably involves the study of signs, which therefore occupies a position of first importance for Marxism. My paper proposes a critical reading of so-called Marxist interpretations of Marxian semiotics.

PHYSIOSEMIOSIS AS AN INFLUENCE OF SIGNS: WHY SEMIOSIS WAS AT WORK

BEFORE LIFE

John Deely

Abstract. It took most of the 20th century fully to establish semiotics as a thematic study of the role and action of signs not only in human culture and life but in the whole environment which human animals share with all the other life forms that make up the biosphere of planet earth. In the early 20th century investigators were inclined to restrict the action of signs to the realm of human culture and psychology, consistent with the ideas of modern philosophy which severely separate the world of humans from its surroundings supposed as “unknowable” in itself. This idealistic ne plus ultra was definitively transgressed and shattered by the collegial work of Thomas A. Sebeok, who not only established the framework for a “global semiotics” but demonstrated unequivocally that the whole world of living things (the “biosphere”) cannot exist independently of the action of signs. As Sebeok put it, “semiosis is co-extensive with life”. But there remains even so the further question: “Is life co-extensive with semiosis”? For, from the demonstration that semiosis is essential for the existence of life, it does not follow that the existence of life is essential for there to be semiosis. It is this last proposition — wrongly taken by many (or most) proponents of biosemiotics today to be a logical consequent of the conclusion that life in its full extent depends upon semiosis — that I examine here: the probability that semiosis not only surrounds life but pre-existed living things, and indeed shaped the universe so as to make living things possible in the first place.

8 俄苏文艺符号学在中国的接受及其变形

张杰

（南京师范大学外国语学院）

自上个世纪 80 年代以来，随着中国学术界思想的不断解放，俄苏文艺符号学从文学、语言学、哲学、符号学等领域对中国学术界产生着越来越重要的影响。今天，在中国的人文社会科学领域，巴赫金、洛特曼、乌斯宾斯基等人的学术思想已经并不陌生，尤其是巴赫金的理论。然而，大多数的研究主要还是集中在阐释俄苏文艺符号学理论本身，或者是运用其中的一些理论方法来分析文学文本，解决一些学术研究或教学中遇到的实际问题。可以说，我们的研究主要是单向的，即向俄苏文艺符号学借鉴了什么，而很少探究这种借鉴的主观性及其产生的接受变形，也就是说缺乏探究这种接受的意识形态、宗教和文化根源。实际上，正是中俄双方的这种根源上的迥异，才导致了俄苏文艺符号学不可能是原汁原味的，尽管我们的翻译家和理论家们千万百计地努力描绘俄苏文艺符号学的本来面目。俄苏文艺符号学在中国的接受也存在着一个”中国化”的过程，我们的”选择”、”阐释”和”应用”不可能是纯客观的，也存在着自己的”中国特色”，也会为我所用，即”洋为中用”。在中华人民共和国建国初期，从意识形态的上层建筑到社会生活的经济基础，苏联模式对中国各个方面的影响是直接的。从 20 世纪 50 年代的照搬和模仿，到 60 年代以后的批判和反苏联化模式，直至改革开放后的批判与借鉴相融合，这种影响是显而易见的，渗透到我国的各个领域，而这种接受的直接根源在于意识形态的变化。俄苏文艺符号学的接受虽然也在很大程度上受到意识形态环境的影响，但是宗教信仰和文化习俗的不同也是导致接受变形的重要根源，甚至是更重要的缘由。本文将着重比较中俄两国在意识形态、宗教信仰和文化根基三个方面的差异，从而揭示出俄苏文艺符号学在中国的接受与变形，为跨文化符号学研究提供有价值的参考。

RECEPTION AND TRANSFORMATION OF RUSSIAN AND FORMER

SOVIET UNION’S CULTURAL SEMIOTICS IN CHINA

ZHANG Jie

School of Foreign Languages and Cultures, Nanjing Normal University, China

Since the 1980s, as more restrictions were lifted from China’s academic spirit, the cultural semiotics from

Russia and the former Soviet Union has exerted substantial influence upon the Chinese academia in the domains of literature, linguistics, philosophy, and semiotics. In today’s China, for the communities of humanity studies and social sciences, the theories of Bakhtin, Lotman, and Uspensky have been anything but unfamiliar. Bakhtin, in particular, has become a household name. However, most of the research efforts have been focused on the interpretation of Russian and Soviet cultural semiotics, or the application of such theories to analyze literary texts

and to solve practical issues encountered in academic research or education. It is safe to say that these efforts were mostly one-dimensional, namely what China has learned from Russian and Soviet cultural semiotics. Very little attention has been given to the discussion on the subjectivity of such reception and transformation as the result.

This means that the ideological, religious, and cultural origins of these theories were seldom considered during the reception. In fact, it is the vastly different origins from China and Russia that resulted in the lack of authenticity in the reception of Russian and Soviet cultural semiotics, although Chinese translators and theoreticians have been painstakingly searching for its true image. The reception process in China is also one of “Sinicization”. Our

“selection”, “interpretation”, and “application” can never be purely objective; there must be certain “Chinese characteristics” that employee foreign elements to serve Chinese purposes.

Since the People’s Republic and China was founded in 1949, from the superstructure of ideology to the economic foundation of social life, the Soviet models had exerted direct and obvious influence upon various aspects in the Chinese society. From the “imitation and copying” model in the 1950s, to the critique and anti-

Soviet model in the 1960s, until the critical acceptance since China adopted the reform and open-up policy, this kind of influence has been tangible and pervasive in China. The root-cause of such reception lies in the changing ideology. Although the reception of Russian and Soviet cultural semiotics has been influenced by the ideological environment to a great extent, the differences in religious believes and cultural conventions also served as important, or most important factors that led to transformation during reception. This essay highlights the comparison of ideological, religious and cultural differences between China and Russia, with an aim to discover the reception and transformation of Russian and Soviet cultural semiotics in China and to provide valuable reference for cross-cultural semiotic studies.

9 Writing, Body, and the Universe: a Semio-Anthropology of Intermediality

Sungdo Kim (Korea University, South Korea)

The main architecture of this study is founded upon a provisional integration of my previous research from over the last ten years, and conducted in various areas including archeology of intermediality, semiotics for the writing of hypermedia, the grammatology of the Korean script Hangeul, etc. As the range of this paper covers the semio-anthropology of writing and further aims to complete a map of human sciences of writing, rather than approaching a single specific theme, this study aims to establish an emergent, creative, and comprehensive research program. Therefore I would like to suggest fundamental issues of the study as follows:

1) what: ontological and functional issue

2) when: the past, present, and future of writing

3) where: spaces of writing such as social, political, material, and virtual space, etc.

4) who: subjectivity, agency, power, literacy, etc.

5) how: media, materiality, technology, format, corporeal engagement, etc.

6) why: purpose, social and political contexts, and destiny of writing

These six questions are closely related to each other, and are applied from the narrowest to the broadest meaning of writing. In the beginning of two main chapters of this paper, I would like to evoke and interrogate some key ontological and epistemological questions of writing, as well as establishing a topography of modern writing history or its genealogies. While certainly recognizing the fact that there still exists the conceptual discord or controversy on the nature of writing and on what constitutes ontological properties of graphism, the vast field of humanistic studies on writing could be summarized into three sub- genealogies: a) The first position can be characterized as the micro-perspective on writing, which, as a dominant paradigm of traditionally strong influence on linguistics and positivist grammatology. It is defined as a deep-rooted Aristotelian and Saussurean notion of writing, namely that a writing is defined as a visual sign to record sound. b) The second genealogy is a perspective mainly supported by literary theory, anthropology and pre-historic archeology of different schools and figures such as Anne Marie Christin,

Goody, Leroi-Gourhan and specialists in the Precolumbian graphic systems so that it includes not only phonogram but also a vast range of graphic behaviors without recording sound, that is, an inclusive vision in comparison to an exclusivist conception. c) Finally, the extensive conceptualization of writing based on J.

Derrida, whose idea of grammatology embraces the notions of trace and graphism, and opens up possibilities of converging into the extension of cybernetics so that “the entire field covered by the cybernetic program would be the field of writing” (Of Grammatology, 9). As the most widely extended conceptualization of writing, it takes an ontological and epistemological position of graphic pluralism beyond the restricted perspective of writing. Indeed, it indicates a magnified range of graphism, including the entire kinds of inscriptions and graphic practices beyond the limits of ‘real writing’ from the conventional writing theory. It also comprehends the understanding of semiotic and humanistic fundamentals which operate within the graphic system. As the most productive part of the semiotics of writing centers around exactly how the graphic system produces and synthesizes meaning, the semiotics of writing still remains in its infancy.

In the latter half of this paper, I would like to present the intimate relationship among writing, body and the universe within the three main categories. At first, I will explain the intermediality of writing largely selected from East Asian traditions, and in particular, semiotic homologies represented by designs of Korean writing as well as Hangeul’s migrating modalities as it translates into fashion, choreography, and other diverse media. Further, I will provide several calligraphic arts incarnating the geometry of spirit with particular emphasis on the relationship of homologation among writing, body, and the universe. Indeed, calligraphy as written sign achieves its purpose by inspiring energy, power, and spirit. In the second part, within the framework of the modalities of semio-anthropology of writing, I will present certain semiotic aspects of writing practices as well as the status and function of writing, such as digital text and cyber-text, and how they are radically changing in terms of new technology of inscription. Such changes introduce the new subject of virtual writing, which occurs in augmented reality as a newly emergent ecology of writing in the current digital age. In addition, the metaphor of the human body as text and writing, which appears in the digital-archived body projects such as the Human visible project and the Genome project, and how it carries significant implications. Lastly, I would like to examine recently emerging cases of writing in megapolis based on the notion of augmented urban space, and thus address these cases as a subject of urban markup or archeology of urban inscription from the point of view of writing space.

10 Forensics, Robotics, Mathematics, and the State of Semiotics in Canada.

Marcel Danesi and Stéphanie Walsh Matthews

The divergent nature of Semiotics in Canada today may be its greatest asset. Although the current thought (and in many places the current trend) is to create a homogenized and unified semiotic approach that is an identifier for the cultural context out of which it emerges, Canada’s approach to semiotic inquiry and study is to cast aside any form of cohesive order for the sake of identification to, instead, push the science further forwards in hopes of developing it as a tool and theory for the world today.

In Canada, after a rising crescendo of interest and course offerings, the doctrine of signs threatened to wither out of academic existence due to administrative misunderstandings, for the most part. It is safe to say, that if it would have been left up to the students’ commitment to study Semiotics, this near disappearance would not have been so. Contemporary semioticians are relieved by the new surge invigorating and billowing the semiotic sail. Semiotics revival, if we can call it that, is as much the responsibility of the University as it is the duty of professional task forces. Semiotics’ current applications will move from the rigors of scholarly annals to the police and forensic lab, to the autistic child’s classroom, between the finite and infinite possibilities of numbers.

Seen as a bridge between perhaps polarizing applications of the science, new Canadian semiotics will endeavor to address the fundamentals of the semiotic field of study by applying it in the real and the external.

In this particular plenary talk, Dr. Danesi and Dr. Walsh Matthews will explore the new path-ways and potential uses for semiotics. Danesi’s recent work in Forensics is an example of the lab-like utility of this science. Walsh Matthews’ recent work in autistic research and robotics, has made for an essential redefining of sign theory.

11 Humanist Ethics and the Future of Semiotics (Abstract)

Youzheng Li

Semiotics can be used to refer to two kinds of academic operations: the present-day actual activities in various semiotic fields and the more desirable theoretical devices to be designed anew in human sciences according to the interdisciplinary-directed epistemological and methodological directions. The expanded human sciences in our globalization era should be thoroughly reconstructed under the more relevant epistemological preconditions. Among all available terms of general theoretical systems the semiotic is almost the only suitable one that can represent such a cross-culturally theoretical-inquiring ideal. That is different from the currently prevailing term “general semiotics”, which is mainly based on some traditional philosophies and accordingly contrary to the essence of the semiotic as such which should be anti-philosophical-central in nature. On the other hand, a so-called “new general semiotics” should be pursued ideally outside the contemporary working semiotic- educational institutionalizations. For this purpose a new humanistic ethics of subjectivity is requested for enabling the theoretical-semiotician to keep a more independent, creative spirit and attitude in renovating his or her theoretical strategy in future. Different from the present-day concerns with the professional success, a ”semiotic- ethics” will lead to a more scientific orientation towards multi-realistic truth in doing theoretical semiotics. 人本主义伦理学和符号学的未来

李幼蒸

“符号学”代表着两类相关而不同的学术范畴：现有的各类理论性和应用性符号学研究，以及在人文科

学整体内按照跨学科理念加以重建和扩大运用的新认识论、方法论理论系统。本文主要关于后者，因为

本文的基本目的是思考符号学如何有助于人类全体人文科学理论的革新。”人类全体人文科学”范畴涉及西

方和非西方的古今中外一切学术话语，此一复杂构成的全球化学术世界，不再可能按照现行西学中心的

学术制度格局和规范方法加以充分、适当处理，对此我们在文化全球化的今日必须构想更合乎多元理性

原则的认识论前提和方法论技术。在一切现有人文学术的总体理论性名称中，只有扩大意义的”符号学”名

称最可适用于代表这样的理论思考方向。如果我们也延用现有”一般符号学”名称代表这样的总体性理论系

统，那么首先就不应将其等同于任何以某一”传统哲学”理论为基础的符号学理论体系。把符号学理论建立

在某种哲学理论基础上，其性质正好与符号学的”跨学科本质”相矛盾。另一方面，为了朝向这样的新型理

论探索，也就必须在现行学术制度性和规范性框架之外独立发扬更具创造性的学术方式，并从当前实用

主义的”学术社会共识标准”转向”客观科学真理”标准。为此，此一符号学理论的方向首先要求重建非哲学

性的人本主义伦理学，以使学者依据强化了的主体伦理意志力，能够遵照跨文化多元理性原则，在各专

业领域内独立地进行符号学研究实践，并因此参与促进新世纪人文科学理论全面革新的宏伟目标。

12 On the Corposphere

José Enrique Finol

Laboratorio de Investigaciones Semióticas y Antropológicas Universidad del Zulia – Maracaibo, Venezuela E-Mail: [email protected] Web: www.joseenriquefinol.com

Abstract

In my speech I would like to call your attention to a field of research that, generally speaking, semioticians have neglected. The semiotic study of the body, as a vast field that I will call Corposphere, presents for us numerous and appealing challenges; some of which I will try to deal with. The term Corposphere derives from Lotman’s Semiosphere, and my reflection, at least at the beginning, aims to situate the Corposphere in the realm of the Semiosphere. As it is known, according to Lotman the Semiosphere is “the semiotic space, outside of which semiosis cannot exist”. And he adds: “a semiotic continuum filled with semiotic structures of different types and with different levels of organization” (Lotman 1989: 42–43). So I will say that the Corposphere is one of the “inter-connected group of Semiospheres”, a one with a special place since, as we shall see, it is where semiotization of the world begins. The Corposphere might be characterized as the whole ensemble of significations –signs, languages, semiosis- that originates from/in/around the body as a multifaceted, dynamic semiotic complex.

Keywords: Corposphere, Semiosphere, Body, Semiosis, Lotman

13 Abstract for Plenary Speech

Dr.Seema Khanwalkar

Ahmedabad, India

Different schools of thought in ancient Indian scholarship have contributed to understanding ‘meaning’- from Yaaska, Panini, kaatyayana(300-400BC), Bharthari (AD 450), Naagesabhatta (AD 1650-1750), the Miimaamsakaas and the Alamkaarikas (the literary critics). Scholars have established the significance of ‘continuity’ in Indian cognition. Metaphorically, they said, it is like the flow of a river, where the ancient knowledge systems are passed down through the ages, from generations through rituals, Oral traditions and scriptures. And it is in this continuity and maintenance that they discovered the science of ‘Tantra’s’, the systems, the Grammars that formed the fundamental foundation on Indian culture and knowledge systems. The ‘continuity’ of these systems (art, music, language, dance, crafts, painting etc), were rendered due to the strength of their compositions and texts coded and classified in great detail and precision. This lecture will seek to unravel the layers of meaning in India- from Indian knowledge texts maintained for almost five thousand years, from myths that shaped notions of gender in the Puranic age, and finally to the public cultures in 21st century India, evocatively called spaces of ‘shared desire’ that have undoubtedly shaped its identity, and given it a character, however multifaceted and paradoxical it may seem. The ancient Indian texts were reconstructed in the last two hundred years, and influenced and shaped many 20th Century theoretical frameworks. But scholarship of any kind has to take into account historical transitions and hence a re-look at the historical shifts in social formations in relation to India’s patriarchal structures will reveal their proximity or distance from them. Contemporary scholars have bemoaned the lack of conceptual frameworks that did not capture these transitions in India with a view to sustain the power of ‘continuity’, and thus either celebrating or talking of dents in the continuity. The very same oral traditions and scriptures as devices were used as ‘localized’ readings but remained largely unconnected with the exalted versions of ‘meaning’ and patriarchy. A space for articulation for women for example, has always been a question that these local readings reveal and in the present context of a global world, it has become even more transparent and sharper. It is imperative in this context to locate ‘meanings’ squarely within India’s public spheres as we witness intense and intricate layers linked to the rise of ‘new’ media, a whole new world of printing technology, and as has been stated by scholars, contested notions of what India means as a nation state. Also significant to this quest for meaning, is the polarities drawn between the Urban and the Rural, two experiences that coincide and collide as large scale migration happens in most parts of the country and the urban dream carries with it chunks of rural mindsets. Several slippages of meanings, several residues, and lengthy ‘liminal’ spaces characterize the semiotic landscape of contemporary India. It is against the backdrop of these that this lecture attempts, rather bravely, to locate a semiotic lens and understand its role in gathering the millions of meaning bubbles that seem almost impossible to understand from the outside, but seem like an ‘everyday’ task on the inside.

14 The Critique of Glottocentricism, European Signatures

Susan Petrilli

Plenary lecture

Abstract

Semiotics requires grounding in a sign theory that is nothing less than a general sign theory. As a general theory with its correlate general notion of sign, a general sign theory must avoid the limitations typical of semiotics understood as semiology. In other words, a general sign theory must avoid the limits connected with semiotics of Saussurean derivation.

In particular, a theory of sign that aspires to be general must avoid glottocentrism which takes the verbal sign and the linguistic science that studies it as its models. Roland Barthes was right when he said that if things stand the way Ferdinand de Saussure claimed, then linguistics englobes semiotics, and not vice versa. But as semiotics has emerged today, that is, in terms of global semiotics, such a perspective as delineated by Barthes in his book of 1964, Eléments de sémiologie, would be absurd. It is semiotics that englobes linguistics, as Saussure maintained, but unlike Saussure’s approach semiotics must not be glottocentric, nor must it be limited to human signs, and furthermore it must not be limited to intentional and conventional signs.

In the same text in which he proposes to invert Saussure’s perspective, Barthes describes the latter’s semiology as simply translinguistic, that is, as the discipline that studies all those signs, that is, human signs, that cannot do without verbal support.

In her book of 1969, Le langage, cet inconnu, Julia Kristeva shifts her attention to linguistics and evidences its limits, which in the first place are the limits that concern the relation between the speaking subject and language (langue).

In particular, Kristeva establishes a relation between the limits of linguistics and the European culture it comes from. On her part, instead, she makes generous references to extra-European cultures and languages and, therefore, to forms of non-alphabetical script.

Today, a linguistics of the utterance is emerging as against a linguistics of the langue. And as it has been traditionally practiced, linguistics of the langue is not even a linguistics of the word.

From this point of view, Ferruccio Rossi-Landi’s book of 1968, Il linguaggio come lavoro e come mercato (Language as Work and Trade) has introduced the very interesting concept of “linguistic work”. Linguistic work is at once individual like the parole e social like the langue.

However, in spite of such developments on the scene of sign and language studies the same epistemological paradigms continue to persist, that is, those same paradigms that had been adopted from the philosophical tradition by linguistics at its birth.

This means to say that such notions as the speaking subject still prevail, the problem being that according to this tradition of thought the speaking subject is still considered in abstract terms. And as Noam Chomsky has rightly stated,

this abstract speaking subject is an ideal speaker.

Another great contribution to the critique of glottocentrism has come from Jacques Derrida, in particular with his concept of “writing”, “trace”, and “différance”.

15 SEMIOTIC THEORY AND EXPERIENCES OF LIFE Professor Anne Henault Paris Sorbonne University Semiotic research is in the process of setting up a truly new theory. As such, it requires - that we change our perspective on meaning . We shall first and foremost describe this unavoidable change of point of view. - That we accept that this discipline is still at its very beginning and that as a work in progress, it offers different degrees of maturity in its various components. Some are truly consolidated and liable to a didactic presentation, others are far more difficult to teach as they are still very much experimental and therefore hypothetical.

As our principal aim to-day will be to observe what the developments of semiodics do modify in our experiences of life, we will distinguish, according to their degrees of scientificness, three distinct and concomitant states of contemporary semiotics. This will lead us to successively examine applied semiotics, narratology and semiotics of the sensitive.

What constitutes to-day applied semiotics is both the consequence and the result of the first semiotics that scientific epistemology designates as discontinuous semiotics or standard semiotics. We will present some of its results in different domains of practical life: medecine, ways of life (town planning, architecture, luxury, archeology), image (visual semiotics, semiotics of plastic arts, branding).

As for Narratology (abundantly utilised by applied semiotics as it is one of the major components of the standard theory), it stands out today as an intermediate field already consolidated and liable to be presented didactically when treated in a discontinuous mode, still problematical and hypothetical when treated in a continuous mode, according to the first results of the semiotics of the sensitive. Therefore we will show how narratology, as practised today according to these two orientations, concerns our behaviour, our life styles, and more generally what gives meaning to lives.

Lastly, with the new orientations1 which devote the main thrust of research to semiotics of the sensitive, we will review and sum up the advancement in the elaboration of the operational concepts which fit the semiotic description of the living in the three following dimensions: body, mind, values. These new concepts deeply modify our way of inhabiting our own body, our own mind, and how we enter into communication with the rest of the living world. Semiotics of the living therefore concerns the way we adjust our daily experiences of life, even if

1 These new orientations go back to 1977: cf Mise au point faite par A. J.Greimas sur « Sémiotique de la manipulation et sémiotique des passions » à l’occasion de la venue d’Umberto Eco au Séminaire EHESS in Bulletin GRSL n°1, December 1977, Anne Hénault ed., Paris.

it is developing in an absolute coherence with the central project of general semiotics which remains the uncovering of the great abstract relations that ensure the structuring of meaning.

Thus, is formulated, in an exemplary manner, the crucial question of the relationship of the formal theory to the vibrant complexity of the cosmos.

usserl vs. Heidegger: an epistemological confrontation Abstracts 论文摘要 Part A: Epistemology (认识论)

1. Husserl vs. Heidegger: an epistemological confrontation

胡塞尔 vs 海德格尔：认识论的对峙（1）

Dermot Moran, University College Dublin Husserl and Heidegger on the Nature of World Abstract: Both Husserl and Heidegger are interested in employing phenomenology to chart the manner in which human beings experience the world as already meaningful. Husserl usually begins with an analysis of our embodied perceptual engagement with the world, whereas Heidegger emphasizes both our pragmatic behavior or ‘comportment’ (Verhalten), as determined by our interests and purposes, as well as the mediation of language in highlighting what is significant. As Heidegger puts it in his History of the Concept of Time lectures (1925): ‘we do not say what we see, but rather the reverse, we see what one says about the matter’ (GA 20 75). Heidegger is here reformulating the position Husserl had already described in the Logical Investigations, according to which the interpretative act of meaning fuses with the act of linguistic expression. Heidegger claims that we encounter things not initially merely theoretically, disinterestedly, neutrally, as it were, but rather as implements wrapped in our various tasks and practical engagements. Husserl has been criticized for interpreting our perceptual engagement as theoretical, as a kind of inspection. But there is much more to the Husserl/Heidegger encounter than the theoretical versus the practical. Both Husserl and Heidegger have very interesting accounts of the manner in which all experience involves ‘horizons’ –presumed domains of latent or potential meaning—horizons that fold over into one another to create the overall sense of belong to a world. In this paper I will sketch Husserl’s and Heidegger’s conceptions of being-in-the-world (In-der- Welt-sein) and show not just the differences between them, but why a consideration of the meaning of ‘horizon’ and ‘world’ is important for semiotics.

2. Existential Semiotics: Signs as Experience --- From body and identity to social practices and values （2）

存在符号学：记号作为经验 --- 从身体和身份到社会实践和价值 Eo Kyung Lim Pusan National University [email protected] Are Existence and Possession (In)alienable? A Baby-Mother Experience as the Proto-Gestalt of Possession Abstract:This paper aims to investigate the nature and origin of possession from a translatological perspective. By revisiting the notion of possession in such a way that the intrinsic nature of translation constitutes the major problematics for the inquiry on the relation of possession, it attempts to establish a transdisciplinarily

effective theoretical account that can help achieve in-depth knowledge and multidimensional insight as to how and why the fundamental concept of possession is conceived and practiced almost universally in spite of the diverse linguistic realizations. For the investigation, this study focuses on the biologically explicable cognitive aspect(s), namely, cognitive embodiment in relation to the origin of possession — explaining why it is conceived in certain fundamental ways regardless of the vivid cultural and geopolitical boundaries translated into languages—and implements a transdisciplinary investigation into the relationship between the linguistic and cultural realizations of possession. In its transdisciplinary investigation having (a) the human cognition and (b) the sign (e.g., an icon, a symbol, and an index) in a translative sense as two fundamental and significant factors, this paper proposes an abductively discovered hypothesis that what makes human beings perceive and conceive of as possession should be, in effect, the proto-gestalt (i.e., the preliminary state of an experiential gestalt) of their prentally and postnatally made primordial encounters of the mother signs (e.g., the womb, her breasts, eyes, and face), which is almost universally experienced and established in the concomitant presence of the mother (thus, intrinsic relations unconsciously yet anthropo-universally embodied) and, consequently, characterized by the anthropo-semiotically universal yet individually unique baby-mother (and mother-baby) experiences. Consequently, it is going to argue that, firstly, possession can and should be understood as a unique anthroposemiotically conditioned experiential gestalt that always involves semiotranslations (i.e., sign as transsigns following Peirce, Sebeok, and Petrilli) (cf. Gorlée’s semio-translation) and, secondly and more importantly, that translation per se inevitably and practically (rather than theoretically) concerns global semioethics in zoë-life (Petrilli 2003, 2010, 2012).

Zhao Jingrong, Jinan University, [email protected] Cultural Memory and Symbolic Narrative Abstract: Cultural memory is a new perspective for the academic to explore the production and development of western literary theory. In the literary field, memory research also promotes and deepens the research of semiotics and symbolic narrative. Firstly, the subject of memory can be divided into two types which one is individual and the other is the object. Both are typical symbols of memory and inspire us to investigate the body, museum, monument, memorial and so on. Secondly, the process of remembering is one of symbolic constructing and narrating. The nature of language affects and produces the character of imagination of memory. Thus, it stimulates “dislocation” of memory and identification. Thirdly, memory is a symbol of historic narrative. That means, memory fulfills the function of history but also itself becomes a kind of history.

Zeynep Onur, Çankaya University, [email protected]; Ayşe Ece Onur, Girne American University Faculty of Architecture Design and Fine Arts Cyprus ayseece_ @hotmail.com SEARCH OF EXISTENTIAL SELF (CASE STUDY ON ALVAR AALTO) Abstract: This research considers the process of creative act as an existential phenomenon. It considers the resultant serious architectural efforts, as significant efforts to face one’s own personality and passing beyond intellect to form a unified and ethic continuum.

of its diverse activities. Exposed will be here the notion of the observable and inferable self, substantiating the distinction between the concrete person as a sender and receiver of signs and a mental subject engaged in the processes of sign-production and sign-comprehension. In this way, the communicating individual will be defined as an object of semiotic study with respect to the manifestation forms of its inner life, in conformity with the fact that it is at the same time a biological organism, developing under the conditionings of its existence in the real life-world. First of all, the emphasis will be put on the importance of language as a social system of signs into which all other semiotic systems of man can be translated. Accordingly, the argument will be put forward in favor of the validity of the concept of the social self (as opposed to the individual self) for revealing the collectivist nature of human interactions, where individual practices are investigated on a par with social patterns of human communicative behavior.

Tang Qingye, Foreign Languages College, Shanghai University [email protected] Body and Identity —— The Body Approach to the Identity Representation of the Vulnerable Abstract: This paper discusses how discourse involves the construction of identity and social reality from the perspective of body. Body constitutes the discourse center of space and power, and is the basis of necessities and desires, and all the practice and reproduction. Body, as a way of saying, is materialized and semiotized, and becomes a mediation by replacing the linguistic signs. It is regarded as a way of identity representation, making the various concepts, ideas and emotions concrete through the interpretable semiotic form, therefore enacting a social practice. The vulnerable resort to their own bodies to get their voice heard and make known the existence of SELF. Like discourse, body can also be consumed in order to acquire a certain social status, express the requirements and guard the legitimacy of their own rights.

3. Biosemiotics as global semiotics （4）

作为全球符号学的生物符号学 Song Yan-xia School of Foreign Languages of Anhui University of Technology [email protected] Influence on the anxiety/uncertainty management (AUM) theory by intercultural textual informativity Abstract: Abstract: Textual informativity is believed to be a central point in the theory of text processing. The term “informativity degree” means to what extent the information contained in a text comes out beyond or within the receiver’s expectations. Too low a degree of informativity makes a text tiresome; while too high a degree of informativity makes a text hard to understand. The anxiety/uncertainty management (AUM) theory developed by Gudykunst is a theory in intercultural communication. The author of this paper analyzes how do the degrees of intercultural textual informativity influence the anxiety/uncertainty management (AUM) theory) in detail.

KALEVI KULL , University of Tartu Peirce’s model after semiotic threshold: Where we are now in discovering the basic mechanisms of meaning-making Abstract: (1) Peirce’s model of semiosis and the assumption of the existence of a lower semiotic threshold can be seen as mutually non-exclusive. This is supported by Peirce’s claim, “For it may fairly be urged that since the phenomena of habit may thus result from a purely mechanical arrangement, it is unnecessary to suppose that habit-taking is a primordial principle of the universe” (CP 6.262). (2) Remarkable analysis of primary semiotic phenomena that corresponds to the (re)interpretation of Peirce as in p. (1), has been done, e.g., by Umberto Eco in his Kant and the Platypus (introducing the concepts of primary iconicity and primary indexicality, demonstrating, that the icon is primarily the sign that is itself responsible for creating a similarity relation, i.e., the primary icon does not reflect similarity, but instead makes things similar, introduces cognitive similarity as such) and by Terrence Deacon in Symbolic Species and Incomplete Nature (demonstrating the correspondence between the types of semiosis and the levels of biological mechanisms). This interpretation can be put into a correspondence with Lotman’s and Uexküll’s models of semiosis. (3) The semiotic approach has radical implications for our understanding of biological evolution, replacing the role of natural selection (non-communicative) by the one of organic selection (communicative). (4) The major limitation in today’s biosemiotics (and also in semiotics in general) is the insufficient development of models of semiosis. Most of the existing models are so simple and primitive that they do not allow us to distinguish operationally between sign types, they do not include enough of the necessary distinctions in order to analyse the concrete semiosic phenomena of life. In order to develop biosemiotics as a theoretical and an empirical field of study, further work in elaborating semiotic models is crucial. This means that the models used in anthroposemiotics have to be updated, so that the necessary coexistence of animal and vegetative levels of semiosis will be explicated. Only then can it be properly demonstrated to what extent it is true that the major watershed does not lay between culture and nature, but between living (together with all that life produces) and non-life. This is also important in order to replace the false biologization of the humanities (“darwinitis”) by the appropriate description of the semiotic, tying together again the fragile diversity of the fascinating living world.

Søren Brier Biosemiotics as an interdisciplinary connector for a transdisciplinary endeavour Abstract: It is my thesis that the paradigmatic framework which one chooses for biosemiotics has consequences for the role one gives to biosemiotics in the play of knowledge systems. One meta-view is a multi-paradigmatic

interdisciplinary perspective. The framework for pursuing this can be either a postmodern outlook (not Deely’s version of postmodernism) with multiple knowledge stories or a constructivist philosophy where these stories can be seen as creating multiple realities not competing for the truth of a single reality, but rather existential and political ways to see and act in the world, each struggling for power to express and unfold their views. Or it can be a perspectivist and still realistic philosophy, where you can see the multi-paradigms as complementary views of a hypercomplex reality which can never be exhausted by any of those reductions necessary to build models of reality. I will argue that both versions of the multiparadigmatic meta-views mean that you do not have to commit to connect biosemiotics to the non-life natural sciences at one end of the spectrum and to the humanities and social sciences in the other. The other meta-view, which I will discuss, is Transdisciplinarity, which can even encompass knowledge systems outside Wissenschaft such as the existential-religious and the political-ideological. The transdisciplinary semiotic meta-view or framework is based on the sign process as the major reductive unit, which is also the producer of what Deely calls “pure objective reality”. My view from a Kuhnian influenced but still realistic philosophy of science is that a consistent Peircean biosemiotics can only be developed on the transdisciplinary basis that is so foundational to Peirce’s semiotic philosophy and which carries the original idea of a biosemiotics.

Luis Emilio Bruni, Aalborg University [email protected] The “missing link” between bio- and cognitive semiotics: Anthony Wilden’s context theory Abstract: Among all the forerunners or precursors of contemporary biosemiotics, Anthony Wilden has been one of the most unknown, ignored or neglected. And yet, his seminal writings have three characteristics that are very important to biosemiotics and particularly to the natural link between biosemiotics and cognitive semiotics. First, he is deeply acquainted with Gregory Bateson’s epistemology and has actively contributed to develop it further in a global and hierarchical communication theory. Second, as Bateson, Wilden is particularly interested in the embedded relation and continuity between life and mind. Lastly, Wilden could very well be said to represent the “missing link” between Bateson’s cybernetic epistemology of mind and life, and semiotics. Whereas Bateson has been, very deservedly, considered one of the main forefathers of biosemiotics, he actually never came explicitly into contact with semiotics. On the contrary, Wilden innovatively linked complex systems theory and cybernetics to semiotic concepts applied to the whole realm of life and mind, very much in line with current bio- and cognitive semiotics. In the present work I would like to remediate for this curious oversight in biosemiotics since I consider many of Wilden’s ideas very fruitful for the bridge that biosemioticians and cognitive semioticians want to build.

Miguel Gama Caldas Technical University of Lisbon [email protected] Modelling Cognition in Biosemiotic Terms Abstract: The existence of a well-defined epistemological framework sustaining a theoretical stance, the identification of the set of phenomena this framework addresses to, or in other words, the definition of its scope, plus the existence of a model one reports to when analysing and interpreting those phenomena, are the essence of any scientific inquiry. Biosemiotics on identifying the bynomium cognitive agent/environment as generator of a dialectics responsible for the coherence, cohesion and sustainability of all living systems defines a common epistemological framework that allows explaining essential interpretative phenomena either those relative to the most elemental life forms, or those that define and construct reality in all its complexity. The present work will focus on the main theoretical contributions that provide the broad conceptual framework biosemiotics stems from equating the necessity to translate that conceptual framework in abstract terms in order to provide a common model of analysis for the distinct phenomena under its scope. Aiming at the modelling of the cognitive activity of living systems and consequently the modelling of the

semiotic process, we will present a mathematical translation of Uexkull’s conceptual framework. Keywords: cognition, semiosis, Uexkull’s conceptual framework, mathematical modelling

4. Tartu semiotics: Synthesis of cultural semiotics and biosemeiotics,

Lotman and Uexkull （51）

塔图符号学：文化符号学与生物符号学的融合，洛特曼与魏克斯库尔

John Deely University of St Thomas, USA Weaving the “semiotic web” Abstract：By the 20th century’s end, semiotics had definitively emerged as the most historically and theoretically proper name for the study of how signs work in human experience, both in its cultural dimensions and in its inevitable dependency upon the physical environment and universe which extends far beyond cultural influence and which the very existence of culture presupposes. Probably the single most key figure, as it were, “presiding over” this emergence was the Hungarian-American Thomas A. Sebeok. But key to Sebeok’s weaving of the “semiotic web” of a global awareness of sign-action within the intellectual culture of the 21st century was his appreciation and integration within his vision and work of two key background figures, both associated with Tartu University, namely, Jakob von Uexküll and Juri Lotman. I would like to comment on how the heritage of these two figures have proved to be the foundation-stones, in some ways more important even than the so far more widely recognized figures of Ferdinand de Saussure and Charles Peirce for the future of semiotics within university life and intellectual life generally.

Paul Cobley LONDON METROPOLITAN UNIVERSITY Modelling Systems Theory – new solution or dead end? Abstract：Modelling Systems Theory (and its analytic arm, ‘Systems analysis’) was introduced by Sebeok and Danesi in 2000. As a fusion of traditions of thought set in train in Estonia, by Juri Lotman and Jakob von Uexküll, it figures cultural formations as evolutionary developments of ontogenetically and phylogenetically ‘earlier’ uses of signs (forms of meaning). It does this by identifying, in the manner of Uexküll, the ‘modelling systems’ of species. In addition, it follows Sebeok’s (1988) recasting of Lotman’s modeling systems, identifying Primary Modelling, Secondary Modelling and Tertiary Modelling systems germane to anthroposemiosis but within a frame which does not separate humans from other animals and other life forms. As Danesi (2003, 2007) has sought to make clear, Modelling Systems Theory represented the development of a new vocabulary for the study of culture in biosemiotic terms, insulated from humanist temptations to present culture as a phenomenon with no precedent in the cosmos. Yet, despite its grounding in the strengths of Tartu semiotics, MST has not met with enthusiasm over the last decade, even among semioticians. This paper will attempt to address some of the reasons for this, suggesting along the way some institutional and disciplinary impediments to the future agenda of semiotics in general.

Mihhail Lotman Department of Semiotics, University of Tartu Food, Sex and Truth: Notes on the Semiotics of Culture Abstract：1. A globalizing world abandones many of important parameters and prohibitions of the traditional society. More substantial of these are related to food and marriage. Culture systematizes dangers, primarily the external ones: gods, spirits, primordial forces, dangerous creatures etc. But especially those which are connected with the interiorization of danger: food and sex.

These areas are under specific attention and control in all cultures and not only in arcaic ones. 2. Both food and sex are not just biological, but cultural transactions, on which the identity of culture is based. In the case of both truth is a very important parameter. Such expressions as true food, wrong sexual behavior etc are frequently used in contemporary cultures, but in archaic cultures truth and lie are not assessments to food and sex, but food and sex are sources of identity and consequently the sources of truth. 3. Modern society is ruining the traditional understandings, but establishes new bans, which are sometimes even stricter and weirder than the old ones. Modern Western society is in this respect much closer to the archaic one than in the period which could be conventionally limited with the Reformation on the one hand, and the Victorian era on the other hand. Sex is talked about, it is taught in schools. Especially interesting is the teaching of sexual behavior, for instance, in modern schools of Africa, where special emphasize is on sexual misbehavior among pupils. The domestication of the savage thinking (to use Jack Goody’s expression) is everything else than an innocent process.

KALEVI KULL University of Tartu, Estonia Lotman’s model of semiosis Abstract：Juri Lotman (1922–1993) established the Tartu (and Tartu-Moscow) school of semiotics in the 1960s. In addition to his pioneering work in semiotics of culture, he developed the theory of general semiotics. We attempt to extract some principles from Juri Lotman’s formulations that characterize the core aspects of semiosis. These include: (1) the principle of code plurality (that one code is insufficient for semiosis, at least two codes are necessary for it; that semiotic dualism is the minimal form of organisation of a working semiotic system); (2) the principle of incompatibility, or nontranslatability (that meaning-making requires an incompatibility of codes; the incompatibility is the source of indeterminacy, non- predictability, and semiotic freedom); (3) the principle of autocommunication, or translation (that autocommunication is the most general form of communication, it must be present for sign interpretation; autocommunication underlies the ability to qualitatively restructure and translate; the primacy of autocommunication is also assumed by Jakob von Uexküll); (4) the principle of semiotic inheritance (that every sign comes from another sign; this is a version of Redi’s rule); (5) the principle of semiosphere (or the principle of the relationality of semiotic systems – that semiotic space may be regarded as a unifi ed mechanism; semiosis cannot exist outside of the semiosphere); (6) the principle of non-gradual evolution (in the development of a semiosic system, explosive or disrupted and continuous or orthogenetic processes alternate and co-occur); (7) the principle of modelling (semiotic systems are themselves modelling systems). Thus, Lotman’s model of semiosis can serve as a main one for the contemporary semiotics, since it includes the most fundamental general aspects of sign processes, both for biosemiotics and cultural semiotics.

Su Min The College of Literature, Chongqing Normal University Structure Formation of the Literary Symbol Abstract： Literary symbol, a complex structure existing in the literary activities of specific historical time and space, is formed by two fundamental structural levels, literary technique and literary style. The basic mode of the literary symbol is（（ERC）RC’）RC’’）RC’’’）RC’’’’, where E is signifier of the symbol, which means the voice of the natural languages; C is the signified of the symbol, which means the meaning of the Natural Languages; R represents the relationship between E and C. ERC is he natural language symbol formed by the interaction between the voice and meaning of the natural language. When ERC itself as a symbol signifier is capable of keeping the transformation’s rules of its structural boundary and transformation law to take part in the bigger structural formation, C’ stands for the undivided literary imaginary figure, the interaction of ERC and C’ forms the minimal literary technique,（ERC）RC’, this is the

first structural transformation processes and results of literary symbol-structure, reflecting the natural language symbol transforms toward the literary expressing symbol. When (ERC) RC’ itself as a symbol signifier, C’’ stands for text literary technique, the interaction of (ERC)RC’ and C’’ forms the textual technique unity ((ERC） RC’)RC’’, this is the second structural transformation processes and results of literary symbol, reflecting the literary expressing symbol transforms from minimal symbol to individual symbol. When (ERC) RC’ itself as a symbol signifier, C’’’ stands for text art picture, the interaction of (ERC)RC’’ and C’’’ forms the pure literary text style, this is the third structural transformation processes and results of literary symbol and the transformation from literary technique to literary style. When （（（ERC）RC’）RC’’）R’’’ itself as a symbol signifier, C’’’’ stands for text aesthetic ideal, the interaction of （（（ERC）RC’）RC’’）R’’’ and C’’’’ forms literary text aesthetic style, this is the fourth structural transformation processes and results of literary symbol, reflecting the literary style transforms from pure object to intentional object. Among the various structure formation factors of literary symbol, ERC and C’’’’ are starting point and end point of continuous structure activities, respectively, they not only belong to structure factors of literary symbol, but also belong to structure factors of non-literary symbol. Literary symbol associates with natural language and spiritual culture through the structure factors existing in literary and non-literary field, it makes literary symbol keeping its structure boundary and structure transformation discipline to maintain the independent, self-contained, self-disciplined movement as well as the relationship with non-literature and becomes an opening structure of the unity of autonomy and heteronomy.

5. Communicology and Semiotics: The Phenomenological Heritge in

Cultural Discursive Patterns and Practices （5）

通讯学和符号学：文化话语模式和实践的现象学传统

Carlos Vidales, University of Guadalajara [email protected] Building Communicology: A Semiotic Multi-Level Analysis of Communication Theory Abstract:The paper presents the preliminary results of an ongoing research project about the emergence of theoretical relativism in communication research based on the proposal of the multi-level approach to the study of semiosis in semiotic systems developed by Charbel Niño El-Hani, João Queiroz and Claus Emmeche, a proposal grounded on C. S. Peirce’s semiotics. In this sense, the papers presents three preliminary results: a) a semiotic methodology for conceptual analysis, b) a metamodel for the organization of communication theory and, c) an epistemological position about communication based on semiotics. In doing this, the paper proposes as a main hypothesis that Communicology it is not related with a general theory of communication, but with a conversational field about communication theory, with the emergence of communication theory as a field. This hypothesis is a response to the problem of theoretical relativism, since this problem turns to be irrelevant from this new point of view.

Richard L. Lanigan International Communicology Institute [email protected] Communicology and Culturology: Applied Semiotic Phenomenological Research in Small Group Intercultural Communication Abstract: Communicology is the science of human communication where consciousness is constituted at four interconnected levels of interaction experience: intrapersonal (embodied),

interpersonal (dyadic), group (social), and inter-group (cultural). The focus of the paper is the group level of communication across generations, thus constituting inter-group communication that stabilizes norms (forms culture). I propose to explicate the way in which phenomenological method informs the pioneering work of Tom McFeat, a Harvard trained cultural anthropologist, on small group cultures as an experimental phenomenology. Rather than the cognitive-analytic (transcendental) techniques suggest by Don Ihde as a pseudo “experimental phenomenology”, McFeat provides an applied method for Culturology, i.e., the empirical experimental constitution of culture in conscious experience. Group cultures are constructed in the communicological practices of group formation and transformation by means of a self-generating group narrative (myth) design. McFeat’s three steps of culture formation by communication are: (1) Content-Ordering, (2) Task-Ordering, and (3) Group- Ordering. These three steps will be compared to the phenomenological concrete research procedures suggested by Amedeo Giorgi: (1) Find a sense of the whole, (2) Determine meaning units, (3) Transform of natural attitude expressions into phenomenologically, psychologically sensitive expressions. A second correlation will be made to Richard Lanigan’s semiotic phenomenology method: (1) Description of signs, (2) Reduction of signifiers, and (3) Interpretation of signifieds.

Lisa M. Anderson, Arizona State University [email protected] Jacqueline M. Martinez, Arizona State University [email protected] Cultural and Familial Heritage in Racially Divisive Contexts: A Communicology of Intergenerational Masking and Memory Abstract: Family heritage is a fact of human life. What and how we understand the specificity of our own family heritage is a phenomenological fact of time, place and practice. Such an understanding varies significantly depending on the cultural and discursive contexts through which one comes to reflect on and construct a meaningful awareness of one’s family heritage. The present work examines the semiotic and phenomenological conditions of understanding and awareness of familial heritage related to racial and cultural marking that typify the post-civil rights ear in U.S. American history. Each of the authors’ fathers grew up in economically impoverished communities. Anderson’s father (1928-2010) in the rural and racially segregated town of St. Stevens, South Carolina, and Martinez’ father (1928-2005) in the racially segregated “barrio” of Houston, Texas. Within the specificities of this social and political context both men determined early in their lives to dedicated themselves to assimilation so as to pass on to their children a sense of security and possibility that they and few of their contemporaries had. This focus on assimilation that was characteristic of this generation, created for their children an experience of masking related to family heritage. In both cases family discourse lacked of acknowledgement of family history. The lack of connection with history and culture was motivated by a desire to make their children’s lives easier. This masking experience was expressed in linguistic practices within the family, attitudes toward education, relationships to particular social and religious communities, and practices related to “moral teaching” carried out in direct and explicit ways by the authors’ fathers. Among the most significant outcomes of these communicative practices, however, is that it has made the authors much more acutely aware of their histories and heritage even while the message congealed around an effort to ignore cultural heritage. In the end, the authors’ different relationships with those histories and cultures have led to a very different understanding than that of their fathers’.The comparative aspect of this work allows the authors to consider both the differences and similarities between the African-American and Mexican-American experience across the bulk of the 20th century in the United States. This comparative phenomenological and semiotic account explicates the communicative conditions through which cultural and familial heritage is lived and passed on from parents to children in the concreteness of an embodied understanding that is beyond articulation when in the immediacy of experience. The passage of time (and passing on of fathers), however, allows for an investigation whereby the phenomenological dimensions of heritage and the semiotic dimensions of discursive

practice can offer genuine insight relevant to our contemporary context. The authors argue that a particular understanding of the “politics of racial identity” during the 20th century in the United States provides essential insight toward understanding the many kinds of intra-cultural ethnic and racial conflicts that are present across many societies today.

Elżbieta Wąsik, Adam Mickiewicz University in Poznań [email protected] [email protected] Existential Aspects of the Individual, Social, and Transcendental Self in the Neo-Semiotic Study of Language Abstract:The focus of the following presentation is on the human individual as a signifying and communicating subject whose semiotic properties can be either detected or assumed on the basis of the products of its diverse activities. Exposed will be here the notion of the observable and inferable self, substantiating the distinction between the concrete person as a sender and receiver of signs and a mental subject engaged in the processes of sign-production and sign-comprehension. In this way, the communicating individual will be defined as an object of semiotic study with respect to the manifestation forms of its inner life, in conformity with the fact that it is at the same time a biological organism, developing under the conditionings of its existence in the real life-world. First of all, the emphasis will be put on the importance of language as a social system of signs into which all other semiotic systems of man can be translated. Accordingly, the argument will be put forward in favor of the validity of the concept of the social self (as opposed to the individual self) for revealing the collectivist nature of human interactions, where individual practices are investigated on a par with social patterns of human communicative behavior. On account of empirical and assumable properties of the communicating self, it will be highlighted that the unique human being operates in two distinct spheres of sensible facts and/or intelligible facts. The “sensual” knowledge of the personal self is based on cognitive experience whereas the “consensual” knowledge of the subjective self is shaped not only by the experiential but also by the inferential sources that come from inter-individual and intra- individual forms of communication. However, the subjective knowledge and ways of interpretation as constituents and aspects of mental reality cannot be described in terms of things and states of affair that belong to concrete reality. In consequence, a detachment has to be introduced between the three levels of reality, on which human minds operate, namely, “intra-level”, “inter-level” and “trans-level” of the self. The intra-level of knowledge is connected with sensual experiences of the individual self; the inter-level depends upon the contents of collective interactions, and the trans-level is achievable only when the subjective self exceeds the boundaries of sensorial experience through intrapersonal communication reached in pure reasoning and imagining. It is thus understandable that individuals taught at different institutions and taking part in different domains of human life- world are provided with various partial types of knowledge, being communicated in numerous discursive formations of social movements, organizations, professions, etc., which are studied by separate disciplines. Placed within the framework of neo-semiotics, being officially promoted by the leading authorities of IASS/AIS as a “third generation semiotics”, this new paradigm for the 21st century, which arose against the background of the philosophy of existential phenomenology and post-structuralist epistemology of science starting from the 1930s and 1950s onwards, may be considered as a “humanistic turn” which stands in opposition to the so-called “linguistic turn” of earlier conceptual and methodological research programs.

David Kergel Aalborg University, DENMARK [email protected] Free the Sign Means to Free the Subject: Towards an Epistemology of “Subversive Laughter” Abstract: Already Friedrich Schlegel, part of the Early Romantic Movement, stressed the emancipatory meaning of irony within epistemological processes. According to this position, irony enables a critical view on the

epistemes of societal practices. A consequence of Schlegel´s position is a so-called “play” with the semiotical codes of the symbolic order. According to Nietzsche such an epistemological practice effects a (subversive) `laughter´. This subversive laughter produces an ironic deformation of codes and possesses the potential to partly destabilize (seemingly) fixed symbolic orders in which the individual is embedded and shaped via subjection processes. The paper investigates to what extend one could raise the thesis that an “applied irony” enables a relief of the normative pressure on the individual (this approach subsequent asks for alternative, non-normative communication processes): Does an ironical orientated, deconstructive approach towards semiosis processes provides an extension of the freedom of the individual?

Li Mingjie East China Normal University [email protected] Institutionalization of Emotions and Intentions: An Empirical Study on the Perceptions of Chinese Buzzwords Abstract: By selective cases interview, the perception of Chinese buzzword is studied empirically. It is combined by emotion and intention which comes from social interaction. The perception goes deep into rationality and becomes the popular habit and hobby. This is a nearest live example to explain the origin of public signal’s meaning.

Dongling Zhang [email protected] Jacqueline Martinez [email protected] School of Letters and Sciences Arizona State University Knife Sharpening: The Critical Edge Sharpened Through a Self-Reflection Under the Guide of Semiotic Phenomenology Abstract: Semiotic phenomenology can be exercised as a method of self-reflection, uncovering the structuring influences of a sociologist’s latent assumptions upon his or her research. In the present work, we argue that semiotic phenomenology is actually a practical use of Bourdieu’s sociological concept of reflexivity in order to revitalize the often overlooked association of Bourdieu’s reflexive sociology with communicology. As a human subject bodily experiences multiple power relations within the socio-cultural, historical context, the body is an effective navigator to capture the rich ambiguity of the embodied experience of communicative practices. To repeatedly exercise this type of self-reflection upon a researcher’s hidden presumptions is ultimately a useful way of facilitating theoretical development through a constant theory reconstruction. In this study, we utilized semiotic phenomenology to guide a critical self-reflection on one author’s critical edge as he conducted a research on Chinese urban female entrepreneurs. The critical edge was investigated through a careful examination of the complicated relation of theoretical ideas to lived experience. A gap between theoretical ideas and lived experience opened up a possibility of refreshing the self-consciousness of bodily identities. These identities mainly involve the working-class identity, the gender/sexual identity, and the national identity. The inconsistencies among these changed self-consciousnesses provided an opportunity to locate and reflect on the ideological impacts of the hidden assumptions which are at work greatly structuring the research itself.

Zdzisław Wąsik, Philological School of Higher Communication in Wrocław; Adam Mickiewicz, University in Poznań [email protected] On the Idea of Human Semiotics: Bridging the Subjective Universe of the Self with the Intersubjective Life-World of Community Abstract: The subject matter of this lecture will constitute the semiotic properties of human beings who are engaged in communicative interactions as meaning creators and meaning utilizers. Confronting the biological view of Umwelt with the anthropological specifications of Lebenswelt and Eigenwelt des Menschen, the concept of the semiotic self, initially referred to an organism which emits to and subsumes the signals from its environment as significant, will be counterpoised to the concept of the communicating self as an observable

person who sends and receives the meaning bearers and as an inferred subject who interprets and understands them appropriately. In consequence, solipsism usually opposed to collectivism will be discussed under the label of cognitive semiotics in terms of collective solipsism. Against the background of the European heritage of transcendental, existential and mundane (life-world) phenomenology, the theories of personal constructs and social construction of reality, with special reference to radical constructivism, will be taken into consideration in order to show that the man is a social being whose contacts with external environments are mediated by verbal and nonverbal means of signification and communication and that it is the language which “objectivates” the shared experiences of communicating individuals making them available to all members who belong to a given speech community, becoming in such a way both the source and the tool of collective understanding and knowledge. To sum up, the language and culture-centered conceptions of sign and meaning will be juxtaposed here with the human-nature- and culture-centered conceptions of subjective significance, on the one hand, and the intersubjective understanding, on the other, which happen to take place in the collective ecosemiotic systems of communicating selves. In the investigative field of human semiotics, the subject of a scientist’s interest encompasses the sign- and meaning-related properties of signifying and communicating selves that are relevant for the fulfillment of their purposes or the satisfaction of their needs considered on the one level as the real selves and on the other as participants of social communication. From such a viewpoint, the semiotic phenomena are localized among observable properties of communicating individuals within the physical domain. The concept of the physical domain has to be counterpoised to that of the logical domain. It seems obvious that, in the investigative field of human-centered semiotics, scientists are not in a position to study the semiotic proprieties of communicating individuals which are unobservable. The logical domain appears to be indispensable as a counterpart of the physical domain, as far as the content of intentional communication cannot be directly tested. It may be inferred through the intersubjective knowledge of communication participants. While focusing on the semiotic properties of communicating individuals that aggregate into particular societal ecosystems at various organizational levels of their groupings, it is indispensable to investigate the communicative linkages within the scope of the so-called ecology of discursive communities in relation to their constitutive elements as parts of linkage systems, individuals playing certain roles in group communication, nonverbal and verbal means, channels and communicational settings.

Józef Zaprucki Karkonosze State Higher School in Jelenia Góra; Philological School of Higher Education in Wrocław, [email protected] The Secret Life of Books: The Constituent Phenomena of the Creation of a Book’s Identity. (On the basis of Fedor Sommer’s “Zwischen Mauern und Türmen” [Between Walls and Towers]) Abstract:Books possess their own identities, which are being created by such aspects like the author’s cultural belonging, the language, the shape of the cover et cetera. The identity of a book can also alternate on the axis of time and language and gain new facets which enable it to take part in communication processes on different levels than it did before. The following paper will discus a story of a very particular piece of a book that was written in 1927 by a German author Fedor Sommer, entitled “Between Walls and Towers” [Zwischen Mauern und Türmen]. The book depicts the history of a Silesian city in the time when it was part of Germany, which means that it (the city) has today at least two identities, the German and the Polish one because Silesia has been a part of Poland since 1945 (after the WWII when German people were forced to move to Germany behind the so called Oder-Neisse-border). Hence, on one hand we have to deal with a shift of identity in terms of time and on the other hand, a shift in terms of culture. A new culture, the Polish one, is receiving and contemplating now the interpreted identity of that book. In this way this book becomes a medium in the process of cultural communication on the axis of time. Furthermore, the particular copy of the mentioned book, which is in possession of the author of this paper, has got many remarks done on the

margins. The remarks widely enrich the meaningful impact of it and thus they give a new shape of the identity of the book and a potential to communicate in the intercultural field. The author of this paper has identified the author of the remarks mentioned above which made him able to collect many facts that create a totally new identity and thus an opportunity for a wider communication between those two cultures.

6. Cognitive Semiotics 认知符号学（41）

Interaction between semiotics and cognitive science

符号学与认知科学的互动（54） Dante Greeff ([email protected] ) ( [email protected] The South African School of Motion Picture Medium and Live Performance Neurosemiotics and the Neuroscience of Meaning: A Neurocognitive Approach to Peircean Semiotics Abstract：The inherently interdisciplinary nature of the nascent, yet burgeoning field that has come to be known as biosemiotics, portends its potential as a veritable cornucopia of theoretical and applied research inquiry. By incorporating and integrating such seemingly disparate, yet ultimately interrelated disciplines as physics, biology, neuroscience, cognitive psychology, anthropology, philosophy, as well as the discipline of semiotics itself, biosemiotics holds the promise of transcending the perennial, parochial Western paradigm of Cartesian dualism, thereby illuminating the labyrinthine mysteries and neurobiological bases of meaning-making. The present paper is a theoretical exploration that attempts to synthesize some of the fundamental conceptual tenets within the Peircean Semiotic tradition, including the Sign or Representamen, the Object, as well as the Interpretant, with well-established neurocognitive concepts and nomenclature, including parallel perceptual processing, cognitive schemas, in addition to episodic, associative and semantic neural networks. In doing so, the researcher seeks to explicate a set of neurocognitive mechanisms recruited during the concomitant, triadic interplay between Sign, Object and Interpretant with a view to fruitful interdisciplinary integration as well as practical applications. Ultimately, the researcher advocates the development of a conceptual framework within which to conduct empirical research toward a neurosemiotic account of meaning-making.

Josiane Caron-Pargue University of Poitiers, France [email protected] Linguistic markers of detachment: A cognitive approach Abstract：Detachments from the discursive situation have been formalized in the enunciative theory of the French linguist Culioli, taking into account the possible interactions among them: the successive detachments along the history of an event were considered as adding one to another; each of them was qualified in terms of its change of position on Culioli’s double bifurcation diagram without and with its history from the beginning of the event. That constitutes a first level of semiotic interpretation. In order to pass to a cognitive level a second level of semiotic interpretation is required. Our intent is to present how we interpreted Culioli’s approach of detachments in terms of two sets of micro-cognitive processes, notably in the analysis of verbalizations produced during a problem solving task. These micro-cognitive processes agree with classical cognitive frameworks, but provide a dynamic view on them. First, concerning the processes of internalization and of externalization, two different points of view on the same event can be seen either as independent, or as integrated, or as simply stuck together; the detachment itself can be either at its beginning, as a simple stretch, or at its end, as a complete break, or achieving a return toward the situation, as a compression. Second, concerning means-end analysis, they qualify steps in the understanding of the constraints of the task (like their only existence, or their more or less complete identification and control on the

solving process), and in the expectation of coming events like a dead end or something already done. Some examples drawn from of our observations will be given to illustrate these analyses.

Kina Cat The Temporality of Meaning Abstract: Within literary studies, the temporal presentation of literature has been investigated mainly in two ways: From the perspective of word sounds From the perspective of the semantic units The first perspective is generally applied to poetry. In poetry, the order and quality of word sounds creates a metric structure. When the metre clashes with the prosodic structure stemming from the semantic stratum, a rhythm particular to the individual poem is created. The temporal relations between metre and prosody concern the rhythm of meaning. Word sounds are available to sense perception, i.e. of material properties. The second perspective is generally applied to narratives. In narratives, the order and states of affairs of the meaning stratum creates the level of discourse (sjuzet), i.e. the presentation of the represented events. When the order of the presentation of states of affairs clashes with the chronological order of the represented objectivities, the plot structure particular to the individual narrative is created. The temporal relations between story and discourse concern the discourse of meaning. The semantic units are based on a purely intellectual understanding, but can, since they (pace cognitive semantics) rely on schematic structure, also be available to catergorial perception, i.e. of formal properties. But what about the temporal presentation in itself? Both the rhythm of the word sounds and the discourse of the events are dependent on temporal relations, but how are temporal relations available to us? I will argue that the temporal phases and their relations are accessible to temporal perception. Temporal perception resides somewhere in-between sense perception and categorial perception in that time is neither purely material nor purely formal. I will present an experiment in support of this claim and discuss the aesthetic relevance of the temporality of meaning.

Hoffmann Cognitive Effects of Argument Visualization Tools: Comparing Rationale and AGORA-net Abstract: External representations play a crucial role in learning. At the same time, cognitive load theory suggests that the possibility of learning depends on limited resources of the working memory and on cognitive load imposed by instructional design and representation tools. Both these observations motivate a critical look at Computer- Supported Argument Visualization (CSAV) tools that are supposed to facilitate learning. In my talk, I will use cognitive load theory to compare the cognitive efficacy of RationaleTM 2 and AGORA-net.

Mahe Avila Hernández ( [email protected] A Dimension of Iconicity in Metaphor Variation Abstract:This paper proposes a dimension of iconicity in metaphor variation at the level of linguistic instantiation, which would be novel in respect of Kövecses’s (2005) “kinds of variation in the linguistic expression of the same conceptual metaphor”. Such a criterion of iconicity is taken from Hiraga’s (2005) understanding of the interplay of metaphor and iconicity in metaphorical signification. When Hiraga (2005) re-examines the Peircean ternary account of iconicity (i.e. ‘image’, ‘diagram’ and ‘metaphor’), it is her aim to clarify the continuum amongst the three ‘hypoicons’, a continuum which is based on a

degree of conventionality and abstraction, in the sense of ‘being more or less directly tied to our sensory experiences’. Concerning a criterion of sign-object immediacy, I hold alongside Hiraga (2005: 6) that “the image content of metaphor (…) is an iconic moment involved in metaphor”. In this sense I propose a dimension of iconicity in metaphor variation which observes the mapping from the sensory perception onto the source concepts image content. The prominence of the ‘imagic mapping’ marks to what extent this ‘iconic moment’ in the metaphorical signification is foregrounded. My claim is that looking at such a dimension of iconicity could be significant to explain cases of metaphor variation at both in language and literature. Some cases of metaphor variation between Spanish and Chinese are briefly analysed, according to the prominence of the ‘imagic mapping’.*

Stergaard A dynamic approach to the study of linguistic forms Abstract: In this presentation the usage based model of language is interpreted in terms of the theory of self-organizing dynamic systems. In accordance with the theory we have in a linguistic community a large set of local linguistic interactions. The theory then includes: 1) a description of the dynamics at the local level, i.e. a determination of the principles that govern the local interaction. This has been pursued in Garrod & Anderson(1987), Garrod & Doherty (1994), and Pickering & Garrod (2004) and has been formulated as the output-input principle. A speaker’s output is determined by previous input. This then ensures an alignment on the word level as well as the syntactic level. 2) A determination of the principles governing the propagation of the stable units in the community which leads to the disappearance of some units and the prevailing of others. 3) Determine the feedback of the global system of referencing on the local dialogues. 4) Although there is an alignment in the single dialogue, it is a general principle of the dynamic systems in question that there is a synchronic variation from one local instance to the next, cf. Croft (2010a, 2010b). The presentation will address this last point in some detail.

Jean Lassègue Laboratoire CREA CNRS-Ecole Polytechnique (UMR 7656) ENSTA “Robert Hertz vindicated; Remarks on Natural and Social Polarity” Abstract: Just over a century ago in 1909, French anthropologist Robert Hertz wrote a seminal article on the difference between the right and the left hand in which he showed how a small natural advantage of the right hand over the left one was reinforced by cultural means and would completely modify the very nature of the meaning attached to this difference. This way, he explained both the cultural pre-eminence of the right hand in human societies and the persistence of a small but constant percentage of natural left-handers. Hertz’s article triggered a bulk of research throughout the world but was criticized by structuralists in the 70’s who would ignore the natural pre- eminence Hertz gave to the right hand and would mainly focus their attention on the social reversibility of the pre- eminence of hands according to ritual processes. Today, the situation is completely the opposite: research concerning the pre-eminence of the right over the left hand has broadened in scope since it is not limited to humans and is recognized as pervading the whole animal kingdom. But the explanation given to the difference still remains based on natural causes only and ignores the semiotic change on meaning bestowed by culture. This is precisely why Hertz’s point of view should be reconsidered today for it connects the natural and the social dimensions of the problem in such a way as to preserve a social identity to human culture even if it is based on natural constraints.

Göran Sonesson, Lund University Mirrors, movies, and other sign. A phenomenologically inspired approach to cognitive semiotic Abstract:

The claim of cognitive semiotics to offer something new rests of the ambition to bring together the research traditions of semiotics and cognitive science. Our focus has been on using the empirical approach of cognitive science in investigating semiotic issues. At the same time, however, phenomenological description plays a major part in preparing the studies and integrating their results. In the case of the mirror, the integration of semiotics, cognitive science and phenomenology can be done in a very concrete way. Umberto Eco has always claimed that the mirror is no sign, without, however, offering any real definition of the sign. The present author, on the other hand, has claimed that once the notion of sign is specified, along the line of the combined Piaget- and Husserl- traditions, the mirror image is seen to be a perfect instance of a sign. In psychology and cognitive science, however, the Gallup test has been used to suggest that self-recognition in a mirror testifies to the emergence of a self. Phenomenologists, such as Dan Zahavi, have argued that this cannot be, since the self is really constituted much earlier. In contrast, mirror recognition, according to earlier accounts, emerges more or less at the same time as the sign. I will report on an on-going empirical study, which compares live experience with mirror images, as well as with pre-recorded videos and directly relayed video images.

Erika Cortés Bazaes Universidad Autónoma de Chile [email protected] “Rupturas entre la argumentación lingüística y lo visual en los textos escolares chilenos” El sentido de esta comunicación es sintetizar una investigación referida al estudio de la correlación entre la argumentación visual de las culturas infante juveniles y la de los textos escolares. La importancia de ello, radica en lo que ya sabemos de cómo opera la lectura o interpretación de los textos, gracias a las ciencias cognitivas (la percepción y cognición opera a través de una red de conexiones asociativas, sin un procesador lógico central como creía el cognitivismo en sus inicios (Francisco Varela: “Conocer”, Ed. Gedisa, Barcelona, 1996), donde el sujeto sólo aprehende el 24 o 26 % de lo real, y donde lo demás es construido en base a sus archivos de mundo, la historia de vida sociocultural) y la semiótica que describe dicho procesamiento; esto es, todo texto presupone un programa que lo construye, una interfase, conceptualizada como una matriz que liga los diversos fragmentos que lo constituyen (Carlos Scolari: “Hacia una semiótica de las interacciones digitales”, en Revista deSignis No 5 “Corpus Digitalis”, Ed. Gedisa, Barcelona, 2004); y si coincide la interfase presupuesta por el programa presente en la construcción del texto con la de los usuarios, el lector del texto se implica, posibilitando la interacción. Es éste el nudo de los procesos de aprendizaje y de hipertextualización, donde se trata de que el educando se implique en el texto reconociendo inconscientemente su propio procesamiento cerebral en él. Existen investigaciones Sociosemiótica en nuestro país sobre las formas de funcionamiento de la percepción y cognición de las culturas infante juveniles, de las que se infiere y deduce como opera allí, a lo menos tres tipos de argumentaciones visuales, sin embargo, en los textos escolares chilenos de “Lenguaje y Comunicación” de Séptimo Básico y Tercero Medio las funciones de la Imagen es sólo ejemplificadora de fragmentos de la argumentación lingüística y/o un espacio estético agregado al texto pero sin ligazón estructural con él. Las nociones de “Anclaje” y “Relevo” del texto lingüístico estudiada por Roland Barthes respecto a las relaciones entre lo visual y lo lingüístico en la publicidad tampoco son tomados en cuenta en las propuestas visuales educativas chilenas. Luego, el sentido de ésta comunicación es dar cuenta de las rupturas de funcionamiento de las culturas visuales chilenas educativas, basadas en las formas de argumentar occidentales de hegemonía fundamentalmente lingüística con aquellas de los usuarios infante juveniles formados en una cultura más postmoderna, influenciada por el manga y el video- juego.

Stjernfelt Inference as a basic notion in cognitive semiotics Abstract: With the establishment of formal logic as a special

field from late 19C onwards, there is a tendency that logical and cognitive issues have become separate. The emergence of cognitive semiotics as an attempt t unify semiotics and cognitive science ought to reestablish this connection by emphasizing that cognitive processes are concrete realizations of inference structures. This paper argues that the Peircean notion of diagrammatical reasoning and the emphasis on the abduction-deduction- induction scheme may form the link between ideal logical structure and its instantiation in cognitive-semiotic inference chains.

Winfried Nöth, Catholic University of São Paulo The semiotics of learning new words Abstract: In several passages of his writings, Charles S. Peirce has illustrated his theory and the process of semiosis in general by examples from learning new words of the vocabulary of a first and second language. The insights conveyed in these passages are not meant as contributions to the psychology of second language learning. Instead, they elucidate more fundamental semiotic implications of the teaching, learning, and acquisition of new knowledge. The paper is a study of these implications. It shows how icons, indices, and symbols are essential, very different, but necessarily complementary signs in the process of foreign language learning. It examines some semiotic prerequisites of learning as well as sign processing in general, such as experience and collateral knowledge.

Dr. Roberto Flores-Ortiz Instituto Nacional de Antropología e Historia (Mexico) [email protected] VOICE AND GAZE IN NARRATIVE IDENTITY -mental spaces and cognitive semiotics- Abstract: This work applies mental spaces theory and conceptual integration (or blending theory) to the analysis of a fragment of El complot mongol (1969) by the mexican diplomat and writer Rafael Bernal, a fine example of detective fiction. The central goal of the analysis is to show the various discourse types present in the novel that are responsible for the identity of its main character, detective García. Discourse types are presented as different sorts of blending processes operated between of voice and view point which not only define the writer’s narrative style, but characterize a main narrative transformation that goes from a fragmented or broken self to the emergence of an undivided sense of reflexive identity. A description of presuppositions between actions and events is the basis required to recognize the main transformation and the isotopies involved. This first approach is then integrated to an analysis of discourse type alternations: it is then argued that the blendings proposed account for the change in reflexive identity must consider two spaces inputs which blend in sequence. The work intertwines cognitive linguistics with narrative semiotics as proposed recently by Per Aage Brandt for a novel cognitive semiotics and pleas for a unified account of language.

Xian-qing Liu, Chongqing Normal University The Cognitive Research of the Attention Distribution in Language Symbol Abstract: The psychological study proves that people do not give response simultaneously to all the stimuli which act on men’s sense organs but only pay attention to a few of them. The peculiarity that people have a choice and processes for the outside information is called perception trait. To exclude the interference and select a few stimuli or some important aspects of the stimuli is beneficiary for men to know the exoteric things and adopt the outside environment effectively. Not only that, experiential phenomenology tells us that, attention is a bipolar process, that is to say, one object or some aspects of the object, because of some degree salience, it also attracts our attention actively. Representation on language, attention not only affects the choice and the expression of language symbol, but also language symbol brings to bear to attention at the same time, and by the mechanic of language symbol its own, it influences people’s attention distribution on language symbol. And then, for language symbol itself, what on earth

are there the attention guidelines or mechanisms, and how do they influence people’s distribution of attention? In the theoretical guide of salient view and attention view of cognitive linguistics, this paper manages to do certain exploration and research in this field. Key words: symbol; attention distribution; Salience

Peer F. Bundgaard Center for Semiotics Aarhus University, Denmark [email protected] From Feeling to Meaning – the phenomenology and the semiotics of aesthetic experience Abstract: Neuroaesthetics, in the wake of Semir Zeki and V.S. Ramachandran, investigates the neural underpinnings of what is, vaguely, called aesthetic experience. It is thus by and large a branch of the subjectivist approach to art which considers aesthetic objects relative to properties which we human beings find particularly significant for reasons pertaining to our psychological make-up and the main properties of the visuo-cognitive system at large. I am myself a subjectivist: I think artworks should be accounted for in terms of the visual, emotional, and conceptual meaning effects they have on human beings in virtue of the neurophysiology, psychology and ecology of cognition. I am nevertheless hesitant when it comes to appraising the actual findings and claims of neuroaesthetics. This hesitation concerns the following issues: In constructions such as “aesthetic experience” or “aesthetic cognition”, “aesthetic” is often defined in relation to “beauty” (or whatever name one would give to a phenomenon that triggers a higher-order feeling of pleasure). The distinctive feature of artworks and the experience of them is, allegedly, their beauty. Thus neuroaesthetics has hitherto been interested in understanding what humans find beautiful in art and for what reasons. Now, firstly, the feeling of “beauty” is not a unitary psychological response whose phenomenology is easy to characterize: all seems to indicate that it comes in degrees and in different modes. In their attempt at establishing the properties of the human brain responsible for aesthetic experience, neuroaesthetics has not taken sufficiently into account the actual phenomenology of “beauty”. Secondly, and more importantly, beauty is by no means a necessary property of aesthetic experience, if by aesthetic experience we understand the perception of artworks. There is something specific about experiencing artworks which does not hinge on one’s feeling beauty, but on the kind of objects one is experiencing. From this fact arise two research questions for a subjectivist (and a neuroaesthetic) approach to aesthetic experience (understood now as the perception of artworks): 1. What top-down constraints is such experience submitted to (which would make it different from the experience of other kinds of objects)? 2. Since artworks are not essentially characterized by triggering intense experiences of value (“beauty”), I shall propose that they be described as objects which in virtue of certain top-down constraints trigger intense experiences of meaning. A major task then consists in tracking down the pictorial means artists dispose of to produce pertinent meaning effects in viewers.

7. Zoosemiotics: Bridging different species: Animals, representation and discourse

动物符号学：沟通不同物种：动物，再现和话语（42） Prof. Dario Martinelli, University of Helsinki, Finland and Kaunas Technological University, Lithuania “Unlike animals…”: Anthropocentrism and speciesism as cultural/rhetoric devices Abstract: The

present paper intends to illustrate, through the tools of semiotic analysis, the various employment of anthropocentric and speciesist practices in linguistic, cultural and everyday discourses. Speciesism, it is suggested by philosopher Peter Singer, is “the current accepted form of discrimination”, and – as such – can be, and is, employed (consciously or not) in a “natural”, socially-accepted, way, not unlike racist and ethnocentric discourses were central in different societies until, approximately, the mid-20th century (the wide popularity of “coon songs” can be taken as an example of a heavily chauvinistic cultural object, perceived as perfectly inoffensive, and in fact amusing, form of entertainment). Within this perspective, speciesism and anthropocentrism can be culturally produced in various forms: from identity construction (the concept of “humankind” as opposed to “animality”) to intergroup biases (the non-human animals as “outgroup”), from the most diverse rhetoric solutions (various schemes and tropes like the antithesis “We are humans, not animals”, or the simile “he behaves like a beast”) to specific discourse-modalities (e.g., the concept of “anthropomorphism”). The present paper shall attempt to introduce and classify all such cases, offering a semiotic interface to analyse them.

Ke Tang, Fudan University, China Transcoding between the Umwelten of man and butterfly: A Glimpse of Chinese Ancient Allusions by the Zoosemiotic Approach Abstract: In the literary texts of ancient China, butterfly, as a viable sign vehicle, undergoes continuous signification on different occasions. The most famous two allusions about butterfly are undoubtedly Zhuangzi’s dream of transforming into butterfly and Liang and Zhu’s love story ending in turning into butterflies which is probably based on the story of Han Pin and his wife. The two discourses share some common codes of depicting butterfly as the projection of freewill and ideal life. But Zhuangzi and the storyteller of Liang and Zhu practice different approaches to the zoosemiotic interpretation of psychological, ethical dispositions and aesthetic perceptions. For Zhuangzi, the Umwelten of man and butterfly (and other species) can be bridged and human can transform freely as they wish. He proposes a particular world view of a meaningful human existence. The pursuit of animality enables man, claims Zhuangzi, to sustain notions such as freedom, authenticity and aesthetics in the face of an ultimately meaningless causality of the material world. Whilst in the stories of the Han couple and Liang and Zhu, there are boundaries between the Umwelten of man and butterfly. The butterfly is not a fellow of man, but somehow bears superiority to them. The heroes and heroines are forced to undergo metamorphosis and they must die to abandon their human attributes to realize the process. According to Peirce, a sign may be iconic which may represent its object mainly by its similarity no matter what its being, and the likeness is aided by conventional rules. The complicated system of Chinese folk tales is constructed of iconic signs, which deserve deep study to illuminate the cultural and psychological bases of their potent attributes. The butterflies in stories of The Han Couple and Liang and Zhu serve as an iconic sign representing the lover’s resurrection and characterized by qualities of ideal life. The lovely appearance, the flying ability and residence in beautiful flowers construct vividly a metaphoric or iconic expression. “Heterosexuality” and “passive resistance” play as intertextual codes of physiological, social and ethical implications of man. The limited biological knowledge from the observation of nature of ancient Chinese serves as the “interpretant” in the Peircian sense, functioning in a text as well as a system. It is their position at a particular moment that will determine the predominance of the aspect in focus. In this sense, the author argues that zoosemiotics can be considered as a science at the intersection of nature and culture, which also deals with coding of information by the categorization where an animal is a transcoder in a

biological version of the intertextual relationship of literary text.

Sandra Mänty, University of Oulu & University of Helsinki, Finland My Umwelt is different from yours – bridging the distance between animals and humans in literature Abstract: Leonie Swan’s (1975) debut novel “Glennkill” was a success despite its main characters being sheep. The story of a murder investigation set on the west coast of Ireland is told from the perspective of a herd of sheep interpreting everything from the weather to human emotions. Readers are challenged by this perspective that often questions, discredits and ridicules human behaviour and intention. On the other hand, the behaviour and speculation of the sheep are the basis of the humorous tone of the narration. This examination focuses on the question of whether the contrast of sheep and human adds to the understanding of how animals are represented in human culture and whether the novel used as the example attempts to bridge the distance between animals and humans. In order to be able to study the representation of animals in literature this paper makes use of zoosemiotics as a tool. Jakob von Uexküll’s (1899-1940) concept of Umwelt coined at the beginning of the 20th century proves useful to ponder on the representation of animals in fiction. The example text offers a broad base for the investigation of Umwelt from both the animal and the human point of view. An argument will be presented for the example text’s attempt on understanding sheep’s perception of themselves in their environment. The attempt is made in a cultural frame, not a biological one, but offers valuable insights on human understanding of and attitude toward animals. In this paper special interest is directed toward the possibility of a non-anthropocentric representation of animals in literature.

Minhyoung Kim, Jeju National University, South Korea Sungdo Kim, Korea University, South Korea Animation as Images of Animism and Animism of Images Abstract: An image is never isolated, but rather it identifies its profound meaning only within the cultural sphere where the image has been produced and consumed. Pre-historic imagery, therefore, as the first visual testimony of humankind away from the whole ideological constraints of civilizations, has demonstrated its unique metaphysical expressions of space and time as well as its superbly elaborative figures. Although the figurative clarity of image is not enough to deliver a ‘true’ meaning or to satisfy “the desire for transparency”, images always evoke a certain emotion in our mind beyond the enormous spatiotemporal deviation: the origin of such ‘emotion’ can be called as ‘life’. We can detect various signs of life among numerous beings in the world. While they varies considerably in appearance, judging from readable indexes of them, the beings around us are assumed to possess analogous internalities to our own so that they also exercise the power of life with inherent will, which parallels us but only distinguishes each other by patterns of individual operation. Such way of ontology has been established as animism, as a name for “the state of mind which sees in all nature the action of life”: in the world of animism, that is full of beings, only some of whom are humans, thus we are all related beings constituted by a great many interactions with others who are independent subjects with their own spirit. This paper aims to comprehend the relations between images and animism through the animation art as a genre of visual culture, which reveals a relay between them. I will first explain the formation of ‘body’, where life manifests and signifies itself. The expression and operation of life in animation, whose original Latin verb, “animare”, means “to give life to”, is a primary issue of visualization. The range of bodies in animation widely includes diverse objects such as animals, plants, and artifacts. When they become a certain ‘character’ in animation, their bodies begin to ‘move': not only they are transferred from one location to the other, but also are

transformed to something else, that is, ‘metamorphosis’. As Eisenstein recognized earlier, “if it moves, then it’s alive”: he indicated the very attribute of moving images, particularly in animation, as the state of “plasmaticness”, which is not yet stable, but capable of assuming any and all forms of animal existence, even skipping along the evolutionary scale. In the next chapter, I will present the image construction in animation. Different from live-action cinema mostly depending on the recording technology of camera and its photo-realism, animation has accomplished its unique aesthetics of “manual construction”, of which there are countless media techniques involving cutout, puppetry, or sand as well as popular drawings. Such flexible relationship between the artist and a variety of objects with their own hybrid harmony, causes unpredictable ‘life’ of images, which is no more than the world of animism all the way from the pre-historic images of weaving the vast universe and the infinite times. Animism of images continues the challenge to the finitude of materials and media and repeats another expansion and mutation upon today’s computer generated imagery.

8 C. S. Peirce: Chains of signs bridging cultures 皮尔士：沟通文化的记号

链（18）

Peirce’s Semiotics 皮尔士符号学（44）

Peirce’s Symbolism: from Gesture to Scripture （61） Prof. Rossella Fabbrichesi (State University of Milan, Italy) Prof. Giovanni Maddalena (University of Molise, Italy) Prof. Claudio Paolucci (University of Bologna, Italy) Dr. Marco Annoni, (FOLSATEC Doctoral Program, Italy) Centro Studi Peirce/Associazione Pragma (Italy) ([email protected]) Peirce’s Symbolism: from Gesture to Scripture Abstract：Peirce’s analysis of signs offers many elements to treat the theme of gestures in human cultures, although he rarely directly dealt with the subject. We can have referential and discursive gestures, we can easily show an iconic and metaphoric root in any kind of gesture, or simply an indexical and descriptive nature in it. In any case. gestures represent a synthesis of a larger semiotic process, and an easy way to turn from an analytical use of signs to a synthetic one, mixing analogical and conventional elements of signification. Yet, the most significant gesture in any culture is the act of writing: an inscription that schematizes the sense of human existence and the need of communication, operating through iconic, indexical and symbolic means. The “Agency of Scripture”, in Peirce’s terms, is in any culture a precise gesture of miniaturizing the world, extraordinarily endowed with pragmatic efficacy. We would like to deal especially here with the difference between alphabetical and ideogrammatical scripture, as Peirce often noted the intrinsic relevance of diagrams and graphs in orienting thought. We will try to work on Existential Graphs and the Rhematic Peircean logic, both grounded on the leading role of schemes, figures and iconic writing, understanding them as an ideal bridge between Western and Eastern thought.

Tony JAPPY University of Perpignan, France [email protected] The Dynamic Object and the Role of Rhetoric in Peirce’s Philosophy of Representation Abstract:

Peirce’s philosophy of representation comprises the three cenoscopic sciences – semiotics, critic and speculative rhetoric. It seems intuitively sound to expect all three components to participate in the semiotic, i.e. logical, analysis of cultural artefacts (cf. Jappy forthcoming). There are thus two definitions of logic: the general philosophy of representation itself and the semiotics as we know it. The latter’s fundamental tasks – identification and definition of the three core elements of semiosis, of the two objects and three interpretants, and the establishment of the various taxonomies of signs, etc. – are now relatively well understood. Speculative rhetoric, on the other hand, which Peirce defines in CP 2.93 as ‘the doctrine of the general conditions of the reference of Symbols and other Signs to the Interpretants which they aim to determine’, although it has received considerable critical attention recently (Santaella 1999, Liszka 2000, Colapietro 2007, Bergman 2010), requires further investigation, in particular the problem of its articulation with the other two components of the philosophy of representation. In a letter to Lady Welby Peirce defines the sign as ‘any medium for the communication of a form’ (SS 196). Since the structure of linguistic signs is determined by that of the ‘fact’ or event represented (EP2 408) it follows that any ‘partial objects’ participating in the sign’s dynamic object contribute to the form that the sign communicates: in other words, they determine the sign’s ‘logical form’. However, while most of Peirce’s linguistic examples are declarative, positive and logically certain, e.g. ‘Cain Killed Abel’, it is clearly not the case that all utterances in English display this same morpho-syntactic constitution, and in order to account for the widely differing syntactical forms of English attention must be paid to what Peirce calls the ‘rhetorical evidence’. Putting aside discussion of Peirce’s critic, the paper addresses the nature of the articulation of the semiotics with the rhetorical component. It argues from a number of linguistic examples that the semiotic analysis of cultural artefacts can never be complete without reference to the speculative rhetoric, and that the idioscopic ‘art’ of rhetoric enables the researcher to explain the considerable variety of forms which depart from the logical form determined by the sign’s dynamic object.

Rodrigo Antunes Morais Faculdade Cásper Líbero [email protected] Iconic quali-signs: perception and creative imagination in schizophrenia Abstract: Based on Samuel Coleridge's studies, creative imagination can be regarded as a tool to discover a deeper truth about the world, in other words, imaginative capacity is inherent in a different way in every human being. Following the Roberts Avens's theories, imagination must be understood from the existence of a mutual dependence of the existence of subject and object; mind and matter. Thus, according to Carl Gustav Jung, this depth suggests that the primary imagination is founded on understanding the particular, incorporating and expressing an unificated meaning, making possible a real dissociation of primary imagination from simple fantasy. Therefore the purpose of this article is to elucidate that patients with schizophrenia are not limited only to passive reception and retention of senses's data, their perception is attempted, above all, to the iconic quali-signs. Still showing that schizophrenics are not based simply on a spontaneous imaginary of the senses, but they have an imaginal power wich becomes a primordial agent of the human perception when tracing narratives - that Zygmunt Bauman would classify as liquid narratives - with artistic intent or not; evidencing Lucia Santaella's studies about Charles Sander Peirce to show that the icon is not made only by its power of representation by similarity (hypoicon), but plays a major power in the perceptual process, in schizophrenics or not, in the level of a second firstness - from actual icons as categorized by Lucia Santaella - when they are showed in the perception's immediacy. Accordingly it becomes possible to make a critique to the current theories of imaginal capacity, that places it as the only way a relationship with the mind can be started, when in fact, every being exists in a self-conscious and free way. And from Owen Barfield, having the gap between mind and matter as a main factor for the existence of

they both, factor that must be understood for the possibility of a world in wich all participants are in a harmonious hyperreality without assumptions on individual characteristics; made in an original content of a universal consciousness. Keywords: Iconic quali-signs; Perception; Creative imagination; Schizophrenia; Charles Sanders Peirce; Second firstness.

Merja Bauters Bauters Merja University of Helsinki [email protected] Institut für Pädagogik, Abt. Medienpädagogik / Bildungsinformatik [email protected] Design-based inquiry and semiotic framework Abstract: Educational phenomena are researched increasingly from multiple perspectives such as learning, cognition, development, knowledge and epistemic practices, interaction phenomena, contextual interactions and historical sustained process. Despite tremendous research efforts, there is no one solid theoretical or methodological agreement amongst the researchers. The intertwining of research and practice fits well educational research settings because education and learning is interventionist in nature. Many research traditions have tried to create the overarching or meta-level to structure the plethora of perspectives and methods. Such are for example: cultural psychology, cognitive science, cultural– historical activity theory, and design-based research (see e.g., Pea, 1993; Cole, 1996; Wertsch, 1998, Bereiter, 2002). Design-based research has been suggested as a high-level methodological orientation that can be employed within and across various theoretical perspectives and research traditions to advance our understanding of educational phenomena (Bell, 2004). However, it is also possible to see design-based inquiry as a more general perspective into guiding the processes where researchers actively engage themselves in the creation of the realities they aim to understand and interpret. As design-based inquiry emphasizes the design and innovation aspects, one way to foster innovation therefore lies in educating and developing competencies among students, lectures, and researchers that are located at the crossroads of design and research, aiming to bridge between creative serendipity and scientific rigor. Design and innovation can be seen as epistemic processes that do not only result in new products or services but also provide insights into the situation they want to change. We approach to tackle the terminological and theoretical challenges of the above mesh by using Charles Sanders Peirce’s theory of signs. It provides conceptual tools and framework of scientific inquiry taking into account the innovation in the process. The innovation is discussed through Peirce’s concept of abduction, which has been developed further by Paavola (2007, 2011) and Bardone (2011). Thus, tying semiotic notions with ideas of distributed and embodied cognition. We especially concentrate on such concepts as habits (in the innovation process on research activities performed through design), shared (epistemic) objects, common ground (as the basis of any joint work to occur), and affordances (pointing to the role of materiality of the shared (epistemic) objects). These, we hope, will guide the understanding of the process of joint innovative creation and development of knowledge and research inquiry, taking into account the material aspect of it.

He Chuansheng City University of Hong Kong [email protected] E-type interpretation without E-type pronoun: How Peirce’s Graphs capture the uniqueness implication of donkey sentences Abstract: Kadmon (1987, 1990) has made an interesting attempt to explain the uniqueness effects of donkey pronouns under the framework of DRT, by positing some accommodation mechanism that inserts a conditional statement into DRS. It is such conditional statement (denoting scalar implicature, accommodated information, or contextually supplied information) that produces the uniqueness implication associated with donkey pronouns and indefinites. Though successful, there are two problems remaining open. The first problem is that it is not explanatory (circular). In this theory, why accommodation of a conditional statement is needed is due to a felicity condition: donkey pronouns are felicitous iff they refer back to

a unique referent. This condition requires that a donkey pronoun anaphoric to a non-c-commanding quantifier a priori carries a uniqueness entailment or presupposition, which is a statement of the facts, not an explanation. The second problem is that it does not explain why discourse anaphora carries a uniqueness implication but syntactic anaphora does not, which also involves variables. In this paper, I will show that both problems can be satisfactorily answered in a graphic logical system called Existential Graphs (EG), invented by the American philosopher and logician Charles Sanders Peirce (1839-1914). In this logical system, with the help of its inference rules, the uniqueness implication can be derived without a priori assumption of uniqueness residing in the pronouns, and why discourse anaphora carries a uniqueness implication but syntactic anaphora does not follows directly even if both types of pronouns are treated as bound variables.

Harri Sarpavaara University of Tampere/Academy of Finland [email protected] Counselors’ interpretations of substance abusing clients’ talk: A Peircean analysis Abstract: The aim of this paper is to apply some ideas of Peirce’s theory of signs to the analysis of substance abuse treatment. The focus is on counselors’ behaviors during motivational counseling sessions in the context of Finnish probation service. I analyze the explicit interpretations the counselors make about the clients’ change relevant talk during the sessions. For this, I apply Peirce’s division of signs into rhemes, dicents, and arguments. This Peirce’s third division of signs is relevant from the viewpoint of this study because it concerns the sign’s relation to its interpretation. The results of the study display that making the argument interpretation is the most certain way to make the client talk for the change and to help the client to reach the goal in regard to his/her use of alcohol and drugs. The argument interpretation shows something that the client has not noticed before (deductive argument), captures an anomaly that appears in the client’s talk (abductive argument) or makes a conclusion of the client’s situation (inductive argument) and presents an assertive inference based on them. The results show that by applying Peirce’s theory of signs, we can find the new features of client-counselor interaction that potentially relate to the treatment outcome.

Frederik Stjernfelt Aarhus University [email protected] Dicisign - Peirce's extended proposition concept Dicisign - Peirce's extended proposition concept Abstract: The special character of Peirce's third trichotomy is easily overlooked because it may seem obvious to identify it with the classical logical triad of term-proposiiton-argument. But Peirce's version - in different terminological guises such as seme-pheme-delome or rheme-dicisign-argument - forms a sweeping generalization of the orginial triad to cover all signs. This has special bearings on his notion of proposition - “Dicisign” - which receives a semiotic definition based on which functions a sign should instantiate in order to act as a Dicisign. This paper argues that Peirce's notion of proposiiton has two important advantages: one is the extension of human propositions to cover not only linguistically expressed propositions, but also propositions involving pictorial, gestural and other non-linguistic signs. The second is the extension of the concept to cover also biological proto-propositions based on the biosemiotic argument that signs unable to state truths are of little evolutionary relevance in biology.

Carlos Vidales Gonzales University of Guadalajara [email protected] A multi-level analysis of communication theory from Peirce’s semiotics Abstract： The present paper presents the preliminary results of an ongoing research project about the emergence of theoretical relativism in communication research based on the proposal of the multi-level approach to the study of semiosis in semiotic systems developed by Charbel Niño El-Hani, João Queiroz and Claus Emmeche, a proposal grounded on C. S.

Peirce’s semiotics. In this sense, the papers presents three preliminary results: a) a semiotic methodology for conceptual analysis, b) a metamodel for the organization of communication theory and, c) an epistemological position about communication based on semiotics. In doing this, the paper proposes as a main hypothesis that Communicology it is not related with a general theory of communication, but with a conversational field about communication theory, with the emergence of communication theory as a field. This hypothesis is a response to the problem of theoretical relativism, since this problem turns to be irrelevant from this new point of view. Key Words: Theoretical relativism, semiosis emergence, communicology, Perice’s semiotics.

Profa. Dra. Roberta Cesarino Iahn [email protected] Prof. Dr. Antonio Roberto Chiachiri [email protected] Faculdade Casper Líbero Tendencies of signs in the artistic structure of Van Gogh's artwork Abstract: An artwork is always unfinished. Many readings are possible by the artist's look, the spectator's look, not to mention the time factor, which is not necessarily chronological, but also is a clipping of practices, tendencies and styles. It makes part of the legends about artistic creation, the imagination concerned to the initial idea, the first meaning that took the artist to materialize a shape. However, the artwork's genealogy will be able to show us the artist's methodology or his resignification in searching other experiments and senses. “Still life with meadow flowers and roses” painted by Van Gogh and exposed at the Museum Kröller Muller has recently passed by an authorship’s study. During the canvas's scanning procedure was discovered another artwork under the current, which figures two men practicing wrestling. This discovery has given us a record of the artist's passage by the pictorical representation's process, derived from his studies in classical art school, to a movement of style's decision the would then be formalized as his own. This breakdown of a classical structure for a author's self mark, still in the same figurative forms, became an artist's legi-sign, a passage without denying the past trace even thought this one is not constituted as a final artwork's piece. This article aims to demonstrate what are the signs that identify this passage of a sign with indexical tendencies to a sign with iconic tendencies, in search of patterns, references and traces that bet on the artistic structure of Van Gogh's artwork. The references used for this study are the Van Gogh's records in Letters to Theo, Matrizes da linguagem e pensamento - Language and Thought's Matrices - (Lucia Santaella), Processos Criativos: arte e curadoria - Creative Process: Art and Curatorial - (Cecília Salles), Padrões de intenção: a explicação histórica dos quadros - Intention's Patterns: The Historical Explanation of the Tables (Michael Baxandall) and reports of the authoring process of the painting cited made by the media. Key words: Van Gogh artwork, resignification, pictorical representation’s process

Prof. Dr Antonio Roberto CHIACHIRI [email protected] Prof. Dr. Edson do Prado Pfützenreuter [email protected] FACULDADE CÁSPER LÍBERO UNICAMP Stranger than fiction: a movie to think on semiosis Abstract: The movie Stranger than fiction (2006) will be the base of our reflections in this article. Directed by Marc Forster, written by Zach Helm and starring Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah and Emma Thompson, this film brings the relationship among fiction and reality in a writer's figure in a book writing process. In the filmic narration universe, the book's main character is a fiction and the writer is the reality, but the conflict that makes the movie interesting is the fact that the character also exists as a real person in that universe, as the writer herself. The narrative begins in a conventional manner showing the daily life of a methodical man who works for the United States Department of the Treasury. The movie begins to cause some strangeness when this character starts listening a voice-over narration of his own everyday life's acts. So, instead of being just a speech to the

audience, this voice starts to be a speech to the character himself. Afterwards, the movie shows us the writing saying that the novel she is writing is about interconnectivity. Following this idea, this article, will establish the interconnectivity among the semiosis's concepts of final causation, efficient causation and the relation among, sign, object and interpretant. Thus, as exchanges of signs, semiotics will be able to highlight the movie as an aesthetic object and this, in its turn, assists us in the elucidation of the semiotic concepts. This will be possible because the movie talks about a man who is also the object of a sign: the book in its developing process. This is a case of a sign that generates its own object, - the character - and in this case is a man who seeks to interfere in the construction process of a novel that is narrating his own life. The complexity of these relationships makes the movie a fertile ground for think about creative semiosis. Keywords: semiosis, cinema, narrative, narrative process, semiotic.

IVAN CAPELLER UNIVERSIDADE FEDERAL DO RIO DE JANEIRO (UFRJ) [email protected] Pragmatics of the Cinematographic Experience Abstract：A pragmatics of the cinematographic experience must cope with the great complexity of semiotic reconfigurations that a single image may perform, which stems either from its potential iconicity as from the spatio-temporal traits it presents through its own indexicality. It must break on through beyond a typological taxonomy of cinematographical signs to point towards its recursive articulation to any “real” or “mental” experience. By joining a materialistic ontology of time and image to an a-significant semiotics, Gilles Deleuze draws out such pragmatics as a device that modulates all objects of experience to the signs of its own representation, but not exclusively in a visual or photographical way; sensorial and conceptual means of expression can all be mimetized by such device. Instead of a closed set of (visual) signs, Peirce’s semiotical logics is applied to Bergson’s concept of image, as matter in motion, to describe a generative process that modulates signs by images and images by signs in a recursive, endless loop that (un)binds the material image beneath the sign to the mental idea beyond it. Thus, one cannot understand the pragmatics of the cinematographic experience as a kind of “universal movie language”, as it postulates an intentionally uncomplete logic that is conceived as constitutively open to the constant reciprocal modulation between thoughts and objects, the mind and the world. Keywords： PRAGMATICS; SEMIOTICS; CINEMA.

Priscila Monteiro Borges UFOP/ UFMG [email protected] An application of Peirce’s 66 classes of signs Abstract: Peirce defines semiotics as “the science of the necessary laws of thought” (CP 1.444, 1896). The study of signs begins with the observation of the sign characteristics that are explicit and continues in a process of abstraction and inferences, which elaborates a more comprehensive general system of all possible types of signs. From innumerable observations, Peirce came up with a classification of ten classes of signs, which he described and exemplified in such precision that it eventually became his best-known classification. However, in his later years, when developing the sign process in much greater detail, Peirce proposed a classification of no less than 66 classes of signs. I have been researching on the 66 classes of signs for a good number of years. Five years ago I proposed a visual model that represents the 66 classes of sign, which I called Signtree. The purpose of the visual model was to provide a detailed graphical representation of the 66 classes and to show that all these classes of signs create a complex system. The Signtree visual model aims to contribute to a better understanding of the expanded sign classes system. Visual diagrams are very useful in making complex and abstract conceptual systems clearer. They streamline the work with a large number of classes that are related to each other in many different ways, because in the visual model one can see

the whole set of classes at the same time. On this paper I will show how the Signtree can be used as a tool for semiotic analysis and support that any application of Peirce’s classes of signs should be based on the system of classes to achieve a better understand of semiosis, that is, the semiotic process. Analyses that take individual sign classes to categorize an aspect of a sign do not agree with semiotic being the study of sign in action. The application of the 66 classes of signs is a complex process of logic that can be used to better comprehend semiosis as a process. The way I propose the analysis reveal the Signtree as a powerful tool not only to describe the sign in details, but also to show the expansion of meaning on the signs. The analysis will focus on a particular typeface designed to create a new experience on writing and reading texts. The unusual form of its characters requires some exploration to recognize the alphabetic letters and understand its texts. The typeface proposes new rules for the written text and the semiotic analysis, as a method of inquiry, will show how the meaning of typeface and of written text can grow through a chain of signs.

Rossella Fabbrichesi University of Milan [email protected] Peirce's Iconism: from Gesture to Scripture Abstract: Peirce’s analysis of signs offers many elements to treat the theme of gestures in human cultures, although he rarely directly dealt with the subject. It can be easily shown an iconic and metaphoric root in any kind of gesture, or simply an indexical and symbolic nature in it. In any case. gestures represent a synthesis of a larger semiotic process, mixing analogical and conventional elements of signification. Yet, the most significant gesture in any culture is the act of writing: an inscription that schematizes the practices of human existence and the need of communication, operating through iconic, indexical and symbolic means. The “Agency of Scripture”, in Peirce’s terms, is in any culture a precise gesture of ‘miniaturizing’ the world and substituting reality, extraordinarily endowed with pragmatic efficacy. I would like to deal especially here with the difference between alphabetical and ideogrammatical scripture, as Peirce often noted the intrinsic relevance of diagrams and graphs in orienting thought. I will make reference to Existential Graphs and Peircean long-life research on iconism, understanding them as an ideal bridge between Western and Eastern thought.

Søren Brier Copenhagen Business School, Denmark [email protected] God, science and evolution Abstract: Great parts of the scientific community find Peirce’s semiotic world view unwanted non-materialistic as well as unnecessary metaphysical plus having a highly problematic inability to separate science and religion. Contrary to that I will argue that Peirce’s integrated phaneroscopic-semiotic ontology and epistemology can be used to solve inconsistencies in the science’s presently received view of reality, truth and meaning (two-culture problem). Peirce’s semiotic phaneroscophy is very mathematical and logical in its metaphysical foundations combined with a view that sees no principal limits to the knowledge obtainable by empirical science. Thus he left no “hiding places” for God or mysticism from science and rationality in the outer as well as the inner reality, as he also argued against the existence of non-semiotic introspective knowledge. The transdisciplinary view he developed differs substantially from the unity science of logical positivism as he took a phenomenological, communicative and evolutionary point of departure in his development of his semiotic theory of knowing. Ha avoided a deterministic mechanistic metaphysic, where “the laws of nature and logics” becomes a sort of ultimate abstract Platonic reality, which can support a deistic metaphysics as well as various sorts of dualism. The major alternative modern development away this is the integration of pan-computationalism and pan-informationalism viewing both humans and the world as computers, which is not consistent with the view of life and consciousness as vital for embodied social knowledge. Alternatively Peirce’s metaphysical basis on the

manifest level is the Firstness of pure chaos and feeling as well as spontaneous potentiality. This concept is very close to modern quantum field theory’s concept of a vacuum field, which is still placed in a sort of “Quantum mechanical materialism” though, unfit for being a substrate for a theory of consciousness. But for Peirce – like Aristotle – reality is living, not mechanical. Matter is hylé. But contrary to Plato and Aristotle Peirce’s world is – like Hegel’s and later Schopenhauer’s – self-organizing and - developing based on its own inner dynamics. But the dynamics is not a dialectical spiritual one as Hegel’s or a dialectical material one as Engels’ and the Soviet scientific-political- philosophy, but based on the triadic dynamics of living sign processes based on a Panentheistic concept of God as the ultimate frame of reality. God - and not Schopenhauer’s blind will - as immanence is the driving force of evolution. God as transcendence is an emptiness behind and before the “sign-known reality”, must like the Buddhist concept of emptiness. Peirce’s concept of God is thus a vague qualisign, the meaning of which man’s symbolic self through science has to unravel from the argument the divine immanence of evolution is manifesting through the Cosmos.

William James McCurdy Idaho State University, Pocatello [email protected] The Mathematical Structure of C. S. Peirce's Ten-Sign Classification System: An Exploration in Formal Semeiotic Abstract: In his essay “Nomenclature and Divisions of Triadic Relations, as Far as They Are Determined” Peirce included a very unusual diagrammatic table for a taxonomy of ten classes of signs. This table consists of ten boxes stacked in an inverted triangular configuration. One name of each of ten sign classes is pigeon-holed in each of those ten boxes. Peirce writes that “the affinities of the ten classes are exhibited” by his chart. Though obviously the purpose of his diagram is to reveal the systematic structure of the relations among his ten classes of signs, much the way that the Periodic Chart of Elements reveals the systematic structure among the fundamental chemical elements, the accompanying commentary on Peirce’s table is sketchy in the extreme. No few students of Peirce have asked “What are we to make of this diagram?” The thesis of this presentation is that Peirce’s ten-sign classification system has the mathematical structure of a trilattice; that is, it is a network organized by a specific kind of triadic-ordering relation over the set of his ten sign classes. A new way of naming Peirce’s sign classes using 1× 3 numeric arrays will be employed throughout. The ten classes of signs are the combinatoric results of three trichotomies of broader sign classes. This triadic relation is what “in-forms” the contents of Peirce’s mysterious diagram. Triadic-ordering relations were discovered and first used by the author to account for the mathematico-logical properties of Peirce’s semeiotic relation. Triadic- ordering relations are the three-relata counterparts of dyadic-ordering relations such as includes, is less than, is a part of, is a predecessor of, and is a descendent of. These tri-ordering relations crop up throughout Peirce’s philosophy. One such triadic-ordering relation, t, provides the basic framing component of Peirce’s sign classification system(s). It is a strict triadic-ordering relation, meaning that it is tri-irreflexive, tri-asymmetric, and tritransitive. The strict triordering relation, t, gives rise to a corresponding (partial) triordering relation, T, that is, a relation which is tri-reflexive, anti-trisymmetric, and tritransitive. The “affinities” or interrelations of Peirce’s sign classes are a partially triordered system possessing an infimum( ), a medium(Ж), and a supremum( ) for every triple of sign classes, thus, also making it a complete trilattice. Moreover, this trilattice also includes a null element( ), a medial element( ), and a universal element( ) making it a bounded trilattice. My account will be further explicated and defended by demonstrating how Peirce’s concept of precissive abstraction (prescission) applied to sign classes yields exactly the same structural arrangement of those classes as does the relation T. Though this work is a reconstruction and an extension of Peirce, I believe it to be faithful to his semeiotic in both content and intent. The results of this study can be straightforwardly extended to Peirce’s sixty-six sign classification system.

Yunhee Lee Korea University [email protected] The semiotics of self and narrative mediation in the digital culture : a self-portrait as an autobiographical writing for consciousness activity Abstract: Semiotic mediation has recourse to a more advanced technology which leads humans to form a new aspect of life causing the human and technology to become intermingled. As many media theorists indicate, new media with complexity attempts to disguise the nature of technology, resulting in reflecting the very nature of human, closely imitating human in mind and body. This makes us ponder on who we are as humans and what kind of mediational tools we use. In this paper, I will examine three kinds of mediation which are consciousness, social organization, and technology so as to discover self identity in the digital era. I will specifically look into narrative mediation for consciousness activity for human development according to the two intertwined domains of phylogeny and ontogeny. The idea of development in the two directions is apparent in the digital culture in that an individual should not be confined to a subjective world; rather, an individual functions as the representation of universal characters as human beings. I will develop this idea within the Peircean semiotics of consciousness, that is, three forms of consciousness: primisense, altersense, and medisense. Then, how is this individual being defined as in-between character both in private and in public. I suggest a self-portrait as an autobiographical writing describing self identities in the three domains: the personal self with primisense in description in reality, the virtual self with altersense in a narrated world from the past, and the expressive self with medisense as in the thought activity of explanation for the future. These three selves in an autobiographical writing in cyberspace will illuminate this point.

9. The Status of Theoretical Semiotics 理论符号学的地位（46）

“General” vs. “Branch Semiotics” (On reciprocal relations between the

General Semiotics and its Branch offsprings in different sciences. Is

General Semiotics possible?) “普通符号学”与”分支符号学” （普通符号学

与不同科学领域的分支符号学之间的相互关系。普通符号学是否可能？）

（47）

Qiu guoquan [email protected] At the beginning of the general semiotics (summary) —— the study of the most basic method of thinking in the understanding and transformation of the world. Abstract: Up to date West takes the lead in the study of sign. But it isn`t deals with, that Peirce`s Semiotics and Saussure`s Semiology stand side by side. We ought to construct the scientific idea of sign and the unified theory of sign under the guidance of dynamic theory of reflection. The sign is the thing that not represents itself, but represents the thing distinct from itself. Because the different things are infinite in the world, only by the interpretation a sign can be contacted with a object. After the success the interpretation usually retire to the depths of the memory, even is forgot, but for lack the interpretation the sign can`t contacted with the object. Therefore the structure of sign can alone be the trianglar structure composed of the sign、the object and the interpretation. The sign is only in the cognition and no sign can be out the cognition. The cognition is a effect of sign and no cognition can be out the sign. In the cognition a thing , including the words, as the sign、the object or the

interpretation is changeable and is depended on the particular cognitive process. The sign can be divided into index and symbol according as whether or not the interpretation concludes the non- constructed factor. Some of the symbol, owing to their relation between the sign and the object obtains with most people, obtain the property similar to the index and not alterable at will. These symbol have the twofold property of symbol and index. Their relation between sign and object, on the one hand, can`t be altered at will, and, on the other, can be altered at will yet, if need be. Therefore we name them “sym_in’. The sym-in is the foundation of the communication. The movement of sign are divided into the movement of language、the movement of number and the movement of logic. The triangular cognitive structure of sign is the natural outcome in the evolutionary process of matter.

Solomonick Abraham, PhD (Israel) On the Three Types of Reality Abstract: At the beginning of this century, I proposed the notion of semiotic reality, a type of reality that exists side-by-side with the ontological reality, that is usually discussed in philosophical discourse. Semiotic reality consists of the signs and sign-systems that were invented by humanity throughout the course of civilization. It is used to transmit knowledge that people have acquired to others. Coupled with the knowledge that we glean independently from our encounters with ontological reality, the knowledge we acquire by means of semiotic reality greatly assists us in learning about the world around us. It is just as mighty a source of knowledge as direct ontological experience is. In fact, in the early stages of our lives, semiotic reality even surpasses ontological experience in helping us acquire the knowledge we need and want. But semiotic reality differs from ontological reality in its origin: whereas ontology is given to us ready-made, semiotic reality is entirely the product of the human mind. That is why it has different laws of development and is completely subject to our wills. We can decisively influence it, twist it, change it, and present it in any form and design we wish.

Carlos Vidales University of Guadalajara Building Communicology: a semiotic multi-level analysis of communication theory Abstract：The present paper presents the preliminary results of an ongoing research project about the emergence of theoretical relativism in communication research based on the proposal of the multi-level approach to the study of semiosis in semiotic systems developed by Charbel Niño El-Hani, João Queiroz and Claus Emmeche, a proposal grounded on C. S. Peirce’s semiotics. In this sense, the papers presents three preliminary results: a) a semiotic methodology for conceptual analysis, b) a metamodel for the organization of communication theory and, c) an epistemological position about communication based on semiotics. In doing this, the paper proposes as a main hypothesis that Communicology it is not related with a general theory of communication, but with a conversational field about communication theory, with the emergence of communication theory as a field. This hypothesis is a response to the problem of theoretical relativism, since this problem turns to be irrelevant from this new point of view. Key Words: Theoretical relativism, semiosis emergence, communicology.

10. The Semiotics of Ecstasy: on the Self-Denial of Meaning （58）

极乐符号学：意义的自我否定 Ludmila BOUTCHILINA-NESSELRODE Université Paris 8, Ecole doctorale Pratiques et théories du sens

Renoncer pour s’énoncer : l’extase dans ses parcours de l’expression La sémiotique de l’extase est la recherche du sens de cet « état dans lequel une personne se trouve comme transportée hors de soi et du monde sensible » (Le Petit Robert). L’état en général est la manière d’être dans la société. L’état en sémiotique est la situation en développement selon trois stases au minimum : avant, pendant et après la transformation, lieu de rupture de la continuité. Parler de l’auto-négation du sens veut dire étudier la situation de suspension réfléchie et/ou préméditée du sens existant donc préconstruit au profit de son changement. Etre transporté « hors de soi » revient-il à être transformé ? Y a-t-il vraiment une rupture ou s’agit-il de son effet avec un retour inéluctable chez « soi », dans un monde non plus seulement sensible et intelligible mais aussi spirituel? Le but de l’exposé est de montrer que le sens de l’extase (1) se conjugue selon les niveaux de pertinence de parcours génératif du plan de l’expression intégrant celui du contenu, (2) se transforme par le transfert de la situation et donc « sans saut ni rupture », (3) est hautement pertinent au niveau de thématisation du point de vue du texte et au niveau de métaphorisation du point de vue du discours, (4) est l’expérience de positionnement sur le croisement des voies d’expériences corporel et pratique. Le corpus étudié est l’imagerie de savoir, romanesque et cinématographique. María Luisa Solís Zepeda Universidad Autónoma de Puebla, MÉXICO. Arrebato y enunciación en el discurso místico. (España S. XVI y Nueva España S. XVII) Resumen: Dentro del ámbito religioso católico ciertos estados afectivos –aunados a ciertas pràcticas- son conocidos como estados místicos, los cuales se caracterizan tanto por la actividad del sujeto (conocer) como por su pasividad (sentir). En estos estados el sujeto experimenta una variedad de emociones, pasiones y sentimientos generalmente intensos que se organizan de manera jerarquizada. El estado místico que resulta de mayor interés, sobre todo desde el punto de vista de los estudios semióticos contemporáneos, es el del arrobamiento o éxtasis. En nuestra investigación sobre este tema hemos estudiado algunos fragmentos de la obra de Teresa de Ávila (Vida de santa Teresa de Jesús escrita por ella misma y El castillo interior), de Juan de la Cruz (Coplas sobre un éxtasis de alta contemplación) y hemos reflexionado, también, sobre la escultura de Gian Lorenzo Bernini (La Trasverberación de Santa Teresa). La primera caracterización que podemos hacer del éxtasis –a partir de un trabajo lexicográfico- es que se trata del placer, el debilitamiento, la inmovilidad del cuerpo y la fuerza del alma, el desvanecimiento y anulación del entendimiento. La temporalidad del éxtasis es también muy singular: duración corta, terminación súbita y efectos de larga duración. En el caso de Teresa, los “síntomas” del éxtasis son descritos a partir de una afirmación “yo siento, experimento”. Esta afirmación nos lleva a las problemáticas de lo sensible (las sensaciones, las mociones íntimas, el alma sensitiva) y de la experiencia. En términos propios de la semiótica narrativa, diferentes carencias se producen durante el éxtasis: el del entendimiento común, la función normal de los sentidos, la imposibilidad de enunciar. Hay también una pérdida de modalidades, específicamente la del poder. Otra modalidad es disminuida: el saber. A pesar de esto no se trata de una pérdida absoluta, sino de una disminución y de una transformación que produce un entendimiento de otra naturaleza, en palabras de Juan de la Cruz, un “sumo saber”, una “ciencia perfecta”. Otra modalidad más permanece, el querer, figurativizado como una de las virtudes teologales: la caridad. La relación intersubjetiva entre místico y Dios, es un tipo de junción basado en la fusión: absorción (el místico absorbe a Dios) y penetración (Dios penetra al místico). El papel del cuerpo es muy importante en el éxtasis, pues se presenta como un cuerpo muerto, latente, incapaz de reaccionar a ningún estimulo exterior, es un cuerpo estesiado y anestesiado unificado al alma sólo en el placer. Si

bien podemos acceder a múltiples descripciones verbales de la función del cuerpo durante el éxtasis, no poseemos muchos medios para visualizarlo. Uno de estos medios, tal vez el más representativo, es el conjunto escultórico de Bernini. Es ahí donde podemos ver cómo el cuerpo expresa su sentir, cómo es una figura, cómo es centrípeto y centrífugo, atravesado por una tensión entre materia y energía.

Hassan Moustir Faculté des Lettres de Rabat (Maroc) Sémiotique de la Féerie et de l’extase chez Khatibi Le projet narratif d’Abdelkébir Khatibi, notamment dans ses derniers récits : Un été à Stockholm (1990) et Féerie d’un mutant (2005) a pour intention cachée de ré- enchanter le monde en allant au-delà des catégories établies. Ainsi s’aventure-t-il à transcender certaines dichotomies structurantes du récit comme le sacré et le profane, le visible et l’invisible, en les confondant dans un élan narratif extatique. Multiples sont ainsi les parallélismes que le texte établi entre le récit religieux, sa part d’extase occulte, et certains exploits de l’homme moderne, capable entre autres de voler. Khatibi fait du vol l’allégorie de l’homme libéré de ses attaches, conçu dans son devenir identitaire aveugle, ouvert à son destin planétaire et réinventant sans cesse sa propre sacralité dans le monde tangible. En découvrant au monde une opacité nouvelle, Khatibi en inscrit le sens dans une démarche sémiotique autre, qui dissout les significations établies, comme si l’invisible du monde ne peut être rendu que par son visible, devenu lui-même autre sous le regard qui s’extasie. Le personnage-narrateur d’Un été à Stockholm « Gérard Namir » est sensible aux formes ritualisées du voyage par avion. Il en offre d’amples descriptions dans le récit. Au-delà, c’est un parallélisme implicite entre l’avion comme espace de lévitation et un espace sacré consacré, espace par essence de l’élévation spirituelle. Il remarque la présence de la même retenue et des mêmes convenances de l’unité dans l’altérité. Le lexique est d’ailleurs fortement marqué par l’élan extatique : « musée vivant, effigie, convenances, territoire céleste, lévitation, etc. » Cette éthique du concret ramené à son contraire remet à l’ordre du jour les homologations habituelles du sacré et du profane, du visible et de l’invisible : dans la perspective de Khatibi, le sacré se réduit à l’habitat du monde, il consiste en la rencontre du destin planétaire commun, d’une unité dans la limpidité du ciel. Dans notre communication, nous proposons d’étudier cette considération humaniste et son corollaire mystique, car Khatibi parsème bel et bien son texte de figures insolites et d’apparitions dont le sens reste délibérément suspendu. Nous verrons les répercussions sémiotiques du recours à l’intertexte religieux qui est à la fois évident et multiple. En somme il s’agira d’articuler les deux entrées de la féerie et de l’extase dans l’écriture de Khatibi afin de sonder, comme stratégie de déconstruction-reconstruction du sens, les permutations sémiotiques des couples sensible/occulte ; sacré/profane ; visible/invisible, etc.

Elda CERRATO Universidad Nacional de Buenos Aires [email protected] POR QUÉ EL BLANCO EN EL ÉCSTASIS? Es el contenido de la praxis del écstasis decible? La experiencia ecstática y sus expresiones en algunos discursos de diferentes culturas. Breve referencia a diferentes niveles de conciencia. Ante la diversidad observada en la percepción y organización del mundo del color en las distintas culturas, ¿por qué la coincidencia casi unánime en tiempo y espacio para la elección del color blanco en la descripción del écstasis? “Oh hijo, escucha. Frente a ti resplandece la Clara Luz primordial. Reconócela. Ahora tu mente está libre de toda forma, de toda sustancia, de todo color.” Como pensamos hoy la experiencia del écstasis? Ha habido eventos que permitieron volver muy respetables en estos últimos años las ideas acerca de las modificaciones de la conciencia.

En el siglo XIX, como nos dice Beer, “lo invisible, en lugar de ser plácidamente mantenido sólo más allá del ámbito de la visión, fue comprendido de manera nueva como un sistema energético fuera del cual de vez en cuando emerge aquello que es visible”. La idea de que hay dos aspectos del ver es tan antigua como la extramisión. Hay quienes abrazan la no irrazonable creencia de que ambas posiciones son verdaderas y que hay mucho más para ver que lo que el ojo conoce. Uno de ellos es Martin Jay. La luz de dentro nos sacó y nos elevó a las estrellas infinitas. Las cosas que vemos, nos protegen, como un bote cuyos costados frágiles previenen de la inundación oceánica. Los pintores conocen el peligro. Hay artistas que dibujan una línea luminosa alrededor de ciertos objetos opacos, del mismo modo que la blancura de una ola limita la omnipotencia solar del mar en la playa. Hay quienes piensan la paradoja que opone “ver” y los objetos vistos, y que la mejor visión, de hecho, necesariamente disminuye el número de cosas que uno ve. Pues los objetos sólo se perciben en la medida de la diferencia con lo que es invisible. Se suprime lo que no se ve, y se suprimirá lo que ve también. Así una gran necesidad deslumbradora se crea: la extinción de las cosas vistas (que se ven). Es que el écstasis, la visión (de Dios), coincide con la desaparición de las cosas que se ven. Ver Dios, es finalmente ver nada, ver nada en particular. Es participar de una visibilidad universal, que no es más que el privarse de lo individual, lo múltiple, lo fragmentario y las escenas móviles que construyen nuestras percepciones: que vemos a través de la lux. En el pensamiento occidental, la luz fue conceptualizada según el modelo geométrico de rayos de los griegos, se conoció como lumen, y existía, fuera percibida por el ojo humano o no. Una versión alternativa de la luz, conocida como lux, enfatizaba la experiencia real de la visión humana: color, sombras, movimiento mas que forma. Los objetos sólo se perciben en la medida de la diferencia con lo que es invisible, conclusión impecablemente estructuralista.

Extase féminin : le cas de Rabia al Adaouia Mohamed Bernoussi Groupe marocain de sémiotique Université de Meknès Première mystique femme et musulmane, Rabia al Adaouia occupe une place de choix dans la littérature religieuse du Moyen age arabo-musulman. Elle fait l’objet de légendes qui montrent à quel point sa vie et son œuvre constitue un exemple d’une haute signification dans la culture arabo-musulmane du VIIIème siècle. Non seulement c’est la première fois qu’une femme s’adresse à Dieu d’une façon aussi libre et aussi expressive, mais c’est la première fois qu’une femme exprime son amour et sa passion –vis-à-vis de Dieu- de façon aussi débridée. On l’aura deviné, ce qui distingue la littérature laissée par Rabia al adoauia, c’est une adresse permanente et directe à Dieu, à la fois objet et quête d’un discours voué malgré la figure dominante de la prétérition à se chercher et à se nourrir en permanences de ses apories et de ses limites Cette adresse à Dieu nous intéresse particulièrement d’un point de vue sémiotique et genrologique. Son interrogation et son étude nous renseigneraient sur les codes à l’œuvre dans ce premier discours féminin adressé à Dieu, sur les règles et sur l’imaginaire qui préside à son élaboration. C’est donc une approche à mi-chemin entre la sémiotique discursive (plus particulièrement mystique) et les gender studies. Quelle est la semiose en acte à travers l’adresse permanente à Dieu ? comment se performe l’identité genrologique, pour ne pas dire sexuelle, de l’auteur à travers ces textes ? Telles sont les questions qui vont guider cette étude.

11. Conceptual Modelling of Time and Space 时空的概念模式化（59） Füsun Deniz Özden Istanbul University, Turkey Door and Window/ Interior and Exterior: Situation of Women in Spaces Abstract：According to the

conception of art and literature until late XIX century women represented the interior while men represented the exterior. As known the situation was not different in literary and visual works of other cultures that are considered to be the “other”, such as the West and the East, Christianity and Islam. In this work, the scenes in the film of “Aşk-ı Memnu” that was related to the Turkish paintings by Osman Hamdi, Namık Ismail and some miniatures, etc. The scenes in the film “ Sense and Sensibility” that are the changes in Turkey as a result of Westernization, and the changes in Britain in the Postcolonial period are analyzed in the contex of “The situation of women in spaces” by using different signs in different contexts und under different circumstances.

Daina Teters Latvian Academy of Culture, Riga, Latvia Conceptual Modelling of Time and Space Abstract：The difficulties with the perception of time and space are related to the fact that there are no individual or autonomous concepts describing the phenomena of time or space; there are many of them. These are not phenomena of one type; they demonstrate such semantic variation that one has to think about times and spaces found on the cognitive horizons of humanity that are of different levels and for different purposes. While they may have parallel usage, yet they are clearly distinct from each other. Each usage of these times and spaces serves a different social, psychological, cognitive—or other—function. If we are to approach these concepts, we have to look at their application in our modelling systems. Specifically, how can they be reconstructed and seen, depicted and translated into other sign systems, i.e., how can numerical, linguistic, geometrical and further similar equivalents be applied to them? Only with the help of these equivalents, and through them, can time and space be perceived. In sign systems, space and time can be said to acquire clothing in order to be cognitively perceived. In this way, time and space can be understood as conceptually constructed forms, which are sustained by social means and are inherited by way of mastering systems of signs, in which they are encoded. Since we use these sign systems, we are forced to use these forms for modelling time and space. In language, the nature of discussion about time and space involves the correlation of various co-existing and overlapping sign systems. Any modelling of time and space is possible only against a previously existing background of time or space. This implies a mandatory overlap of time and space systems, of which one will be a model of time and space and the other will serve as their meta-model. The MetaMind Round Table “Modelling of Time and Space” is devoted to the semantically different models of time and space and to the interrelationship of these models.

Dāvis Sīmanis Latvian Academy of Culture, Riga, Latvia Cinematic Reconstruction of Historical Time-space: Practice and Theory Abstract：The unity of the cinematic terms “post-fiction” and “post-documentary” evolve from the growing tendency to reject fact/fiction dichotomy. The filmic reconstructions of the history have transformed into fact/fiction hybrids, which rely on a common belief in factuality, grounded in the metanarratives of positivistic science and the Enlightenment. Overall, these reconstructions are characterized by the dominance of the visual reality over cognitive reality, because they involve an audience in a certain shared historicity. The audience applies modern ideas, emotions and aesthetic awareness to the filmic past, shaping a completely new historical narrative. It can be described as a typical example of communal fantasy, which in extreme cases becomes part of the historiography. The current challenge of the authors film is to define a new creative treatment of actuality that could reveal historical truth more than a mimetic record. For this reason now they ought to produce films that immediately display the distinction between the actual and the fictional by shifting actual representation into the realms of

stylisation. Accordingly, this provides the audience with a strong judgment of an artificial cinematic construction. Deliberate stylisation overcomes a modern hybrid of documentary and fiction thus making disassociation of factuality from hyperbolised fiction feasible.

Voldemārs Johansons Jāzeps Vītols Latvian Academy of Music, Riga, Latvia Atemporality of Waves and Lights Abstract： In spite of the concepts of temporaneity and transitivity with which we have associated the world since the rise of Christianity, it contains phenomena that do not begin and do not end. They exist but they do not cease, neither are they external, the same as light and waves that, if we believe in the Bible, have existed at the very beginning of the world. To develop the idea mentioned above, I propose two site-specific installations that attempt to create a synchronous form that functions simultaneously within the dimensions of space and time. In this setting, artistic research considers the emergence of form as a result of a physical process and functions as a vehicle for enquiry into nature of experience: the synthesised space-time illusions represent an inquiry into the concepts of reflection, fluidity and nonlinearity. Fluidity creates a form that is instantaneous and vanishing by definition - a form that changes in a split second as it is opposed by gravitational and other forces. A constructivist approach to arrangement in time and space explores the morphogenic (emergence of form) capacity of vibration and waves, and the way motion and matter interact to create shape and experience. Phenomena such as diffraction of light, flow of water and light waves are presented through a prism of artistic interpretation in effort to reveal the organisational patterns and principles that extend beyond a subjective viewpoint and observation.

René J. Jorna University of Groningen, Netherlands How to model Time and Space: the non-tangible and semiotic aspects. Abstract：Time and Space are concepts that are non-concrete, non-tangible and do not exist without interpretation outside the human mind. Time does exist, but cannot be defined as soon as you ask for a definition, as Augustine already argued. Space can be referred to as soon as we use our perceptual senses, but then immediately it asks for further precision. Again and again it seems that both concepts escape precision. For both time and space we developed the last 1000 years all kinds of measuring instruments from clocks and escapements to meters and rulers meaning that we in principle work with all kinds of signs and symbols. However, both concepts are modeled and used in many occasions of which the most significant one is about constraints, goals and entities of this time and space. What I mean is: making a plan for one or for both. Planning may concern time and/or space. A planning problem consists of groups of entities, whereby the entities from different groups must be assigned to each other. The assignments are subject to constraints, and alternatives can be compared on their level of goal(s) realization. Planning concerning time is often called scheduling and concerning space is called regional land use and city or rural use. In both definitions of planning we distinguish seven primitive singular object types: person, location or space, task, machine, vehicle, time, and product. In scheduling always time is included, in regional planning always space. In dealing with time and space in planning we distinguish three main elements of planning. First, it is important to acknowledge that some actors must make these plans. Note that all kinds of actors can make plans, for example, humans, robots, computer programs, animals, organizations, etc. Important features of the planning actors are the model of the future that actors have, and the process characteristics of making the plan. The actor needs some kind of model of the future, since the future is essentially at the moment non-existent. Second, someone or something must execute the plan, i.e., the intended future must somehow be attained. Again, this can be done by all kinds of actors, and the planning entities need not necessarily be involved in the plan execution themselves. The third element of planning is the plan itself. The plan signifies the belief that the planning actor has in the

model of the future: the implicit or explicit actions in the plan will lead to the desired or intended future state. It can never be a full specification of the future itself because it can never be specified more precisely than the model of the future allows. If we are to approach time and space, for example in planning, we have to look at their use in our modeling systems. Only with the help of equivalents of numbers, words, formulas, icons, pictures and diagrams can time and space be “perceived”. In sign systems, space and time can be said to acquire clothing in order to be cognitively perceived. In this way, time and space can be understood as conceptually constructed forms. In my presentation I will discuss the following three topics. I will start with explaining why time and space, i.e. in planning, are operationalized. Secondly, I will give examples of various kinds of planning with the use of various object types, such as materials, locations, engines, time(s) and staff, taking into account constraints and goal functions. Third, I will in the end make a small detour with regard to the role and the importance of semiosis and semiotic systems.

Winfried Nöth University of Kassel, Germany/ University of São Paulo, Brasil The Spatial Representation of Time in Graphic Narratives Abstract：This paper is a study of how time is represented in the spatial dimension of graphic narratives, with particular reference to Marc-Antoine Mathieu’s graphic novel L’origine. Graphic narratives consist of a plot, a sequence of imaginary or real events involving agents and places, and a story, which serves to represent the plot by means of words and pictures. Both plot and story have temporal and spatial dimensions. Time is either plot time, the time of the events represented in the story, or it is story time, the time it takes to write, read, and interpret the narrative. To both kinds of time, the distinction between absolute (physical) and experiential (psychological) time is of additional semiotic relevance. Space, too, is a dimension of both the plot and the story. Plot space is the three-dimensional cultural and natural, real or imaginary semiosphere in which the narrated events are situated. Story space is either the graphic space of its drawings on paper or the typographic space into which its words are inscribed. The typographic space in which temporal signs are inscribed is either a semiotic or a nonsemiotic space, as far as the representation of time is concerned. The writing space needed to print temporal expressions such as “once upon a time” is temporally a nonsemiotic space since any word needs some space when it is written. Only when words serve as icons and indices, their typographic space may represent plot time. By default, the direction of writing is a diagram of the direction of the plot time: the sequence of the words is an icon of the sequence of events, the size of the typographic space is a diagram of the real and or psychological length of the plot time, etc. The graphic space in which the narrative is inscribed in the form of pictures may equally serve to represent plot time by means of indices and diagrammatic icons. Each panel is a graphic space which represents a moment of story time. The static character of the framed picture extends the moment of the plot which it represents by freezing its events in motion to immobility. The panel sequence of the story is, by default, a diagram of the sequence of the plot events, the quantity of graphic space in the story is an icon of the length of plot time, especially if plot time is also understood as psychological time, and the number of panels in relation to the amount of plot time represented by it determines the narrative tempo. Time is furthermore inscribed in the figurative space of objects, which indicate temporality. Clocks and calendars are diagrammatic icons of time, and speed lines are well-known visual metaphors of velocity. Time is indexically inscribed into representations of human figures insofar as these represent their age, into natural objects insofar as they give evidence of the time of the day or the season, and into cultural objects insofar as they are marked by their age as old or new, historical or contemporary, etc.

Mathieu’s L’origine is a narrative which reveals a semiotic paradox. The life of its protagonist Acquefacques is only real in story time. As the protagonist finds out himself, the story time in which he lives does not represent any plot time. In search of the origin of his existence, it is his destiny to discover that the signs of time in his semiosphere are signs of a story without a plot, hence signs of a life which exists only within the two-dimensional space of white pape

Farouk Y. Seif Antioch University Seattle, Center for Creative Change [email protected] “Navigating Through Diaphanous Space and Polychromic Time” Abstract：We perceive the world as a three-dimensional space modulated by the passage of time. Spatiality and temporality in human experience are merely ordering systems upon which all objects and activities in the world can be perceived as real. However, the literal-minded perception of space and time has triggered absolute socio-cultural and cognitive values, which in turn have led to limiting and constraining consequences. While space and time are comprehended as elements of a semiotic systemic framework for humans to make sense of their experiences, they are not the ultimate truth. What is real is not always true. The distinction between the real and the true is what makes the study of semiotics quite different from, for example, the study of physics or chemistry. Space and time are not absolute notions. Like all semiotic signs, the words “space” and “time” are open to multiple interpretations. Cultural experiences are real, but material things are true. An experience is real, but scientific observation is true. Where the true depends on factual information, the real relies on multiple interpretations. Human beings are no longer satisfied with facts; they demand to understand their causal connections and strive to discover ways to recreate their spatial and temporal reality. Human perception of space and time is essentially an illusion. However, considering the current condition of hyperreality and digital development, illusion is not necessarily the opposite of truth or reality. Technologically advanced society would benefit greatly from an age-old tradition exemplified in ancient Egyptian navigation through diaphanous space and polychromic time. For example, the idea of diaphanous space represented in the principle of anthropocosmos was founded in temple architecture “the House of Life”, where the image of the human body and the universe transparently interconnected. And the concept of polychromic time provided a constitutive factor for the entire Egyptian experience, where the notion of time was conceived as a reversible circular dimension and the practice of the agriculture-based society was bound to the cycle of season in an infinite process. Learning to navigate through diaphanous space and polychromic time bridges different civilizations and, more specifically, stimulates cultural sensitivity and environmental sensibility.

Sungdo Kim Jeung-Hyun Nam Yee Jin-Young Korea University, South Korea The Metaphysics of Simplicity: Several Semiotic Reflections on Spatial Modeling of Jongmyo Abstract： This paper is a preliminary semiotic research on the Jongmyo Shrine, a world heritage site – as inscribed in 1995 – and the earliest surviving Confucian royal ancestral shrine which was built in 1394 and had been in use up until the beginning of the Japanese occupation of Korea. It will first examine the semiotic homology between spatial structure and Confucian ideology and rituals. We would like to remark that every year this authentic historical monument hosts a unique ritual of song, dance and music, and is thus regarded as a rare semiotic example of safeguarding tangible and intangible dimensions of space. Therefore there might be a sophisticated temporal modeling in this Royal Ancestral Rite and ritual music of the Jongmyo Shrine located in the heart of Old Seoul. In particular, it will examine the key architectural aspect of simplicity, which makes this place unique and splendid. In fact, rigorous geometric forms expressed in the original tablets symbolize emptiness, oneness and the moment of serenity. This architectural perfection through its simple and sober configurations creates a transcendental space. Another impression produced by this site is that of

materiality. The founding principle of the wooden shrine structure incarnates a mysterious spirituality and attains an emotional state of aesthetic perfection. This semiotic economy of highly symbolic, expressive and suggestive simplicity could be compared to modern architecture, for example, the works of Mies van der Rohe and Ando Tadao. We also attempt to combine the methods of topological semiotics, such as those of Greimas and Lotman, along with different architectural theories – Kevin Lynch, Aldo Rossi, and Noberg von Schultz.

Winfried G. Kudszus University of California, Berkeley, USA Linguistic Emergence of Time and Space in Paul Celan's Poems and Poetological Reflections Abstract：In his poetological speech Der Meridian (1960), Paul Celan develops a view of poetic presence that is both topologically concrete and conceptually absent. His poetic topology refers to an activity of global mapping in which the two poles circularly connect via an immaterial line that crosses the tropics and simultaneously the tropes (German Tropen). A hotly infused immateriality emerges in which particular shapes and moments radiate with the intensity of that which possibly is about to occur. If that potential event has a place, it is as precarious as that under a guillotine. In modernist poetry, emergent time and space enter and exit hand in hand, intimately intertwined in a moment of exposure. In regarding, and in listening to Celan's poetry, sights and sounds present themselves at moments of arrival and departure. At its most poignant moments, Celan's much-cited darkness animates a poetic language that posits its presence in a lunar, if not lunatic glare. Concurrent and consonant with this frightfully effervescent time, contours of space develop in movements of actors both present and departed. If a lyrical persona appears in the course of the meta-temporal poem, those who are not present anymore begin to speak just before time and space commits them to oblivion on the far side of memory.

Irmengard Rauch University of California, Berkeley Configuring Time and Space in Canine Zoosemiotics Abstract：Canine literature frequently raises the challenge of the reality of the “thinking” dog or to the “knowing” dog reflective of the murky dispute on the cognitive abilities of the non-human animal from Ancient thought to the present and across multiple disciplines, which laid the groundwork for the gestation of the concept zoosemiotics. Sebeok (1972:178) defines his neologism, zoosemiotics, as “the discipline within which the science of signs intersects with ethology, devoted to the scientific study of signaling behavior in and across animal species.” For Peirce the inclusion of the non- human animal among signifying animals is an absolute. He thus attributes inferential habits to non-humans, while attributing human knowledge to animal instincts; Peirce writes (v. 2:754) “…all human knowledge up to the highest flights of science, is but the development of our inborn animal instincts.” Two fundamental parameters which question the cognitive abilities of dogs are directed to their possible perceptions of time and of space. Sophisticated enough for their understanding by humans, how dogs understand time and space frequently remains anecdotal. This paper offers linguistic fieldwork data on canine communication, albeit through the eyes and ears of the human observer / surrogate, but nevertheless linguistically rigorous. As expected the nature of language remains a focal point in configuring temporal and spatial percepts in canine zoosemiotics.

Richard Trim University of Aix-Marseille, France Variability of time and space in cross-cultural metaphorisation : the role of extraction levels Abstract：In metaphorical mappings, time is often projected in terms of space and vice versa. Some approaches in linguistics, such as Conceptual Metaphor Theory in cognitive linguistics, would claim, for example, that spatial orientation plays a major role in conceptualising time. Direction upwards or ahead would signify foreseeable future events as in English: all upcoming events are listed in the paper or I’m afraid of what’s ahead of us (Lakoff & Johnson 1980:

16). The opposite directions also seem to portray the past: I’ve put it behind me or he looked into the depths of the past. This orientational construct also seems to be present in cultures which are very different from English. According to Yu (1998: 92-95), there are similar mapping procedures in Chinese such as quian-chen (behind- dust/trace = past) or quian-tu (front/ahead-road = future; prospect). There may therefore be universal constructs of time and space in metaphorisation. Despite this apparent uniformity, the issue which will be raised in this paper is defining which features influence the degree of cross-cultural variability. The examples above reveal the fact that there are two conceptual components in the mapping of time and space: an embodiment component that depends on how the human mind conceptualises the environment in physiological terms, and a cultural element, such as a road, in the last Chinese example. The majority of metaphors have a mixture of the two that forms a varying embodiment/culture ratio in mappings. However, wide distribution of metaphor may not depend solely on embodiment. There may also be wide cultural distribution either synchronically or diachronically, as in the borrowing or entrenched long-term conceptualisation of certain forms relating to colour symbolism (Trim, forthcoming). This study will argue that there is also a level of extraction in both components that may play a role in cross- cultural variability. This concept refers to how wide the referential range of the source and target domains may be, either in the potential creation of metaphor in any culture engendered by embodiment, or in entrenched cultural symbols. Extraction levels seem to be graded; the higher the level, the more universal the construct may be. The result is that the process finally involves two notions of time and space: the first is variability of these features in bi-directional mappings of metaphorisation and the second is the nature of metaphor patterns that can be seen in historical time and cultural space across languages.

Solomon Marcus Stoilow Institute of Mathemics, Romanian Academy, Romania Time, Space, and Semiosis Abstract：There are two lines of thinking inaugurated by Ancient Greeks in the study of time. One of them belongs to Heraclitus and to Aristotle and refers to events, i.e., temporal phenomena to be investigated in their becoming. The other line of thinking belongs to Parmenides and to Archimedes; for them, reality has nothing to do with temporality, so the idea of time should be eliminated and replaced by geometry. When examining the evolution of science and of social life today, we realise that the second line of thinking gained the competition against the first line. Social life as well as the development of science never refer to time directly, they always use a metaphor as an intermediate step that in most cases is located in space or correlated to space. As a matter of fact, time is a fictional entity emerging just through the metaphorical processes referring to it. Such diaphoric metaphors referring not to preexistent entities, but to entities emerging just via the respective metaphorical process, are opposed to epiphoric metaphors, referring to preexistent entities (such as in “this girl is a flower”). Time becomes meaningful exclusively through these metaphorical processes. Time can be money, a river, an arrow, a bird, a prison, a thief, a spinner, a storm, a stream, a gift, a line, a circle, a thread, a predator, a race, a teacher, a reef, a trap or a malefic being, deserving to be killed. But it has always been an alternative attitude in philosophy, science, religion, art and poetry. However, this alternative attitude always remained in inferiority, just because the semiotic mediation process was missing. Ancient myths, quantum mechanics, art, religion, the temporal horizon of a baby, the idea of eternity were faced with situations, in which the past-present- future distinction is in crisis, being replaced by a continuous present. One can understand Bergson’s protest against Einstein’s relativistic time, an artificial four-dimensional space-time. Temporal infinity is essentially faced with a semiotic crisis. Here, we have to cope with two metaphorical processes, one referring to temporality, the other to infinity. We reach a situation where linguistic means become powerless and we have to keep silent. We understand more than we can tell, but it happens sometimes that we say more than we can understand.

Another difficulty in approaching time and space is the impossibility to define and understand them before adding an attribute to them. The strategy I have adopted in my book Time (1985; 2010) was to analyse systematically the chronological, the physical, the quantum, the relativistic, the biological, the psychological, the geological, the linguistic, the social (etc.) time and try to find possible common features among some of them, to understand their interaction. Obviously, the impossibility to approach time without any specification is related to the impossibility to capture it directly and the need to use a metaphorical approach. A third difficulty is related to the fact that, as human beings, we are inside various types of time ( chronological, physical, biological, etc), thus, we cannot avoid a self-referential, circular situation. It is also very problematic whether we can understand time and space otherwise than together. Trying to bridge at least a part of the variety of aspects involved in spatial-temporal phenomena, we reach the idea that the following things are mutually consistent: The representation of the world, as it is perceived by our sensorial-intuitive capacities. The representation of spatial relations, as they result from Euclidean geometry. The representation of time and energy, according to the Galileo-Newtonian mechanics. The representation of the surrounding, according to its reflection in various forms of human language and human semiosis. The representation of the world according to the laws of classical logic: identity, non-contradiction and excluded middle. The representation of computing activities and the algorithmic thinking, according to the functioning of a Turing machine. To be a macroscopic being, with sensorial, intuitive and semiotic capacities limited to the macroscopic universe. The representation of beauty and art according to the requirements of simplicity, order, regularity, symmetry and harmony, proposed by Greek antiquity, and of Renaissance. The essential point in the above statements is the idea that all things from 2 to 8 are consistent with 1 and potentially generated by 1. Our way to approach space and time cannot transgress the macroscopic universe. In order to capture some signs from the quantum and from the relativistic universe, we use macroscopic means: macroscopic analogies, metaphors and allegories (see Plato’s allegory of the cave).

Ernest W.B. Hess-Lüttich Universität / University of Bern, Switzerland Time and Space in Urban Planning: Communicative Infrastructure of Implementing New Concepts of Mobility and Energy in the City Abstract：Sustainable urban planning is understood as a communicative process, which reflects the concepts of time and space in the sectors of architecture, technology, and social structure in order to improve mobility systems and energy supply. Therefore, semioticians may contribute to the empirical investigation of discourse processes which brings together citizens, planners, architects, administrators, politicians. The focus on sustainability implies not only considering effectiveness in the dimensions of time and space, but also decisions on the preservation of cultural heritage. The modelling of socio-cultural sign processes involved in this highly specialised and yet transdisciplinary discourse calls for expertise of semioticians, linking the intermediary fields of urban discourse, sociology, and ecology. The paper attempts to illustrate this modelling with an exemplary look at current projects of this kind (Basel, IBA Hamburg and Berlin) in order to better understand which communicative maxims may improve the mediation between diverse interests of the communicators involved in this discourse – for a better living and an effective time management in urban space, including the historical, technical, and socio-cultural/inter-cultural implications of its semiosis.

Francoise Neff the National School of Anthropology and History of Mexico (ENAH) [email protected]

Reunite and disperse in order to multiply Abstract：The dances and food offering that are part of the indigenous rituals, are organized on a basic space-time scheme. This may be a circle or a square wherein it is possible to localize all sorts of meeting processes among multiple entities in movement, for example the wind, clouds, thunder, lightning, and mountains in order to make the rain pour down on the earth in the months of April and May. So there are no steady signs that would designate identities, on the contrary, this is about fusions and dispersions that are manifest in changes of intensities that are perceived by the senses (ear, eye and touch). That is why Movement is an important sign in the old Mesoamerican calendar and why Growth is a deity that is celebrated even in current times by certain communities. These myths and rituals have often been interpreted within a limited cadre wherein the essential and the elementary would seek to define closed classes of identities. In my proposal I put forward a totally different perspective in order to explain the meaning from the calendar as an inscription´s frame of space-time and sacrifices as intensity´s change and transformation of all type of “entities”.

Gunnar Sandin Lund University [email protected] The agency of matter and controversy. A methodological merging of semiotic models of space. Abstract： In the domain of current spatial semiotics two important, but also radically different, approaches can be used to model the co-operative agency of human, material and legal properties of space, namely that of Manar Hammad’s and that of Bruno Latour’s. Hammad, as a semiotician truer to the Greimasian heritage, regards a finite set of principal actantial types (owners, visitors, authorizers, and material partitions), while Latour, who is more openly critical of structuralist and typological approaches, suggests a more open-ended model as far as the types of actants concern. Both approaches render the production of space in societies or communities from an agency perspective, and these models allow a semiotic analysis of architectural and urban space, that regards the environmental and material circumstances as vital. This actantial analysis opens for instance for the issue of the negotiability of space, and for the determination of spatial accessibility. In comparison, the philosophical concept of spatial otherness (heterotopia) as stated by Foucault must be seen more as a description and historical rendering of existing spatial divisions and overall societal trends. A heterotopic point of view may of course nevertheless help deconstructing authoritative categorization by way of making clear that specific places’ depend on the societal web and its overall historical authorization mechanisms. However, a view more concerned with the actual operators in spatial production will acknowledge that actors are found, rather than thought up beforehand. The actors, major as well as minor ones, that have decisive impact on space, have thus to be ‘followed’ in their defining of spatial activities, and they can be found through the locating of controversies in connection with spatial activities, such as the establishment of new architecture or new city parts. One would also, in an effort to avoid dichotomic (either-or) ways of locating possible spatial controverses, allow a gradual view where actants rise and expire, grow and diminish, transform or stay intact as the sociological process goes on. If Latour’s emphasis on letting the actants themselves decide the grouping of will and matter (rather than having the scientist’s mind doing it beforehand), is added to Foucault’s otherness approach and Hammad’s typological variations, one may see a methodological pattern of how to investigate the agencies of urban/rural space production. Such a “merged” model, of otherwise partly incompatible theoretic origins, would then build upon a methodological succession, or analytical-temporal procedure, that should preferably await stabilisation as long as possible, in order not to loose its applicability to unexpected data or studies. This successive – and in practice temporal – analytic procedure would open for a Latourian re-evaluation of found actors, while allowing Hammad’s scale of recurrent spatial actors a comparative role as providing catalytic and complementary actantial types. In such a “merged” model, the regular, as well as the spontaneous operators of space production will thus appear.

12. Semiotic Anthropology for the 21st century 21 世纪符号人类学（62）

Catastrophe of signs, signs of catastrophe 符号学的灾难与灾难的符号

学（65） Prof. Soo Whan KIM Hankuk University of Foreign Studies Prof. Ki Jung SONG Ewha Women University. President of Korean Association for Semiotic Studies Prof. Yong Ho CHOI Hankuk University of Foreign Studies（[email protected]） Catastrophe of signs, signs of catastrophe Abstract：Catastrophe – one of the most important words which characterize our era. Nowadays, many individuals actually live in fear of catastrophe and disaster. For instance, from the global economic crisis of 2008 in the U.S. as well as in Europe to the last big earthquake in Japan, different signs of catastrophe have been observed in almost every part of the world, affecting our social as well as economic lives. Etymologically, Catastrophe means ‘to turn upside down’, combining Greek words Kata (down) and strephein (turn). The image alluded from this word is a sudden crack in the middle of ordinary daily life, and as a result an advent of unprecedented crisis, after which previous pattern of life already becomes impossible. It is a sweeping collapse of existing bio/semiosphere in such an ‘irreversible’ way that present sign system stops operating properly and all rules regulating it turn out to be in suspension. But exactly in that sense, catastrophe also can mean a historical turning point that leads to a completely new direction in an unimaginable way before. Therefore, catastrophe – always is a beginning as well as an end, a hope as well as a despair, an utopia as well as a dystopia. In our round table entitled Catastrophe of signs, signs of catastrophe, we attempt to characterize this global consciousness of crisis from a semiotic point of view, claiming that catastrophes can be viewed essentially as a collapse of the sign system. To some extent, signs of catastrophe exist in the form of a crack or fissure, so to speak. Our proposal is to describe in semiotic terms modalities of the so-called catastrophe we’ve been going through, with reference to its different aspects. Our round table is composed of three speakers as follows: The paper by Soo Hwan Kim, entitled Catastrophe as irreversible process: on “explosion” in Yuri Lotman aims at examining the concept of ‘explosion’ in the late thought of Yuri Lotman, which has been shaped under the decisive influence of Physicist I. Prigogine(i.e. the concept of ‘bifurcation point’), illuminating it as a kind of ‘catastrophic turning point.’ The essence of the concept lies in the fact that, at the moment of it, the general flow of history as a single linear process is stopped and, as a result, the law of casualty that oversees the flow can no longer be applied. It is an occasion for unpredictable things, or fundamental openness to ‘pure events’ that cannot be dominated by existing discourses The paper by Ki Jung Song, entitled The end of libertinage, deals with the concept of scandal from a catastrophe perspective, working on a Korean film Scandal by Jae Yong Lee, adapted from Liaison dangereuse by Laclos. Song suggests a semiotic reading on the plot of libertinage as a catastrophe in a personal life. The paper by Yong Ho Choi, entitled Semiotic square revisited: the cross-contradiction as a logic of catastrophe, attempt to reread the model of semiotic square in the context of a logic of catastrophe to precisely characterize the topos of postmodernism. In this paper Choi analyze a Korean film The Front line by Jang Hun, using the logic of catastrophe based on semiotic square.

Ph.D. Asunción López-Varela, Universidad Complutense Madrid, Spain. Media Anthropology: Semio-Cognitive Basis for Online Cooperation Abstract：The paper revises human perception, the role of shared attention in communication and spatial and temporal cueing in the form of eye- contact and sound. It seeks to explain questions such as: how, where and when does the semantic unification take place in multimodal streams of information? Do information streams overlap? Do they follow sequential patterns? How much of human interaction with media depends on common perceptual capacities and how much on socio- cultural aspects? Many of these questions require interdisciplinary research. In order to approach these questions, the following lines offer a case study for visual and sonic deixis by means of an analysis of Annie Abrahams online performances.

Dr hab. Marcin Brocki, Jagiellonian University, Krakow, Poland and Lower Silesian University, Wroclaw, Poland. Subject proposal: “Semiotic anthropology confronting current debates on engagement, importance and application of anthropological knowledge” Abstract：Semiotic anthropology is usually accused of being too theoretical (and static) and distanced from the current, most important debates in anthropology, ie. on applicability and involvement of anthropological knowledge into public debate. But in my opinion the question whether general anthropology might be an important element of the public debate (as i.e. opinion-maker) seemingly rely on its applicability, because the presupposition that support this view is misleading. It is worth to notice that if the discipline isn’t easily applicable, or it doesn’t provide prescriptions for solving practical problems (as semiotic anthropology), is not automatically perceived as worthless and excluded from the debate. Philosophy, archeology or history are the best examples. The thing is that those disciplines are more effective then anthropology in translating their perspective onto language of public debate. Why? The answer is multifaceted. First of all they have already well-established symbolic capital as consistent and thus reliable disciplines – anthropology today blurs its boundaries to the extent that even for its practitioners makes the discipline vague. Vagueness isn’t a perfect basis for being reliable. Secondly, why should we expect being treated as experts (objective scholars) if in most cases when anthropologists speak about some socially relevant problem he takes a side – thus mixes roles (at worst becomes an activist and thus, additionally, loosing a distance necessary for understanding). The third factor is a distinctiveness – we sometimes act as we were economists, political scientists, sociologists, etc. which we are not, and thus not only confusing our “audience”, but also compete in the competition in which we are in a worse position in advance. Within the situation semiotic anthropology seems to be the stabilizing factor.

13. Aesthetics – Semiotics: current perspectives of a problematic post-

modernity 美学符号学：当下后现代视角（67）

Abstracts To Be Submitted

Part B: Arts (艺术)

14. Film theory and semiotics: retrospective & prospect （7）

电影理论和符号学：回顾和展望

Dr Anna Dullaart Chairperson of the AFDA Academic Standards Council [email protected] Men in Film: Having their cake or eating it? Abstract: This research reports on semiotic analysis of representations of male identity in South African student and professional films. The research draws on theoretical models from Greimas and Žižek to interpret how South African masculinities are represented, with specific focus on how the film heroes are rewarded at the end, how they get or don’t get the prize at the happy ending of the film story. The research methodology incorporates student scriptwriters’ own reflections on their choices of signifiers, and current research on South African masculine identity in transition.

In open-ended interviews and text analyses male students formulated own reflections on the (intended and achieved) semiotics of their films. In one of the case studies the black male hero is rewarded by a girl with a chocolate cake. The desires encoded in the reward of cake, and how it represents the ideal ego, represent a political subconscious (Žižek) of the film’s male identity representation. Tensions between local and global signification systems provide rich material for analysis with Greimas. The conclusions of the study include proposals on improving film students’ semiotic encoding skills. Many script doctors and film schools across the world use binary codes to teach students about encoding meaning. The Greimas semiotic square allows for a more sophisticated methodology. For instance, students become aware of not only encoding the character, but also of the context of socio-political transition in which identity is signified. The study hopes to be relevant to other societies in transition, where young filmmakers can contribute to social meaning-making.

Sun Cheng, School of Film & TV Arts and Technology, Shanghai University [email protected] Transcendental Empiricism: Deleuzian Semiotics Referring to Cinema Abstract: Following and improving L. Hjelmslev and C.D.Peirce’sign theory, Deleuze takes image as a non-linguistically formed signaletic material (mass, content), and proposes the concepts of pre-linguistic images and pre-signifying signs, with which language system should be retested. Deleuze has defined ‘semiotics’ , rather than semiology, as the system of images and signs independent of language in general. This article maintains that the concept of pure semiotics extends the scope of study of sign as a discipline or a methodology, but his attempt still lack concrete proof for his semiotic transcendentalism. Our analysis will focuse on that how successfully articulation is replaced by the modulation, and the connetion signifier–signified is replaced by the circuit the whole-the objects. The whole and the objects are defined on the vertical and the horizontal axes. Image, as the non-language material, turns the value of the signified into zero degree, i.e. the signifier coincides with the signified, as a result, signs disappear from semiology. Both image movement as a whole and the thingness as the objects constitute the base of Deleuzian pure semiotics, in which the image itself is the sign. Since the concept subjectivity is still ambiguous in shaping the function of the whole and the objects, Deleuze finally emphasizes a conception of spiritual automaton, with which the circuit of the whole & the objects proceeds to the subjectivity, i.e. the thought-image called by Deleuze. The brain is the screen; the image is the thought; and finally the sign is the image. The whole-the objects-the subject constitutes a super circuit. The image-sign is no longer empirical, nor metaphysical; it is transcendental in the sense that Kant gives.

FENG Dezheng, National University of Singapore [email protected] The Multimodal Representation of Emotion in Film: A Social Semiotic Approach Abstract: The research is a continuation of the current state of the art of the socio-functional approach to film discourse envisaged by John Bateman and his colleagues (e.g. Bateman, 2007; Bateman and Schmidt, 2011; Tseng, 2009).

Complementing their focus on the ‘textual logic of film’, the current study attends to the interpersonal semantics, in particular emotive meaning. The social semiotic modeling of how emotion is represented in film also complements cognitive studies which focus on how film devices elicit emotion from the viewer (e.g. Carroll, 2003; Grodal, 1997; Smith, 2003; Tan, 1996). Apart from drawing upon the theoretical tools from systemic functional linguistics, we also acknowledge that human perceptual system and folk psychology are systematically exploited in film meaning making (Carroll, 1996; Newman, 2005: 119). Therefore, drawing upon social semiotic theories and cognitive theories of emotion, we develop a multimodal framework in which filmic representation of emotion is seen as combinations of semiotic choices derived from cognitive components of emotion. Paradigmatic systems for the representation of the two main components of Eliciting Condition and Expression are developed. At the level of discursive organization, the choices available in the shot organization of the Eliciting Condition and Expression are examined. Meanwhile, the role of Character Emotion in the construction of local coherence and in the shaping of film genre is explored from both synoptic and dynamic perspectives.

LIU Yung-Hao Department of Radio, Television and Film SHIH HSIN University, Taiwan Intertextuality and place in Wong Kar-wai’s Film Abstract: Wong Kar-wai’s I Traveled 9000km to Give It to You is a segment in To Each His Own Cinema, a 2007 collection of 33 short films commissioned for the 60th anniversary of the Cannes Film Festival. In I Traveled 9000km, Wing Fan (the main character) is making out with a woman with wedding ring in a movie theatre. The offscreen sound suggests that it is Godard’s Alphaville (1965) showing on the screen in the theatre. On the screen, in Godard’s Alphaville, Eddie and Anna are talking in a hotel room. Anna asks Eddie for a light for cigarette; Eddie puts the lighter on table, and shoots it with a gun. The bullet glanced the lighter and sets up the fire. Eddie takes up the lighter and lights his cigarette. The encounter of Eddie and Anna in Alphaville was transformed into sexual affair between a young man and a woman alone in a movie theatre in Wong’s I Traveled 9000km. Therefore, there is a direct adaptation and obvious intertextual relation between I Traveled 9000km and Alphaville. This paper, by discussing the concept of cinematic quotation, the re-writing of cinematic image, the relation between movie theatre and heterotopia and the occupation of sign and meaning in cinema, ponders on the interesting question—does Wong consciously re-write Godard’s Alphaville in I Traveled 9000km to Give It to You?

Peng Baoliang Guangdong University of Foreign Studies [email protected] Between Signifiers and Signifieds: the Zeugmatic Rhetoric and Laugh in “Let the Bullets Fly” Abstract: Jiang Wen’s Let the Bullets Fly immediately makes a hit upon its release in terms of box-office record, cinematography and narrative strategy. This paper aims to examine Jiang’s film editing in the form of a comic trope, which, analogically I call zeugmatic rhetoric, has almost been hailed by internet users as the most successful comic film director so far. In the film this style of Jiang’s finds its way to all the three semiotic elements: language, visuality and sound. Therefore a semiotic approach incorporating Saussure’s pair of signifier and signified, Roland Barthes’ denotative and connotative signs and even Gilles Deleuze’s idea on cinema 1 and 2 will be my theoretical strength so as to bring to the fore to what extent Let’s the Bullets Fly has conquered its viewers and made them laugh.

Ding Shaoyan Guangdong University of Foreign Studies Cinematic Representation, Traumatic History, and Viewing Subjects ------A Semiotic Analysis of Flowers of War Abstract: In spite of the diverse representations of the 1937-Nanjing-Massacre on the screen prior to 2010, Zhang Yimou’s new film Flowers of War（2011）has been presented to the Chinese audience with a gigantic marketing campaign in the media, and has been submitted to the Panel of American Academy Award by

its producer Zhang Weiping to participate in the competition for this year’s Best Foreign Film award. Simultaneously, the film has garnered the nomination for the Best Foreign Film of the Golden Globe Award in the United States. In China, released at the moment of new-year greeting, the film has also won popularity among the audience. However, Flowers of War has been criticized by scholars in the media, who mostly condemn the film for its employing the traumatic history of China and eroticism to attract the audience. Then, how to understand this “best film ever made” by Zhang Yimou (according to Zhang) as well as the critical comments of the scholars? This paper attempts to analyze the cinematic representation of the traumatic history of China in the film in relation to viewing subjects based on the decoding of cinematic codes, in order to demonstrate the strategies of representation in the film and to disclose the production of economic capital with the capital of culture, the complex schema of the empire of codes inflected by images in the transnational cultural production, and the dilemma of the local/marginalized culture desiring to move toward the stage of the world in the context of globalization. The purpose of this effort of exploration is to point to the emphasis of the need of initiating signs of Chinese experience in cinematic representation rather than simulating merely the established, standardized codes of the cinema to please global consumers.

Jing Yang, Guangdong University of Foreign Studies [email protected] Crouching Tiger, Hidden Dragon: Gendered Encoding of Martial Arts Cinema Abstract: The commercial and critical success of Crouching Tiger, Hidden Dragon (henceforth Crouching Tiger, 2000) demonstrates a new strategy of endearing the martial arts film to Western audiences. Loosely adapted from the martial arts novels written by Wang Dulu (1909-1977) in the 1930s and 1940s, the film treats the female trio of Jen, Shu-lien and Jade Fox as its narrative focus, a position often reserved for masculine types like Bruce Lee, Jackie Chan and Jet Li. Reconfiguring the traditional association of martial arts cinema with masculine violence, Crouching Tiger creates its artistically elaborate actions by featuring women warriors’ combat via wires and trampolines. The depiction of Jen’s acceptance of and resistance to the feudal patriarchal system, along with back-stories of Jade Fox’s sexual exploitation by a kung fu master and Shu-lien’s self-restraint of her emotions, probes into the forbidden realm of women’s sexuality that is seldom touched in conventional martial arts cinema. The combination of emotional drama and martial arts evokes varied responses in differently positioned audiences. Criticized for its “conflict of styles,” “asymmetric structure” or self-orientalizing tendency, the film’s lackluster box office in Hong Kong and Mainland China contrasts with its tremendous success in the West, where it is applauded as a breakthrough of Hollywood multicultural discourse by Salman Rushdie or a feminist fable disguised as a martial arts spectacle. Dave Kehr’s question “does the West love this movie because it is so profoundly Asian, or because it is not?” in The New York Times summarizes the discussions and debates about Western perceptions of Crouching Tiger. I argue that the invention of the woman warrior exemplifies the endeavors and limitations in the collective American imaginary of Chinese culture as an Other. Jen’s constant vacillation between conformity and resistance demonstrates the narrative tensions of respecting Confucian conventions and insinuating feminist individualism. The gendered encoding of the predominantly masculine martial arts cinema in Crouching Tiger demonstrates Hollywood’s effort to appropriate the Chinese legends to the global market.

Germán Gil-Curiel, [email protected] Dancing Tragedy: Alexander McQueen’s Aesthetics of Spectacle Abstract: Alexander McQueen’s spectacles have had a great impact in the fashion industry for both the radical experimentation of his designs, often embodying a darker strain of Romanticism, and for the innovative ways in which he presented these, around a show whose concept was frequently inspired by cinema, but also drew from theatre, dance and music, and even

the circus and other forms of spectacle. In this paper, I draw from both Nietzsche’s concept of tragic art and Peter Greenaway’s ideas of total cinema to discuss McQueen’s Deliverance collection (Spring/Summer 2004), based on Sidney Pollack’s 1969 film They Shoot Horses, don’t They? as both tragic art and total artwork. To put it briefly, Nietzsche argued that in genuine art the oppositions he called Dionysian or imagination and Apollonian or reason cross-fertilise each other so that ‘the metaphysical horror of existence is simultaneously revealed and made bearable, the ravages of intoxication are transformed by dreams and the sublime is beautified by the aid of appearances’ (Nietzsche in Berrios and Ridley, 98). This art he called tragic. On the other hand, Greenaway’s idea of total cinema—which can be traced back to Wagner’s Gesamtkunstwerk—conceives of film as the ultimate artwork, merging as it does image, music, literature, dance and so on. I thus contend the key features that make Alexander McQueen’s fashion spectacles so relevant to our times are precisely its tragic dimension and the way it draws from the narrative and the spectacle potential from the other arts—notably theatre, literature, film, music and dance—to create an integral artistic practice in fashion.

Ilias Yocaris University of Nice [email protected] LITERARY STYLISTICS AND FILMIC ANALYSIS : UNDECIDABILITY AND SEMIOTIC CONTAMINATION IN LARS VON TRIER’S EPIDEMIC Abstract: From a strictly technical point of view, our paper aims at outlining a working method likely to create new stylistic tools destined for filmic analysis. To this end, we shall set out to study Epidemic, Lars von Trier and Niels Vørsel’s black-and-white film made in 1988. Starting from a detailed analysis of the semiostylistic function of this film, we intend to demonstrate: (1) That it appears as a “textual system” (see Metz 1971: 107-108 et passim) derived from an extremely complex interaction among different semiotic codes (discursive, pictorial, narrative, generic…) (2) That its “pluricodic” dimension (Metz 1971: 90) should be described within a definitely interdisciplinary approach, so as to add to the body of knowledge of filmic semiotics a series of concepts borrowed from  textual stylistics (Riffaterre’s concept of “semiotic convergence”)  narratology (Genette’s concept of “narrative metalepsis”)  philosophy of language (Goodman’s concept of “exemplification”, Derrida’s concept of “undecidability”)  literary semiotics (Eco’s concept of “fictional encyclopaedia”)  etc.

Anne Dymek Université de la Sorbonne Nouvelle, Paris 3 [email protected] Excess of emotions in filmic perception In which ways does filmic perception make possible an excess of sensational/emotional situations in comparison to natural perception? Abstract: A semiotic analysis of the differences between filmic perception and natural perception with Peirce «Our percepts resemble moving pictures accompanied by feelings, sounds, etc.» (MS 939) will show that the basis of filmic reception consists in a considerable reduction of cognitive-pragmatic implication, a fact that is - for Peirce - correlative with an increase of emotional situations Peirce: « The development of the human mind has practically extinguished all feelings » (PWP, 344). Like natural perception, film presents us one “percipuum” after the other, but it is due to the “perceptual prosthesis” namely the camera, that the perceiver’s access to these percipuums is very different from the perceiver’s access to the real life. Not only that the camera frees the perceiver from any direct pragmatic implication by substituting him in many pragmatic ways (point of reference/perspective observation, participation in the space-time-continuum of the events, ability of movement, ability of choice of attention), but also is the

camera able to effect a new perception, which is characterised by an excess of “pure icons”. “Pure icons” are for Peirce the most “virtual”, “ideal”, and “emotional” signs, constituting an inexplicable sudden sensation of firstness, where representamen, object and interpretant become one. In the real life these highly emotive impressions are very rare (like for example a déjà-vu), and it is compared to this rareness, that their occurrence during filmic perception can or must be classified as being excessive. Filmic publicity and music videos, it is known, are making use of this particular ability to line up emotional situations excessively. Our semiotic theorisation of different filmic forms of this excess will provide an insight into filmic aesthetics using one or two filmic examples.

Dr Anna Dullaart AFDA Film School – The South African School of Motion Picture Medium and Live Performance [email protected] Men in Film: Having their cake or eating it? Abstract: This research reports on semiotic analysis of representations of male identity in South African student and professional films. The research draws on theoretical models from Greimas and Žižek to interpret how South African masculinities are represented, with specific focus on how the film heroes are rewarded at the end, how they get or don’t get the prize at the happy ending of the film story. The research methodology incorporates student scriptwriters’ own reflections on their choices of signifiers, and current research on South African masculine identity in transition. In open-ended interviews and text analyses male students formulated own reflections on the (intended and achieved) semiotics of their films. In one of the case studies the black male hero is rewarded by a girl with a chocolate cake. The desires encoded in the reward of cake, and how it represents the ideal ego, represent a political subconscious (Žižek) of the film’s male identity representation. Tensions between local and global signification systems provide rich material for analysis with Greimas. The conclusions of the study include proposals on improving film students’ semiotic encoding skills. Many script doctors and film schools across the world use binary codes to teach students about encoding meaning. The Greimas semiotic square allows for a more sophisticated methodology. For instance, students become aware of not only encoding the character, but also of the context of socio-political transition in which identity is signified. The study hopes to be relevant to other societies in transition, where young filmmakers can contribute to social meaning-making. Zhang Xianmin Beijing Film Academy [email protected] Viewing -- substance and equality Abstract: To offer a counter part to the “perfect” viewing, I analyze part missing, fast forward and final interruption. I try to talk about the “transformations” of moving images viewing as a transition of audience from a spectator to a sharer, which is also a phenomenon of transition of power in time of communication, instead during the time of creation. I also tried to describe today's situation as a net combined by what I call “point being” and “line being”, from cineclubs to Facebook, from movie theatre to festivals. This sharing multi-system has a potential to offer to us some temporary communities.

Rokhsar Vakharia Dept. of Sociology, Delhi School of Economics, University of Delhi LEARNINGS FROM THE CONSTRUCTION OF THE CINEMATIC IMAGE: EXPLORING THE ALLIANCE OF HUMAN AND NON-HUMAN ACTORS Abstract: Situated at the intersection of Semiotics and the Sociology of Science my work takes me into the editing studios of commercial Hindi cinema (Bollywood) to understand the construction of the object that is the cinematic image. My ethnography, situated on the inside, looks at the interaction between five key players – the Director, Editor, the raw footage, the script and the editing table. What I have is two human and three non-human actors, each with a voice of their own, in intense debate on what it is that is being constructed. My point of departure is the dismembered and fragmented form that enters the

studio as raw material and from here on how the visual is actually made. Taking a close look at the other side of the cinematic image throws light on the dialectics of fragmentation and composition intrinsic to its making. How this dialectic questions 'what' the 'social' is and 'where' it is, is what I am keen to answer in the context of commercial Bollywood cinema. Thus far work on the visual image for its aestheticism and technique is prolific. Discussions that revolve around the aesthetic primarily involve the interaction between viewed and viewer (in terms of gaze, spectatorship, subject/object) or between image and reality (in terms of representations, copy vs. original), while those on technique look at the instrumental production of the image as end product. In both cases, the focus is on the external workings of the image, i.e. on its affect, effect and reception. It is always used as a tool to understand something else. This is to say that whenever the image is studied, the process of its construction or its system of production (all the intermediary steps which made production possible) are either forgotten, taken for granted, ignored or considered a mere technical matter irrelevant to the discussion at hand. The visual image is taken as a given, an end product called upon only as a point of departure. In a similar limited strain sociological studies have have looked at person-machine interface, the impact of technology on people and vice versa and how people have shaped technological instruments. In all such studies, the starting point is that the social and the technical are bodies with impermeable boundaries and any interaction between them is necessarily patronising. My attempt is to break from the mode of thought that decides in advance what the social is and what is the technological, a particularly relevant issue in bridging civilizations.

Fang LU, The Dalian University, Dalian, China. [email protected] The Semiotics Analysis for Generative Structure of Signification on the Chinese Animation ‘The Magic Aster’ Abstract: This study wished to diagnose type of symbol system through analysis of meaning structure about Chinese representative animation that is study target thing to investigate Chinese culture identity that differ politics ideology. Extracted signature analysis model about study target's narration structure and signification according to Saussure's semiotics theory and theory of Greimas' for this. 35 sequences about narration structure of total 6 steps included blank between each sequence by signification structure for story unfolding. So that could analyse more minute result. According to result, could know that meaning analysis about transposition confrontation such as 'Death', 'Life' that is typical technique of 'The good triumphing over the evil' in most 2nd symbol functions is achieved. As a result, could know that 2nd signification that appear through structure analysis model which abstract in this study do not escape frame called 'Nature revolution', 'The good triumphing over the evil' that is ancient philosophy of East. And could know that is taking human's ethical entrance strongly independently with Chinese politics ideology.

Javier Clavere [email protected] The Tango Affair: Hollywood’s Infatuation Abstract: Tango in artistic expressions, particularly as represented in film or musicals, elicits referentiality to passionate feelings and sensuality. As the popular phrase suggests, ‘tango is the vertical expression of horizontal desires.’ These expressions of sensuality are often represented in film by a scene between the lead actor/actress and a partner dancing tango. This paper will analyze interpolated scenes of tango dancing, incorporating the scenes transtextuality, musical elements, metaphorical integrations, and conceptual integration within the film’s narratological scheme. Five films will provide the sequences for analysis. The first sequence includes Rudolph Valentino in the 1921 film, “The Four Horsemen of the Apocalypse.” The second sequence includes Sean Connory and Kim Bassinger in the 1983 James Bond film, “Never Say Never Again.” The third sequence includes Al Pacino in the 1992 film, “Scent of a Woman.” The last two sequences belong to hybrid genres – film adaptations of musicals – as depicted in the

2001 film, “Moulin Rouge,” directed by Baz Luhrmann, and the 2002 film, “Chicago,” directed by Julie Taymor.

Jing Yang, Guangdong University of Foreign Studies [email protected] The White Savior Myth Now and Then: Pavilion of Women VS. Flowers of War Abstract: Pavilion of Women (2001) and Flowers of War (2011), two China-made films aiming at world market, adopt Hollywood’s redemption narrative yet fail to impress global audiences. In both films, the American hero’s redemption of Chinese women amidst wartime cruelty is injected with a heavy dose of exotic romanticism and Chinese patriotism. I will examine the respective treatment of interracial romance and women’s agency power against the socio-historical context of China’s entry into World Trade Organization. In view of both films’ transnational production and reception, I argue that the appropriation of Hollywood’s classic narrative demonstrates Chinese filmmakers’ painstaking efforts to intervene in Western discourses about China.

Sun Cheng, School of Film & TV Arts and Technology, Shanghai University Transcendental Empiricism: Deleuzian Semiotics Referring to Cinema Abstract:Following and improving L. Hjelmslev and C.D.Peirce’sign theory, Deleuze takes image as a non-linguistically formed signaletic material (mass, content), and proposes the concepts of pre-linguistic images and pre-signifying signs, with which language system should be retested. Deleuze has defined ‘semiotics’ , rather than semiology, as the system of images and signs independent of language in general. This article maintains that the concept of pure semiotics extends the scope of study of sign as a discipline or a methodology, but his attempt still lack concrete proof for his semiotic transcendentalism. Our analysis will focuse on that how successfully articulation is replaced by the modulation, and the connetion signifier–signified is replaced by the circuit the whole-the objects. The whole and the objects are defined on the vertical and the horizontal axes. Image, as the non-language material, turns the value of the signified into zero degree, i.e. the signifier coincides with the signified, as a result, signs disappear from semiology. Both image movement as a whole and the thingness as the objects constitute the base of Deleuzian pure semiotics, in which the image itself is the sign. Since the concept subjectivity is still ambiguous in shaping the function of the whole and the objects, Deleuze finally emphasizes a conception of spiritual automaton, with which the circuit of the whole & the objects proceeds to the subjectivity, i.e. the thought-image called by Deleuze. The brain is the screen; the image is the thought; and finally the sign is the image. The whole-the objects-the subject constitutes a super circuit. The image-sign is no longer empirical, nor metaphysical; it is transcendental in the sense that Kant gives.

王立新重庆交通大学人文学院 [email protected] 从图解符号到多声部言说：中国电视剧影像修辞变迁 Abstract：By sixty years developing, Chinese television play is one of the most important carrier in current Chinese culture, Chinese television play covers the following three categories: the familial, the social and the historical. By the semiotic rhetoric theory, the dissertation chooses the classic popular television plays of three types, i.e. family ethics play, historical play and military play, as the samples, analyzing image, discussing how the four rhetoric devices and their evolution rule is represented in the television images, so as to deplore the deep historical consciousness.

Katre P.rn, University of Tartu [email protected] The Problem of Conditionality in Cinema Abstract: The aim of semiotics of cinema, as outlined by Christian Metz, is “to understand how films are understood” (Metz 1977: 56). If one would use triadic model of sign to systematise this quest for understanding, it would be possible to delineate three central theoretical explanations: (1)

Realist theories -our understanding of the film is based on our understanding of the object [reality]; art reflects reality; (2) Formalist theories -we understand the film because we understand the forms of representation; art is a significant form; (3) Cognitivist theories -our understanding of the film is based on our mental processes, capacity to interpret; art is a meaningful experience; Naturally, in most cases these three aspects are intermingled and it becomes a matter of focus or a dominant rather than a purist approach. Balanced theory, ideally, would not simply try to explain the realist, formal and cognitive dimensions of art, but also the relationships these dimensions have with each other. The theory of art as a modelling system, conceived by Tartu-Moscow School of Semiotics (Juri Lotman, Boris Uspensky et al.)in the 1960s, can be seen as an attempt to achieve a more balanced theory of art. By defining art through the concept of a model -”an analogue of the object of cognition that substitutes it in the process of cognition” (Lotman 2011 [1967]) it was possible to combine the dimensions of reality, representation and interpretation into a unified semiotic theory of art. Thus, art as a modelling system is a language that establishes through representations certain rules of analogy between the object cognized and act of cognition itself. Art, more specifically cinema, is never a passive copy of reality, but an active act of cognizing the world realized through modelling the reality using the language of the art (Lotman 1976). At the centre of this theory is the idea of a dynamics between reality and conditionality (sometimes also translated as conventionality, in Russian: !”#$%&$”'(). This dynamics is based on the “as if” nature of artistic experience: while we know that we are dealing with a work of art, we (knowingly or unknowingly) experience it “as if” it was more, a fragment of reality. Experiencing art is thus both suspension of belief in its reality as well as in its artificiality, although it has signs of both. This paper discusses the “as if” problem in cinema, by bringing together, under the framework of modelling systems, the materialist and realist approaches to cinema, the issues of illusion and effect of reality, theories of film language and filmic experience. More specifically, the paper examines the modelling mechanisms that allow a film to overcome its “burden of similarity” and be experienced, interpreted in figural, abstract terms, and the opposite -how figural, fictional films are experienced as real.

15. New Semiotics of Spectacle 戏剧的新符号学（8）

Literature and Digital Communication 文学和数字通讯（12）

Dr. Félix J. Ríos, Universidad de La Laguna www.semioticaes.es [email protected] El arte de la interpretación en el mundo global El fenómeno de la globalización ha multiplicado de manera extraordinaria las formas y las condiciones de la recepción de las artes escénicas y espectaculares en el mundo. Esta situación debe ser analizada desde varias perspectivas: tecnológica, económica, artística, filosófica, histórica o social, entre otras. Porque el desarrollo científico no justifica por si solo el uso y el valor que se otorga a los soportes mediáticos que transportan la información artística en las sociedades posmodernas. Habría que describir de manera detallada los distintos sistemas de representación y proceder luego, con los datos obtenidos, a un análisis crítico de sus efectos sociales y el sentido de los mismos. En una era neobarroca extrema, que se parece cada vez más a la era de la charla de la que hablaba Omar Calabrese, la razón se encuentra anestesiada por el desorden epistemológico, por la inflación informativa y por la desorientación canónica tanto en el ámbito genérico como en el gusto estético de los receptores. Hay que encontrar nuevas formas de racionalidad que nos ayuden a

transitar por un mundo tecno-global que no parece encontrar límites a su expansión y amenaza el equilibrio y la propia supervivencia del ser human

Leticia Gomez ([email protected]) La representación de la identidad cultural en La teta asustada de Claudia Llosa. En esta comunicación nos proponemos explorar la representación de la identidad cultural en la película La teta asustada de Claudia Llosa. En La teta asustada leemos una propuesta decolonizadora, es decir, que este texto plantea, a través de su forma de representación de la identidad cultural, una desestabilización de las jerarquías epistémicas, espirituales, étnicas y de género, las cuales a su vez, son puestas en evidencia en su relación con la colonialidad. En la representación de la identidad cultural la película utiliza ciertos elementos que son críticos de un discurso que promueve un desbalance de poder. Estos elementos son aquellos que no opacan las distintas experiencias humanas individuales, y permiten describir la cultura de forma heterogénea. Por ejemplo, cuando las partes más importantes del relato suceden en quechua, se produce una disolución de una o más jerarquías binarias, analizándolo desde la teoría de la performatividad, tales como idioma oficial/idioma no-oficial, idioma civilizado/idioma bárbaro, lo cual indica un cuestionamiento al ordenamiento de estos binarios. Otros elementos en la representación que consideramos contribuyen a la crítica son parte de la estructura narratológica del texto, y por eso nos proponemos señalarlos. Por ejemplo, cuando a través del uso de varios niveles diegéticos el texto muestra como las dinámicas coloniales se reproducen a través de los siglos. El corpus de nuestro trabajo está compuesto de un único texto narrativo. También el mismo proceso de producción de identidad cultural es en gran parte narrativo, dado que incluye la elaboración de identificaciones y autodefiniciones mitos, leyendas e historias. Al mismo tiempo, estas dos narrativas, están inscriptas dentro de discursos de poder específicos. Por estas razones este trabajo requiere la unión de dos marcos teóricos: uno narratológico, que provee herramientas de análisis técnico, y otro queer-poscolonial que provee herramientas de análisis ideológico. Consideramos que se puede leer una correlación entre la estructura narrativa y la ideología del texto. El análisis narratológico será útil para demostrar cómo se transmiten las ideas no sólo a través del contenido narrativo del texto, esto es, lo que el texto realmente dice, sino también el rol que juega la estructura de la narrativa, la disposición del texto en la transmisión de ideas.

María José Contreras Lorenzini Pontificia Universidad Católica de Chile; Fondecyt de Iniciación N. 11090155 [email protected] Theatre of the real: the intersemiotic translative processes of emboding other’s memories Abstract: The semiotics studies in performing arts have been developing new methodological instruments in order to understand the complex and entwining dimensions of live performances. In this paper I focus in new ways of understanding the role of the body in the theatre of the real that stages the stories and lives of another promising the spectator that the performance is not fiction, but directly linked to “reality”. Based on a broad range of written and oral stories of real people (testimonies, interviews, memoirs), theatre of the real interweaves different aspects of reality (the real testimonies, the real presence of the actors’ bodies, sometimes even the real bodies of the testimony givers, the ostentation of real proofs – videos, pictures, etc.) with fiction (a mediatized space, a device performance or the dramaturgization of the testimonies). My discussion centers in the translation and intersemiotic interpretation that occurs between the original stories and the performance paying special attention to the role of the body in these creative artistic processes were a conjunction of what is real and simulated is produced. Usually theatre of the real does not intend to document a unique reality but to problematize the ideology and media through which it is conveyed producing a complex articulation between reliability and verisimilitude, installing at the crossroads between reality and fiction, word and body presence. In this context, the role of the body is decisive

Dr. Benito Cañada Rangel Autonomous University of Querétaro, Faculty of Fine Arts, Mexico. [email protected] [email protected] The Improvisation in the Creation of the Personage: Methodological Process. Abstract: A project of semiotic study of the scenic improvisation is presented like a tool and a method in the creative process of the construction of the personage during the rehearsal period, integrating the information offered by the dramaturgist in the text and the esthetics conception proposed by the director in its own vision of scenic dramaturgy, applied by the actor regardless the interpretive technique being used, either experiential (physical actions), or formal (biomechanical); supported in theoreticians like: Marco de Marinis, Fernando del Toro, Anne Ubersfeld, Tadeusz Kowzan, Juan Antonio Hormigón, Ma. del Carmen Bobes and the doctoral thesis of Benito Cañada.

Alejandro Urrutia Latinamerican and spanish litterature at Mid Sweden University. ([email protected] “Semiótica queer: la relación entre el las perfomances y las novelas de Pedro Lemebel” Pedro Lemebel es uno de los escritores más prominentes de la literatura chilena posdictadura. El éxito editorial lo logró con la novela Tengo miedo torero (2001), sin embargo, Lemebel es un artista de larga trayectoria que también es reconocido por sus presentaciones en radio, sus videos y performances. En el presente artículo nos ocuparemos principalmente de tres videos en los cuales Lemebel lee su propia obra. El propósito de nuestra investigación es explorar la relación entre las performances y las novelas este escritor-artista. Según nuestra interpretación, una serie de significados de distinto tipo, se producen en el encuentro de esas dos expresiones artísticas, que funcionan en conjunto y que dependen la una de la otra. Los significados que se producen tienen como función, entre otras cosas, articular un discurso queer desestabilizando los conceptos tradicionales de hombre y mujer. Los signos en los que particularmente focalizaremos este estudio , son extratextuales y los produce el mismo Lemebel en la escena, aunque los significados más profundos y complejos aparecen cuando estos signos se leen junto con la narrativa escrita.

AJUMEZE HENRY OBI DEPARTMENT OF THEATRE ARTS SCHOOL OF PERFORMING ARTS ACCRA, UNIVERSITY OF GHANA, LEGON [email protected] SEMIOTICS OF THE MASK: THEORISING THE DRAMA OF ESIABA IROBI Abstract: Although the mask is a significant element of African ritual festival performance, its definitive ethnographic and religious functions which transcend to the modern stage is generative of meaning semiologically refracted from the ontology of African world-view. It has been variously observed that African performances are still unduly subjected to theories derived in the West even in a post-colonial environment. Using the elemental drama of the Nigerian dramatist, Esiaba Irobi, semiotics of the mask locates an aesthetic model for African performance in pre- modern masked tradition and attempts to provide, articulate and theorise alternative paradigm for the analysis of African performance. In this paper, I demonstrate that African masked performances can participate and engage in Western-styled notions of theory while at the same time exist as a purveyor of what Esiaba Irobi termed “alternative epistemology” for the articulation and analysis of African performance. The masked performance can exist as embodiment of myth, ritual and sculpted images of African ontology, iconography, kinaesthetic composition; but also exists as agent of denouement in the Aristotelian sense of deux machina. The mask can function as a character (masquerade) in a dramatic representation capable of causing both metaphysical and human conflicts; the mask manifests elemental capacity to produce a multidimensional crises. Essentially an

element of indigenous oral culture, the mask provides a demonstrable indigenous template for the articulation of theory derived from pre-modern African culture.

Rosalía Ramos Guerra [email protected]. La literatura en la era de la comunicación digital Postpoesía y afterpop Si algo caracteriza la creación contemporánea de los últimos diez años ha sido la interdisciplinariedad. La literatura no ha estado al margen de los cambios efectuados en la forma de acceso y difusión de la cultura, y así, se ha podido disfrutar no sólo de los textos, sino también de la puesta en escena de los mismos. En la línea inaugurada a principios del siglo pasado por Ramón Gómez de la Serna, han sido muchos los autores que han elegido un camino que tiene varios puntos comunes con la performance. Otro de los rasgos más importantes ha sido la colaboración entre creadores procedentes de los más diversos ámbitos, que de forma ocasional o continuada han dado lugar a productos culturales con literario pero también relacionado, en mayor o menos medida, con diversos autores afines. Así, en el presente trabajo se efectuará un acercamiento al proyecto Afterpop: Fernández y Fernández, llevado a cabo por el poeta Agustín Fernández Mallo y el ensayista Eloy Fernández Porta, prestando atención tanto a los aspectos performativos como al contenido del texto, así como en el carácter efímero de una obra que se construye a sí misma gracias a una colaboración conjunta y que se desarrolla, muta, de acorde al momento que la genera.

François JOST Narrateur, commentateur, acteur : quand la série télévisuelle devient une performance On regarde aujourd’hui les séries comme des films, comme si la légitimation de la télévision ne pouvait passer que par l’emprunt au cinéma. L’argument n’est pas nouveau. On pourrait même presque dire qu’il est aussi ancien que la télévision. Cet usage cinématographique des séries tient à plusieurs raisons, dont l’essentiel est que beaucoup de leurs fans les visionnent sur ordinateur et non pas sur le poste de télévision auquel elles sont prioritairement destinées. Si l’on veut comprendre les séries comme des objets télévisuels, il importe de les remettre dans leur contexte et leur finalité, qui est la diffusion programmée sur un media qui accompagne le téléspectateur dans sa temporalité. Cette communication prend donc la série américaine, de HBO, Ozet montre comment sa mise en scène est destinée à un contexte télévisuel, à partir de l’étude d’une invention narratologique : la présence réitérée d’un prisonnier, August Hill en fauteuil roulant, dans une sorte de cage transparente, qui s’adresse au téléspectateur au début, à la fin et au cœur de chaque épisode.

José María PAZ GAGO New directions in Semiotics of Spectacle Abstract: After the strongly pragmatical orientation that theatrical semiotics met on the threshold between the XXth and XXIst centuries,the directions that now take the semiological studies of the show are necessarialy tied to “interdiciplinarity” or, better, “transdisciplinarity”. The dialogue with Cultural Studies (Marinis 2011), with Performance Theory (Helbo, Bouko, Verlinden, Schechener et alii 2011) is necessary and, safeguarding the rigorous foundations of the semiotics, they will be fecund in his renovation. The new tecno-communicative phenomena that invade the contemporary scene creating hybrid

audio-visual and virtual, analogical and digital spectacles will find thus satisfactory answers.

16. Music signifies: Style, Genre, Narrative （9）

音乐意指：风格、类别、叙事 Alma Rodriguez ENM-UNAM, Mexico City [email protected] The mental and verbal images as resources for conceptualization in musical performance Abstract: Technical mastery is a priority for a musician. This is a customarily value in the context of technical tradition in the Western academies. Obviously, instrumental mastery is not enough for musical interpretation. Given the human innate need of “telling things”, performance techniques are commonly acquired by oral tradition. Imagination and narration contribute thus, for linking isolated facts in perceived time and space, as well as for providing clues for memory. Congruently, visual and circumstantial memory and feelings contribute to understanding and connecting events that are useful for musical performance. Very often, musicians have a need to a verbal approach, in order to explain genre and style within a historical context, as it is believed that this helps to understanding musical meaning. The search for certain experiences surrounding musical creation—e.g. the composer’s environment during creative processes—provides either real or imaginary arguments as guidance for musical interpretation, pointing out specific character and discursive direction in performance. According to Nattiez’s tripartite model, musical meaning is given, firstly, by the composer, then by the player, and finally by the listener. Within this model, mental and verbal images presumably connect stages between the tripartite order: by construction and reconstruction of images—many of which may work as analogies and metaphors—an explanation to the emotional content of a piece is intended. Hypothetically, performers use ‘by instinct’ these devices as an empirical and practical resource for musical interpretation. However, many questions arise within this approach, e.g. are musicians aware of the images’ symbolic background as crucial component of the construction of arguments for their performances? How these arguments are ‘basic’, and how do they act, guiding the conceptual direction of a piece during performance?

Recent research confirms that most of musicians base their performances on different types of images without objectively knowing their semiotic function and psychological motivation. However, the current division of musical information into specific domains seems to exclude images as an important part of formal-musical knowledge. Moreover, this issue is often left to scientists and theorists, but not to musicians’ own research and capacity of theorizing. By contrast, this paper suggests that, based on the premise that one of the most frequently used symbolic processes in musical performance is image, it must be scrutinized the way an image affects the conceptual process of a musical performance development. The proposed hypothesis claims that in Western tradition, most of academic, instrumental performers elaborate and retrieve mental and verbal images–according to J. Thomas Mitchel’s classification system. Musicians use images as means to invent, recreate, recall or visualize different situations, emotions or stories that can be used during a performance. Nevertheless, further research must be developed in order to understand the symbolic and cognitive implications of verbal and mental images used during musical performance.

Gražina Daunoravičienė Lithuanian Academy of Music and Theatre [email protected] The Riddle of the Genres of Musical Compositions of the 20th – Early 21st Century from the Morphological and Phenomenological Points of View Abstract: The processes taking place in 20th-century

composition provoked the crisis of many traditional typological categories. Since the time of B. Croce the approach that 20th century composition does not indicate the category of the genre that has retreated into the mind of science and its biggest innovation was its disappearance itself has been developing. Research into ontology of musical genre and bio-artistic approach suggests a more positive approach. Musical genre is defined as a “musical genotype” that transfers the genetic code of the art of music to new generations of compositions (G. Daunoravičienė’s definition). The development of the stages of the “life cycles” of musical organisms (musical genres): appearance – flowering – disappearance (discussed by R. Kluge, M. Aranovsky, L. Shapovalova, etc.) is based on the law of mutatis mutandis. Observing the dynamics of the evolution of musical genres it is expedient from the point of view of methodology to differentiate two characters of changes: gradual change, stage by stage and, on the other hand, change by leaps, mutational, catastrophic (J. Tynianov’s concept). Looking from this point of view the active cause and a picture of the dynamics of separate genres and their systems (metasystems) is revealed.

Huang Hanhua [email protected] An Etymological Study of Signifier and Signified in Musical Semiotics Abstract: The music sign seems a paper, in which the obverse is the signifier, the reverse is signified. The word sign origin from Old French signe (noun), signer(verb),and from Latin signum. Signify (verb) origin from Old French signifier, and from Latin significare. Signifier is a sign’s physical form, such as a sound , printed word , or image as distinct from its meaning, which compare with signified. In terms of music semiotics, signifier can mean printed music note and music performance terms and others in the music score, in which music sounds and body’s gestures in performance that will be realized would become the signified. Yet, when music sounds and body’s gestures in performance realized, they become signifier from signified, in which emotion and soul become the signified. Therefore, music signifier-signified have two expressions:

First expression： music sign（static form）

Signifier signified （the music score）（music sounds and body’s gestures ）

Second expression： music sign（dynamic form）

Signifier Signified （music sounds and body’s gestures ）（motion and soul）

Alla Ablova University of Helsinki [email protected] Semiotics of the Stone: Concerning Research on a Lithophone from Karelia Abstract: Lithophones are potentially durable musical instruments1, which consist of single (or a set of) raw stones/slabs which resonate when struck. Information about their physical and musical qualities and about the role they played in now extinct societies is limited. Some archeological musical stones still remaining in their place of use (in situ) can provide us

with valuable information about the methods and places chosen for sound production as well as about the acoustic aspects of the life of past worlds. Ringing stones are multifunctional objects, the semiotic status of which reflects a specific correlation of the thing and the sign aspects and, therefore, their utilitarian and symbolic functions. As an object of semiotic research these stable elements of an ancient soundscape were not chosen randomly. Their sign aspect is evident and many qualities directly refer to the sacral. Acoustic phenomena are organic, constructive and active parts of a cultural setting which are involved in creating social reality. Studying the lithophones enables us to extend the modern image of past societies on both a sensory and cognitive level. In this report we present the methodology of the documentation worked out while examining the Ringing stone lithophone (1st century BC, the Early Iron Age), discovered in 1966 in Russian Karelia. When struck with another stone it produces high melodic sounds similar to the sound of a small metal bell. As an integral part of the musical stone there is a big resounding cavity (50-60 cm2). The Ringing stone was introduced into human culture from the natural world and thus can be interpreted as a mediator between the two worlds: the human and “other”. At the same time, the older the musical instrument is and the more ancient the culture, the more evident becomes its mediatory function. The Ringing stone marks the transition from the natural to the cultural space and encourages the transformation of the natural sound element into an aesthetic (musical) human activity. The second part of the report deals with an attempt to reconstruct the music texts played on the Ringing stone.

Julia Shpinitskaya University of Helsinki [email protected] Theory of Topics: an Application to Multicultural Texts Abstract: In my semiotic approach to multicultural texts (musical mixtures) I consider theory of topics as a tool that can be applied to study of their cultural content. Theory of topics brings powerful possibilities for musical analysis of cultural mixtures, referring to cultural music types, and for reconstruction of information given by primary cultural sources. The theory of musical topics has supported study of Classical music, extended for Baroque and Romanticism, while mixtures are not only based on Classical era’s musical types and not only on European musical types. The idea of topic generally implies the concept of encyclopaedia, when topic inside a musical text is understood as a presentation of something already existent beyond the work. A topic is a collective knowledge: it leads out of the work, interpreted according to its relations outside. The function of topic in musicology is realised in relation to the past: when topic is a subject communicated during musical discourse, it is a known subject. Thus the function of topic is taken up as a flashback. Topic is associated with knowledge and competence activated in a certain society, and addressed to the informed audience of this society. Redirected for practical matters in discussion of cultural traces when treating the multicultural texts, the notion of topic is taken as a form of preservation of cultural information manifested inside a mixture. Being a textual operator (U. Eco) topic can be presented as a cultural informant and search engine, which helps to find a reference such as cultural pre-text, and to reconstruct cultural information. The category of musical topics is seen from the angle of a reader’s strategy towards interpretation of a text. It is an effective category to show the model reader working, and to bring out how the potential model reader would master a multicultural text navigating by the abductive path between sketching the sources and mapping the pre-texts and recreating cultural links. Musical mixtures exploit pre-established genres and styles other than Classical period, with information of times and places transferred through them. In case of cultural studies, topic must be understood as a way of transferring semantic signals giving a direction for a cultural search to the model reader. A topic links a text to its cultural sources and it is through topic that we gain the contextual field of a work. Finding topics during analysis of cultural mixtures will lead to reconstruction of the information sources, while inside its own culture a topic passes through several identifications. Topic is a cultural representation establishing a connection between the text

and a culture. Topic has an entry displayed in the text through models, genre, or strategies, and it has an informative extension in the culture, related to cultural experiences, behaviours and activities: it is the main transmitter of cultural identity.

Su Min The College of Literature, Chongqing Normal University Structure Formation of the Literary Symbol Abstract: Literary symbol, a complex structure existing in the literary activities of specific historical time and space, is formed by two fundamental structural levels, literary technique and literary style. The basic mode of the literary symbol is（（ERC）RC’）RC’’）RC’’’）RC’’’’, where E is signifier of the symbol, which means the voice of the natural languages; C is the signified of the symbol, which means the meaning of the Natural Languages; R represents the relationship between E and C. ERC is he natural language symbol formed by the interaction between the voice and meaning of the natural language. When ERC itself as a symbol signifier is capable of keeping the transformation’s rules of its structural boundary and transformation law to take part in the bigger structural formation, C’ stands for the undivided literary imaginary figure, the interaction of ERC and C’ forms the minimal literary technique,（ERC）RC’, this is the first structural transformation processes and results of literary symbol-structure, reflecting the natural language symbol transforms toward the literary expressing symbol. When (ERC) RC’ itself as a symbol signifier, C’’ stands for text literary technique, the interaction of (ERC)RC’ and C’’ forms the textual technique unity ((ERC） RC’)RC’’, this is the second structural transformation processes and results of literary symbol, reflecting the literary expressing symbol transforms from minimal symbol to individual symbol. When (ERC) RC’ itself as a symbol signifier, C’’’ stands for text art picture, the interaction of (ERC)RC’’ and C’’’ forms the pure literary text style, this is the third structural transformation processes and results of literary symbol and the transformation from literary technique to literary style. When （（（ERC）RC’）RC’’）R’’’ itself as a symbol signifier, C’’’’ stands for text aesthetic ideal, the interaction of （（（ERC）RC’）RC’’）R’’’ and C’’’’ forms literary text aesthetic style, this is the fourth structural transformation processes and results of literary symbol, reflecting the literary style transforms from pure object to intentional object. Among the various structure formation factors of literary symbol, ERC and C’’’’ are starting point and end point of continuous structure activities, respectively, they not only belong to structure factors of literary symbol, but also belong to structure factors of non-literary symbol. Literary symbol associates with natural language and spiritual culture through the structure factors existing in literary and non-literary field, it makes literary symbol keeping its structure boundary and structure transformation discipline to maintain the independent, self-contained, self-disciplined movement as well as the relationship with non-literature and becomes an opening structure of the unity of autonomy and heteronomy.

Mark Reybrouck Deixis in musical narrative: musical sense-making between perceptual experience and its symbolic counterparts BACKGROUND Musicology has espoused traditionally a structural approach to the study of music, conveiving of music as an ontological object that can be reified in a rather static way. The musical experience, however, is characterized by a processual approach to the sounding articulation over time. Music cognition, accordingly, can be considered as the result of epistemic interactions with the sounds. These interactions can proceed ‘in time’ (the perceptual level) or ‘out-of-time’ in a kind of symbolic space. As such, there has been a paradigm shift in recent musicological research that introduces the listener and the role of the musical experience with a major emphasis on musical knowledge construction and sense-making while listening to music as it sounds. There are already some theoretical contributions to this field, but there is need of a more elaborate theoretical framework to deal with this distinction.

AIMS The major aim of this contribution is to bring together the domains of deixis, narrative and semiotics as related to musical sense-making. Conceiving of music as discourse, it introduces the concept of narrative comprehension as a kind of mental journey through the music, stressing the dynamic-vectorial as well as the symbolic field of meaning. As such, it explores the possibilities of mental maps as organizational tools for musical sense-making, both as the result of sensory experience and cognitive processing by the listener. MAJOR CONTRIBUTION This contribution elaborates on previous contributions about knowledge construction in music listening. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making, allowing the listener to conceive of sounding elements in terms of salience, valence and semantical weight. This act of pointing can be predicative in either a nominalistic or processual way, giving a descripton of the temporal evolution of the music (processual) as against episodic nominalizations that refer to just a single instance of the process. Relying on existing concepts such as cue abstraction, route- description and cognitive maps, it introduces an operational framework that does justice to the mental organisation of the music-as-heard. This involves the extraction and denotation of singular particulars from the sounding flux as well as their relational continuity. To the extent that the latter can be conceived as a mental map of a kind of story, it is possible to introduce an aspect of discursivity and narrative comprehension in the temporal organization of the music, relying heavily on some older philosophical theories of time. IMPLICATIONS The introduction of deixis in musical sense-making stresses the role of focal attention as a means for singling out those elements that can be denoted as being meaningful. It entails three domains for future theoretical and empirical research: the delimitation of the elements (which elements are selected and how to measure them?), the mutual relations of these elements (the structure of the music) and the mental operations of the listener (cognitive processing and narrative comprehension).

17. Visual Arts and Semiotics （10）

视觉艺术和符号学

Sungdo Kim Hoe-Chul Kim Seung-Hae Hong Korea University, South Korea Some Semiotic Elements on the History of the Korean Typography: Towards for the Grammatology of Korean writing Abstract: The purpose of this paper is to present a preliminary research on the history of Korean typography from the semiotic perspective. The domain of semiotics in the Korean typography, which has not been quite explored yet, covers the whole period from the origin of Hangeul in 1443 to the present experimentation. We will explore two subject matters: 1) attempt to provide a micro-semiotic analysis on the semiotic features of individual typography by comparison of different types, and 2) consider the aspects of intermediality of the Korean writing by examining separate characteristics of Korean scripts in diverse media such as ceramics, paintings, etc. One of the unique features of the Korean typography is that the typography had appeared simultaneously with the moment of the invention of writing. Such fact would explain that the Korean typography is completely differentiated from the Western one, which had been preceded by the traditions of manuscript.

While the entire history of the Korean typography has not been revealed until today, we will only apply a semiotic model of distinctive features such as boldness, directiveness, geometricity, curvedness, and legibility, to a certain amount of cases including the first cast metal movable type of Gabinja, and other contemporary types during the Joseon dynasty period. In conclusion, we will briefly present several experiments of modern Korean typography and calligraphy, focusing on imagistic dimensions of the Korean writing system. We will present this study as “a grammatology of Korean writing” in an extended sense of such term.

Wang Hanwei College of fine arts of Nanjing Normal University, 210097 The Fine Arts and Semiotics: Mainly on the study of the history of Chinese calligraphies and paintings Abstract: Semiotics has exerted a profound effect on the studies of Chinese calligraphy and painting since the middle of the last century. It is not only manifested as the use of the improved and new methods and the update of some ideas at a macro-level, but also as the specific application of some ideas in the field of Chinese history of calligraphy and painting by some researchers such as James Cahill, Martin Powers, Craig Clunas, Shi Shouqian. All of these have brought some new features to the studies on Chinese art history. And the study of metaphors of calligraphy and painting in the various academic branches has made great progress. Mainly base on the studies of the history of Chinese calligraphy and painting and on the two directions above, this thesis attempts to sort out and elaborate on the relationship between the fine arts and semiotics.

Tania L. Gobbett THE CLOCK BOOK OF SAN FRANCESCO IN THE GIOTTO’S FRESCO OF THE CATHEDRAL OF ASSISI A visual semiotic outlook toward a natural vision of intersemiotic translation Abstract:Since I’ve acquainted Giotto di Bondone in different studies, the term «spazioso» (Longhi) occurred like the heart of the invention eventually after discovering the small overtures in San Marco above in the matroneo, the coretti (two ‘false spaces’ painted as small theatrical choirs, in the Cappella degli Scrovegni, in Padova) assumed a different ‘venetian’ taste. In Assisi, Giotto, for the first time approaches the tradition of visual narration in terms of 'specchi di invenzione', to say, 'invention’s mirror's for the historical purpose of dialectics in the style of roman painting, which appeal to the counterpoint structure of the colourist school. The envelop of time line in Assisi makes its return to the standing point of the Bible Books (Old and New Testament) as to prepare to an improvements of depth; in this regards, within its diagonal interface, as to reflect a modelled authorship – (Umberto Eco’s Model Author as approached in a mirror) which recollected or resumed strictly, would have a proposal: forgiveness and grace expect the determination of Nature (by the return on the first steps of the Bible), of God responsible of the grace conceived in redemption of mistakes. It seams that the story indicates 'grades' and 'gestures' – the request to be recognised in the name of pure actions of the soul. Since the Chant of Nature, San Francesco has been recognized, as author with dignity and intentionality (Coquet): the signs, the will, the dream as passionate intersemiotic translation of the young Giotto resume a 'modelisation' of the author as a II articulation becomes the minimum term for intersemiotic translation (Benveniste). Historian have since the recognition of Santa Chiara thought that ‘clarity’ was the inner issue of the quality of the visual as textual message – and once more we are surprised by the essay of the equality in front of us. San Francesco circle and further Jesus compose the historical structure of the invention while the return to the nature of the Book of the Genesis seam to stand for a palimpsest built for its own ‘tempo’ made of rhythm and overlapping on its self from its double architecture, as an idea of time flowing – a universal progression. Conduction and transmission seam therefore the ideal manner of intertextual-visual rethoric: a clock in the night

of the medieval time.

Peng Lingling ([email protected]) Geng Yang Metrical Structure in Decorative Chinese Folk Calligraphy Abstract: This article has it stem on the foundation of the American pragmatist philosopher Pierce’s Iconicity theory beginning from a certain similarity between representation and its denotation to explore the metrical structure and cultural implication of decorative Chinese folk calligraphy. Thus, draw the conclusion that individual’s fancy order is a kind of schema, a valid fashion which revealed the vitality of the natural world around us. As a description, it becomes a mixture which does not only resemble the reality of life case, but also involved different meanings. That is to say, it is not only the impression of reality, but can also get a participant in the epistemology of folk art, helping us approach the understanding of Chinese people’s inner circle.

Howard Riley School of Research & Postgraduate Studies Faculty of Art & Design Swansea Metropolitan University---applications of systemic-functional semiotics Abstract: This paper discusses the application of systemic-functional semiotics in the analysis of visual materials, and, specifically, presents an original systemic-functional model that is intended to facilitate both the analysis and synthesis of drawings in an art school pedagogical context. The model is explained as developing from (O'TOOLE, 2011) adaptation of (HALLIDAY, 1973 , HALLIDAY, 1978, HALLIDAY, 1985) systemic-functional semiotic model for language, and the article is illustrated with examples of the author's drawing practice, and other works.

Owen Gallagher National College of Art and Design, Dublin, Ireland [email protected] Ideology in Critical Remix: A Visual Semiotic Analysis Abstract: Critical Remix Video (CRV) is an emerging form of experimental video art activism that uses as raw materials previously published, often copyrighted audio-visual content in order to critique perceived wrongs and injustices or to make political statements. In many cases, CRVs seek to expose contradictions and dominant ideologies embedded in mainstream media messages, for example authoritative journalism, persuasive advertising or political broadcasts. This paper uses a visual semiotic methodology to analyse a representative sample of CRVs and shows how these critical videos are also susceptible to ideological influence themselves, by revealing the alternative or oppositional ideologies embedded in the visual signs and their rhetorical messages and meanings. The questions must be asked, which version of events is the more accurate representation of reality – the narratives presented by mainstream media or the deconstructed versions presented by CRVs? To what extent are the critical messages presented by CRVs diluted by the ideological biases to which they too are subject? How long can Critical Remix survive as a form of alternative artistic practice before being completely subsumed by mainstream media - a trend we can already see happening today? Where are the ethical boundaries in terms of the appropriation and reuse of copyrighted content vis-a-vis freedom of expression? As we will show, one of the most significant problems that practitioners of critical remix face at present is the perceived illegality of their work. The unauthorized reuse of copyrighted content in remixes represents an ongoing struggle for copyright holders, remixers and those involved in the legal professions, as the 20th century model of intellectual property law attempts to slowly adapt and evolve on the crest of the digital revolution. Despite such potential dilemmas, CRVs represent an opportunity for grassroots activists to have their voices heard on a global stage, utilizing the full potential of digital networking and mobile technologies as well as spreadable media content and online distribution platforms.

Tania Letizia Gobbett ([email protected]) MYTH IN WRITING AS FORM OF RESEARCH Making discourses on masterpiece’s description

Abstract:Visual writing is the myth of a wave’s breaker. This paper will try to react to some of the visual writing of Italo Calvino, giving an idea of science and aesthetic writing, being more an editor agent and an author than a scholarship, had the impulses of the historian of innovation in literature : from Paris, some regard of the Italian painting – in translation (Del Pezzo, De Chirico, Paolini, Arakawa, the artists of The Renaissance within others) to New York’s American Lessons. The reflection on the author’s myths is the way I think to face this brief essay. Discover some of its constraints between themes and notions is like to constitute the text as an object of writing, as reflection and experience. As when we wish to verify the universality of the scheme of Paolo Uccello, on the Inexistent knight or on the narrative mise en page, that distribute myths of today (Barthes) in The Spiral, true icons, contents, scenes, complex levels of abstraction, temporary windows, intertextual fluxes, forms which are more or less continuous. A habit, that of bore oneself of some titles akin, that assimilate the heuristic model of writing to the zero degree: from the bottle of the heuristic’s ship (Fabbri) to the extension of the continuous to become visual writing. The theory of vision at the centre of the pedagogic semiotic process : we shall think to how we elevate ourselves to be able to look deeper in the upper levels, or how to appreciate the slight dissymmetry in the access of the masterpiece, how to consider the cultural object against a theory which is well formed.

Il -Woo Park Department of English Language and Literature/Multimodal Analysis Lab, National University of Singapore [email protected] Semiotic of Munjado Abstract: The folk art have been developed and transcended in the Far-East Asia and Vietnam: Minwha in Korea, Ukiyoe in Japan, and New Year Painting in China, etc. In this domain, there is a genre named Munjado, or folk typography, a unique form combined with letters and background scenes expressed in images. Munjado is supposed to be originated from the series of Haengsildo, or behavior-moral guide, published in Chosun Dynasty. Haengsildo consisted of the images and corresponding texts depicting Confucian ruling ideology. While official Haengsildo was drawn by the government institution, the anonymous civil artists, with more creative spirit, imitated its pattern and modified it. Here we have many interesting semiotic characters. Since Munjado is a typical iconic text, there is an iconicity between the form(the letters) and the content(background stories and features related). Munjado shows the relation between the two systems and even the origin of letter, i.e, the grammatology that the numerous semioticians have so far explored. Through the history of Munjado, there has been a conflict between the protocol-norm and the creative will of artist. The metamorphosis of Munjado will reveal some aspects of the general stylization of the visual arts. Finally, Munjado has shown its own rhetorical features. It bears the new typology that is abundant in modern design works. Reading Munjado in a semiotic point of view will give us some useful suggestions for us who are trying to establish a universal model to analyze the visual signs.

Celia Rubina Vargas Catholic University of Peru VISUAL ARTS AND SEMIOTICS Abstract: The corporal transformation on the characters in the painting of Tilsa Tsuchiya In the exceptional work of the Peruvian painter Tilsa Tsuchiya (1928-1984) -Japanese by her father and Chinese by her mother- we can speak of an authentic pictorial project that has been developed gradually. The project finished with the creation of a true pictorial iconography which had his moment of fulfillment in a set of paintings known as Myths. In opposition to the development of other artists’ works covering from the figurative to the abstract, Tsuchiya was gradually moving away from schematic and flat forms to rounded forms with weight and volume. This is particularly visible in the bodies of her characters: the faces are humanized but at the same time they lose part of the skull, the arms are reduced until they disappear completely, the phallus move and transform into tongues. What is the signification of these body changes? How does the figurative evolution

develop? In which way a mythical worldview can be proposed on the picture? With this study we will try to answer these questions from a semiotic perspective, analyzing two aspects of the work of Tilsa Tsuchiya: the pictorial evolution and the mythic dimension. This means, first of all, a semiotic question: if for everyone it is clear that the painting is an expression of a fixed image, it is possible to analyze the transformation from one fixed image to another fixed image, offering a comparative study of the paintings of the same artist. This procedure finds its justification as far as we identify some particular features in the work of the artist that determine the search for a personal language in painting. These features will be developed in the plastic level as well as in the figurative level, around the male and female body shapes. Our interest is focused in the correlation of the level of expression with the level of contents in the work of Tsuchiya. Therefore, we wonder about the body as an expression of erotic thematic in the pragmatic dimension and in its mythical dimension. If Lévi-Strauss proposed to study an Amazonian myth within other Native American myths, we believe that the paintings of Tsuchiya should be studied in their family relationships between their works. To study the evolution of her painting, we propose to describe and compare three pictures representing three different times: The Travelers (1968), Paradise (1971) and Myth of Dreams (1974). The tools and procedures of description come from both visual semiotics (Floch, Thürlemann, Hénault) and the semiotics of body (Greimas, Fontanille Finol).

Marga van Mechelen UVA Understanding the migratory aesthetics of Chinese art practices in the era of globalisation Abstract: Globalization has been accompanied by migration. Migration of people as well as of art forms and iconographies. In my paper I will raise the question: how to understand the hybridity of art practices today that are the result of globalization and the fast growing communication and exchange in the last two decades between Western and Eastern art worlds? A hybridity caused not only by a mixture of iconographies but also of these iconographies and the art forms that are migrated from Another world. It is not surprising that this leads to different understandings and probably also misunderstanding, amongst the different audiences that are involved in, or are confronted with these art practices. After introducing the concept of migratory aesthetics, I will illustrate this subject by discussing several art projects, one of a Vietnamese artist and a couple of projects undertaking by Chinese artists that took the Great Wall of China as their main motif.

18. Semiotics of Performance and Live-Arts

表演符号学与现场艺术（45）

Abstracts To Be Submitted

19. Semiotic and Aesthetics: the Matter of Art

符号学与美学：艺术问题（66）

ROSA MARÍA RAVERA Teniendo presente que la relación Estética y Semiótica nos proporciona valiosa ayuda para la comprensión del arte, y en este caso del arte argentino, proponemos lo siguiente:

El arte es signo, es signo que elabora la íntima relación del significante y del significado, pero esto sí, no sin independencia total del referente, el mundo. La pintura en particular, es signo visible, se nutre de una visibilidad constitutiva que, creada , recreada, negada o deconstruída, hunde sus raices en procesos perceptivos, inmediatos y originarios. Esto hace que el significante artístico ostente una serie de transformaciones y mixturas que lo definen y califican en el arte contemporáneo. Especialmente en numerosos artistas argentinos. En la artista Zulema Maza , de producción que llamaríamos transeúnte, abarca consecutiva y simultáneamente múltiples medios. Una gran correspondencia entre fotografía, intervención y digitalización. En Pablo Siquier en cambio, se observa la propuesta abstracta perfectamente calibrada junto a una intención significativa que le desborda haciendo avanzar las formas en proceso abierto y potencialmente ilimitado (Lyotard). Son los juegos del significante que tanta importancia asumieron en la plástica argentina a partir de Antonio Berni, de Luis Felipe Noé, con la ruptura de la unidad del cuadro y el acontecer de un originalísimo espacio plástico barroco y deconstructivo. Un deconstruccionismo avant la lettre. Como asimismo en Jorge de la Vega en cuyas obras se refleja la conocida canción del gusanito con definiciones plásticas y filosóficas a la vez. En Lucía Pacenza con El Pliegue, como símbolo del barroco. Víctor Grippo y Diana Dowek, que presenta la violencia ideológica en Argentina. Así otros artistas, entre ellos, Alfredo Hlito, que tiene el derecho a ser considerado. nuestro mayor artista abstracto.

MARÍA MÓNICA CABALLERO Semiótica y Estética: la cuestión del arte en el cruce de las disciplinas: el entre: Condiciones de producción y condiciones de recepción de la obra de arte. Dos búsquedas que, en el cruce entre la ciencia y la filosofía y la metafísica, han impulsado con enfoques diversos la ardua cuestión del arte contemporáneo. Se intentará dar cuenta de algunos casos ejemplares del arte argentino que ostentan la evidencia de sistemas de transformaciones orientados por una semiosis ilimitada, tentativa. Las nociones de “Forma formante / forma formada” y el concepto de “Hermenéutica” desarrollado por Luigi Pareyson (filósofo italiano del siglo XX) servirán de conceptos ejes para el análisis de un conjunto de obras pertenecientes a artistas plásticos argentinos. Un análisis sintáctico /semántico y la búsqueda de producción de sentido teniendo en cuenta las condiciones de producción, realización y circulación de los productos a analizar. Se privilegiará el método abductivo para el tratamiento del proceso de producción creativo subrayando una metodología de investigación adecuada en la que se ponen en juego procesos formativos que conjugan capacidades perceptivas, conceptuales y emocionales. Su modo de hacer no como mera técnica sino una fusión “pensar/hacer”, “saber-hacer”. Las hipótesis girarán en torno a: 1. Modos de hacer; 2. Oficio es más que técnica; 3 Conocer los propósitos del autor. En el análisis se tendrá en cuenta los 3 niveles de los que habla Dufrenne ( lo sensible, el objeto representado, argumentado y la expresión, creación. En cada una de las obras analizadas desde su construcción sintáctica se remitirá al mundo de significaciones que emergen de la interacción de dichos parámetros con el mundo de sus lógicas constructivas histórico sociales. Asimismo, se analizarán las condiciones de reconocimiento como un proceso dialéctico de apertura y delimitación. El estado actual de las condiciones de producción y reconocimiento de las experiencias estéticas, que incluyen

exploraciones tecnológicas, cambios epistemológicos en la conceptualización de las ciencias y desdibujamiento de los límites de las disciplinas artísticas, ameritan instalar, no solo en el debate sino en los diseños curriculares, una formación básica que, sin perder de vista lo específico de lo disciplinar, tienda hacia una praxis inter y multidisciplinar acorde con la producción contemporánea. Lo que se observa en las aulas suele ser reflejo de modelos que se reproducen con cierto grado de inercia. Han sido internalizados por los docentes desde su propia experiencia como alumnos, y por lo general no se examinan como resultado de elecciones situadas social, cultural e históricamente. Tal como expresa Bourdieu “… La exposición acumulativa a ciertas condiciones sociales induce en los individuos un conjunto de disposiciones duraderas y transformables que internalizan las necesidades del entorno social existente, inscribiendo dentro del organismo la inercia y las tensiones de la realidad externa.”

Lucrecia Escudero Chauvel Universidad de Lille III - Revista DeSigniS emiotica y Estetica La semiotica, disciplina del sentido, y la estetica, rama autónoma de la filosofia que se ocupa del valor y de las condiciones de existencia de la obra de arte, se han encontrado en la pregunta crucial sobre la produccion del artefacto estetico como lenguaje y como representacion. Categorias de la semiotica plastica y figurativa y del semi-simbolismo han permitido problematizar la compleja articulacion de los planos de contenido y de la expresion con los que se organiza un sistema semiotico. La sémiotique, discipline du sens, et la esthétique, branche autonome de la philosophie dediée aux valeurs et conditions d'existence de l'oeuvre d'art, se sont croisées dans la question cruciale de la production de l'artefact esthétique comme langage et répresentation. Catégories de la sémiotique plastique et figurative et du sémi-symbolique nous ont permis de questionner l'articulation complexe entre les plans du contenu et de l'expresion, conditions d'organisation d'un système sémiotique.

PRISCILA BORGES UFOP/ UFMG [email protected] Reflections on Aesthetic and Peirce’s system of 66 classes of signs Abstract：Aesthetic and semiotics are philosophical disciplines on Charles Sanders Peirce’s system of sciences. Aesthetic, ethic and semiotics (or logic) are suborders of the Normative Science, which is the “science of the laws of conformity of things to ends (EP2: 200 [1903]). Aesthetic is the first branch of the Normative Science and it considers those things whose ends are to embody qualities of feeling (EP2: 200 [1903]). It is “the science of ideals, or of that which is objectively admirable without any ulterior reason.” (CP 1.191 [1903]). Aesthetic is the ground of Semiotics, which is the science whose end is to truly represent. Therefore, the two disciplines are closely connected and this relation might be investigated. The aim of this paper is to think about Aesthetic through the system of 66 sign classes lately suggested by C. S. Peirce. Many authors have already pointed out some relations between the sign categories and Aesthetic in order to characterize the aesthetic sign. However, many analyses of the sign classes are superficial, neglecting fundamental aspects of the sign relations and ignoring the system of 66 classes of signs. For instance, saying that a sign is iconic means only that it refers to the object by virtue of qualities. It leaves aside the ground of the sign and the relation with the interpretant. According to Santaella (1994, p. 177), the concept of icon isolated from the other sign relation fulfill certain requirements for the aesthetic sign, but considering the triadic logic of the iconic sign and the relation among the classes of signs it is possible to make fine distinctions and be more efficient at characterizing the aesthetic sign. When Peirce proposes the enlarged system of signs, he details the model of sign dividing the object in two objects and the interpretant in three different interpretants. Consequently, the number of aspects to be analyzed increases from three to ten. Thus, it would be possible to characterize in more details the aesthetic signs and develop the studies in semiotic aesthetic. To analyze the system of 66 classes of signs I will use a model of this system called Signtree, which I developed. This system

shows six classes of qualisigns and four classes of iconic signs. As the qualisigns and the iconic signs are good example of aesthetic signs, my proposal is to examine these classes considering each one the ten aspects of the sign and the relation among these classes and the whole system of 66 classes. Therefore, the paper might enlighten the studies on the semiotic theory of the aesthetic signs.

ROCCO MANGIERI Body-arts, body-signs: corporeality, embodiment and modes of signs-production: Abstract: Contemporary Latin American urban culture through several layers of symbolic and aesthetics production , from the seventies until today. Subversive and insubordinate visual texts that regarding the codes of functional and market life, are sometimes reabsorbed by the same stereotypical mechanisms. In Venezuela and Latin America ,the spontaneous artists and designers have redefined and recovered the body painted as a sign of ritual and poetical invention. A brief survey of this semiotic space production can give us an idea of the expressive and communicative power of these new symbolic production environments . We want to see the body as a substance, matter and support of the signs. As camouflage and trompe-l'oeil, material support of scripture, as a sign of border urban identity , the games and rhetoric of silence. The mark, the incision, stroke, the puncture, the color´s extension, the outlines, the shadows, can be described as complex modes of semiotics production and , simultaneously , as condensed or expanded narrative programs, supported by various forms of social visibility: exhibition, concealment , hiding, visibility and legibility display. Key words: embodiment, ritual, signs-production, urban identity

ANNE DYMEK Excess of emotions in filmic perception Abstract： In which ways does filmic perception make possible an excess of sensational/emotional situations in comparison to natural perception? A semiotic analysis of the differences between filmic perception and natural perception with Peirce «Our percepts resemble pictures, moving pictures accompanied by feelings, sounds, etc.» (MS 939) will show that the basis of filmic reception consists in a considerable reduction of cognitive-pragmatic implication, a fact that is - for Peirce - correlative with an increase of emotional situations Peirce: « The development of the human mind has practically extinguished all feelings » (PWP, 344). Like natural perception, film presents us one “percipuum” after the other, but it is due to the “perceptual prosthesis” namely the camera, that the perceiver’s access to these percipuums is very different from the perceiver’s access to the real life. Not only that the camera frees the perceiver from any direct pragmatic implication by substituting him in many pragmatic ways (point of reference/perspective observation, participation in the space-time-continuum of the events, ability of movement, ability of choice of attention), but also is the camera able to effect a new perception, which is characterised by an excess of “pure icons”. “Pure icons” are for Peirce the most “virtual”, “ideal”, and “emotional” signs, constituting an inexplicable sudden sensation of firstness, where representamen, object and interpretant become one. In the real life these highly emotive impressions are very rare (like for example a déjà-vu), and it is compared to this rareness, that their occurrence during filmic perception can or must be classified as being excessive. Filmic publicity and music videos, it is known, are making use of this particular ability to line up emotional situations excessively. Our semiotic theorisation (with Peirce, Deleuze, and others) of different filmic forms of this excess will provide an insight into filmic aesthetics, probably by using one or two filmic examples.

MARÍA EGOZCUE

La Estética como producción de sentido en las Carreras de Diseño de Indumentaria y Textil. Se intentará mostrar cómo se desarrolla una producción de sentido, dentro de las aulas universitarias de alumnos avanzados de diseño. Cómo nvitar a los alumnos a reflexionar y pensar la época actual como un entretejido de valoraciones científicas, artísticas y estéticas atravesadas por un eje moderno/postmoderno. Se tratará de lograr que al finalizar el curso, los estudiantes: Comprendan la realización artística como resultado de la objetivación de la actividad del hombre-en-el-mundo. Analicen los productos artísticos atendiendo al contexto histórico-político que les dio origen. Reflexionen sobre la función del artista en relación con el contexto social en el cual está inserto y comprendan el origen histórico-filosófico de las categorías con las que en nuestra época se interpreta el fenómeno artístico. Construyan un discurso estético que permita comprender la producción artístico-cultural. Abordar el Fenómeno Artístico desde los procesos de producción y reconocimiento de sentido, supone una comprensión de la experiencia estética como fenómeno comunicacional y forma de conocimiento. Desde una didáctica de nuevo tipo se tratará de compartir y negociar significados, con el objeto de que los alumnos construyan conocimientos que en el marco de la comunicación didáctica, poseen un carácter complementario y asimétrico. En este marco, la pregunta del docente tiene valor en tanto abre un nuevo interrogante, refiere a la epistemología de la disciplina, genera contradicciones tratando de recuperar las concepciones erróneas de un concepto tratando de deconstruirlas.

Anna Petersson, Gunnar Sandin, Lars-Henrik Ståhl Lund University, Lars- [email protected] Whenever a material object is selected to represent a physically absent, but emotionally present referent, such as a religious figure or a deceased relative, we have a complex representation situation that involves what we could tentatively label “transgressive cognitive acts”. A transgressive cognitive act is here meant to involve a part that is experienced as present, but from a rationalist or scientific perspective cannot be recognised by way of evidence. Sometimes, the complexity of this type of representation is such that other argumentation, like an aesthetic one, comes to stand as vicarious to opinions about the matter. The semiotics of such vicarious representation have to consider a “leaking” communication model where either one of the sender, the receiver or the referred subject is absent. The fact that empirically non-existing referents have been recognised in semiotics (Eco; Sonesson; and others) does not explain why certain cases of absent semiotic agents, linked to religious belief or grief, give rise to such extreme degree of emotion or sense of existence. Departing from a narrated episode written by J M Coetzee, about the controversy brought up by a crucifix, turning into a quarrel about aesthetic preferences, this paper discusses a series of designed or spontaneously created spatial representations of absent, but indirectly and emotionally present, referents as they appear in memorials, cemeteries and funeral chapels. In public acts of memorialisation, the physical objects that represent the deceased – like gravestones or memorial objects placed at sites of sudden death – are often strictly regulated, differently in different cultures. At unexpected places in the urban environment, or with unfamiliar looks, memorials and their material culture can thus be regarded as highly objectionable. These materialisations may give rise to aesthetic arguments as the last, and vicarious, chance to state a principle order in the cultural scheme in which they are placed. Such arguments are actualised in the current debate about post-secular societies, where it is for instance stated (Habermas) that both religious and secular mentalities must be open to a complementary learning process if we are to balance shared citizenship and cultural difference in the post-secular society. It is an objective of this paper to show that a recognition of a semiotics that involves the paradoxical presence of emotionally strong, but physically absent referents, including argumentation turning to

aesthetic issues, can contribute to the discussion about the confronting as well as conjoining elements of regulation of these issues in society.

Minhyoung Kim (Jeju National University, South Korea) Finding Augmented Body of Animated Imagery in the Modern East Asia Abstract：Following the premise that to create animated art is to “animare”, that is “to give life to”, one of the most significant issues is to identify both the presence of a spirit and the action of life. Therefore, it is essential to understand how the body, where life manifests and signifies itself, forms and operates in animated imagery. This paper aims to discover how body images have been constructed in the modern East Asia through the history of animated imagery, which includes references from Ukiyoe, Buddhist painting and sculpture, Zen painting to caricature, manga or anime. This research focuses on the relation between the corporal representation and the urbanization and modernization of everyday life as a new way of “being in the world”, revealing how it has been overwhelmed by a fusion of nature and technology, and rapid movement upon the instability of forms, so that “the pathos of death and renewal” has expanded. Animated bodies, in particular, have constantly been found represented by exaggeration, ellipsis, metamorphosis, or hybridization, often crossing through species and gender, which in this paper is presented as “augmented body”. Indeed, what the animated imagery can do the body is one of the most interesting and provocative aspects of the medium. Animated bodies run the limit across an extraordinary variety of forms from anthropomorphized to fictional or virtual figures, thus augmented to reflect both dreams and nightmares of what modernization and its dynamics in East Asia have caused to have come true. Hence, this study attempts to pursue the historical path of augmented bodies in animated imagery and show a resonance with a complex and ever-changing contemporary society in the modern East Asia.

Seung-Hak Chi, Korea University, South Korea Film and Skin: On the basis of Gesture transferring Cultural ideology in the East Asian film. Abstract：This study aims to analyze East Asian films by the way of representation of “gesture” by skin. The skin is a place where humankind has accumulated their own experiences, which have definite implications for social unconsciousness. Thus, it is important to understand that the skin maintains the body by “homeostasis”, that is, the skin functions by absorption and excretion. The skin, therefore, has not only implicit messages (or “implosion”), but also explicit gesture (or “explosion”). Considering the East Asian culture during the post-war period as collective unconsciousness rather than the state of balanced body, I would like to present that the skin follows the same way as the social system, and represents the social message within the film. It is critical to understand that the skin is the film itself due to the connection between the human being and the visual literacy of film from the post-war society of East Asia. As some of the contemporary films, for instance, have revealed the aspects of failed Imperialism, which is not always agreed completely, it would be possible to obtain an insight into society and humanity rather than the body, suggesting that we extend and apply “tactility” to it. Thus, the skin is able to sublimate the body into a certain social message by gesture within film so that we inevitably feel a film, which contains tactility, and see gestures, which have a message, as long as we possess the skin. Although many films manage to retain significant gestures, we need to discover a meaning of gesture, as if blinds read Braille. Consequently, I will establish an agenda for the gesture of film as the very first place where social messages are accommodated.

Hoe-Chul Kim, Korea University, South Korea

The Transformation of Corporal Expression in the Visual Regime Transition: Modern Portraits and Portrait Photography of Korea, China, and Japan Abstract：This paper aims to study the changes of gesture between portraits and portrait photography in the modern era of East Asia, where traditionally ancestral portraits have been enshrined and treasured with high esteem. During the pre-modern period, a portrait was required to preserve ‘a likeness to an object’ so that it was considered to represent essential features of the object. Major goal of such portraits is to indicate virtuously ideal figures and to utilize them for the purpose of education, religion, and recording. As the conventional East Asian paintings have placed special importance on expressing a likeness as well as its spirit of the object, “Jeonsin-Sajo” [傳神寫照 (a theory suggesting that portrait is what transmits spirit by eye)] and “Ilho-bulsa” [一毫不似 (a theory suggesting that if the portrait is different from the actual person even a single hair, it becomes a whole different person)] have strongly influenced the painting traditions. To be specific, the word “Sajo” is to describe a shape of an object and “Jeonsin” is to draw spirit, which is hidden within an object, so that “Jeonsin-Sajo” is a style of painting that expresses the object’s spirit by shape. On the other hand, the word “Ilho” means a single hair that represents the mind of deceased ancestor. On the contrary, such portraits present less movement and the lack of emotion. East Asian sitters, in most cases surrounded by empty background, suggest no particular lively gesture. During the pre-modern period, however, there are several specific characteristics derived from the Chinese portraits, which face the frontal view with the hand position of one on the knee and the other holding a belt on the waist, on the chair covered with the whole tiger skin, and with the placement of the shoes on the platform, which is similar to the shape of Chinese character “Pal” [八(the number eight)]. On the other hand, the Korean portraits are strongly opposed to the pose of hands, which prefer the folded ones, so that they are interpreted not to describe the self-expression and arrogance conducted by the pose of the hands and the frontal view. Compared to the Chinese and Japanese ones, the Korean portraits particularly served for memorial service and ancestor worship ceremony. However, the chair covered with tiger skin, which signifies social wealth and pride, and the placement of shoes in the shape of “Pal”, were widespread until the early modern age of Korea. The photographic portraiture imported by the Western missionary, eventually had a large impact on the East Asian portraits as well as the visual culture of Korea, China, and Japan in the modern period. Hence, the changes of gesture in terms of photography were adjusted and modified by the preference of East Asian society.

Pascal Lardellier University of Burgundy, France The “Superlative Body”: The Fashion Show, a Ritual for Top Models’ Perfect Body Abstract： The development of fashion in our societies transforms fashion shows into incredibly artistical and mediatical events. “Fashion weeks” (Milan, New York, Paris) are broadcasted worldwide, spreading through top models’ representations of bodies, which are considered to be “superlative bodies”. In this conference, I will analyze, with semio-anthropological tools, the shape and influence of those “superlative bodies”, and fashion shows as mediatical rituals that spread though representations of bodies.

Chi Lungzin, Department of Radio, Television and Film, Shih Hsin University, Taipei Semiotics of Cinema：Under Reconstructing Film Studies Discourses Abstract: 1990 film theories’ retreat is just as what we experienced and witness, which appeared generally in the environment of academic researches and publications. Among the discussion of the retreat and the disappearance of film theories, the most radical and challenging one is Post-Theroy:Reconstructing Film Studies, published in 1996 by David Bordwell and Noël Carroll. Bordwell proposed “middle-level research” and Carroll advocated “piecemeal theory” against “Grand Theories” (including semiotics, psychoanalysis, feminism, culturalism, and etc.), accelerating the confrontations and debates in the community of film studies.

The main purpose of this paper is to discuss the subject raised from Post-Theory and give some perspectives about the idea of Bordwell and Carroll. Is the retreat of film theories resulted from Grand Theories? Or should we follow Bordwell and Carroll’s illustration to achieve the purpose of film research? How film semiotics as a major study from the mid 1960s, the 1970s, and to the late 1980s to respond these challenges? Is it the death of cinema of semiotics, which founded by Christian Metz for almost five decades? Whether or not there is new aspect or topics to transform cinema of semiotics to another stage? This paper focuses on the response to these problematics, and tries to explain the development of film theories today. Film semiotics is not dead, but still voicing. Keyword: Post-theory, Semiotics of cinema, middle-level research, piecemeal theory, film theories

Sun Cheng, School of Film & TV Arts and Technology, Shanghai University Transcendental Empiricism: Deleuzian Semiotics Referring to Cinema Abstract: Following and improving L. Hjelmslev and C.D.Peirce’sign theory, Deleuze takes image as a non-linguistically formed signaletic material (mass, content), and proposes the concepts of pre-linguistic images and pre-signifying signs, with which language system should be retested. Deleuze has defined ‘semiotics’ , rather than semiology, as the system of images and signs independent of language in general. This article maintains that the concept of pure semiotics extends the scope of study of sign as a discipline or a methodology, but his attempt still lack concrete proof for his semiotic transcendentalism. Our analysis will focuse on that how successfully articulation is replaced by the modulation, and the connetion signifier–signified is replaced by the circuit the whole-the objects. The whole and the objects are defined on the vertical and the horizontal axes. Image, as the non-language material, turns the value of the signified into zero degree, i.e. the signifier coincides with the signified, as a result, signs disappear from semiology. Both image movement as a whole and the thingness as the objects constitute the base of Deleuzian pure semiotics, in which the image itself is the sign. Since the concept subjectivity is still ambiguous in shaping the function of the whole and the objects, Deleuze finally emphasizes a conception of spiritual automaton, with which the circuit of the whole & the objects proceeds to the subjectivity, i.e. the thought-image called by Deleuze. The brain is the screen; the image is the thought; and finally the sign is the image. The whole-the objects-the subject constitutes a super circuit. The image-sign is no longer empirical, nor metaphysical; it is transcendental in the sense that Kant gives.

PATRICIA CIOCHINI School of Fine Arts - University of La Plata -Argentina Análisis de obra en los artistas plásticos argentinos Antonio Berni, Luis felipe Noé, Jorge de la Vega, Zulema Mazza abstract: Este trabajo se desarrolla en el marco del XI Congreso de Semiótica. Se inscribe dentro de las Prácticas del Arte Contemporáneo. Nuestra tarea se centra en el análisis de obra de los artistas plásticos argentinos Antonio Berni, Luis Felipe Noé, Jorge de la Vega, Zulema Maza. El eje articulador de la propuesta es indagar en los análisis de obras, sus composiciones, la voz de la materia, los modos de representación, las articulaciones espaciales, los espesores, las densidades, las transparencias; esta relación dialéctica genera un juego simbólico de relaciones inseparables entre lo connotado y denotado. Analizaremos como los empastes, la materialidad de Berni y la representación quirúrgica de los personajes de Zulema Maza. se relaciona con el aporte de los nuevos materiales y nuevas tecnologías digitales. Tanto uno como el otro transforman la materia y la temática, pero la estructura compositiva es en general la misma.Ser hijos de su época.

Fatima Festić (Zagreb University) Cosmopolitanism and Aesthetic Semiotics: the Postmodernity of Modernity Abstract: This paper will relate the concepts of cosmopolitanism and postmodernity in reference to aesthetic semiotics in order to discuss art interpreting processes as parts of global semiosis. Carrying out a detotalizing critical function and relating aesthetics to ethics and politics in the form of interpretation-as-response-as-intervention, such art semiosis puts on view a causal bond (object-art-interpretant) in performing answers to ontological questions. Whether it is understood as a cultural condition, philosophy or life-style, cosmopolitanism has as its premise a stance of initial openness and incessant dialogizing of subjectivity, while its attribute of interdependence draws upon the postmodernist intercorporeity and bodily disposition of signs. It adds to an artwork then that through a semiosic employing of the features of cosmopolitanism--in the art-formation/art-interpretation--art itself challenges the modernist programmatic distance from social and political concerns. The paper will discuss such intertwining activity as the postmodernity of modernity which is exemplarily rendered in the work of Ingeborg Bachmann.

Part C: Literature and Linguistics 文学与语言学

20. Narrative and Semiosis 叙述和符号过程（11）

Semiotics in Africa: the present state of affairs and prospect （31）

非洲符号学：现状和展望 Benghenissa Nacer eddine Université de Biskra Algérie Modalization narrative device and passion in the novel contemporary Arab Abstract: In this paper, we propose to explore an aspect of semiotics that has been slow to emerge as a central issue in the narrative semiotics. A substantive debate begins today on the achievements and prospects of semiotics of Greimas inspiration. This paper proposes a semiotic light on one of these questions to show the transition from passion to modal. But no claim that this work has a theoretical range. For example, the “terror” will be the subject of our analysis, can be translated as an addition between “wanting” and “not-able-not-do” beyond “the jurisdiction to” tell the dictionary to define other states of passion as a “disposition” or a “feeling that leads to” etc. .. What is the last speech of this state of passion in a story set. To approach this practical aspect of the question, our choice was focused on a sequence of a novel entitled contemporary Arab (Latin Quarter) of Suhail Idris (Latin Quarter) which can entitle “manipulation and terror.”

Henry Yiheng Zhao, Sichuan University The Narrator and His Frame-Person Duality：A Semionarratological Analysis Abstract: Any narrative text must have a source from where comes the narrative voice. To locate this source is the starting point for an understanding of the narrative. There has, however, hardly been an effort among scholars to find the shape of the narrator in all narratives, though the pursuit is intense in respective genres (in the novel or in cinema, for instance). The difficulty lies in the fact that the general narrator is elusive: it is always in a “person-frame” duality. The present paper attempts to divide all narratives into five categories according to the degrees of individuation of the narrator. The narrator is then revealed to assume different shapes, from substantiated individual to depersonalized frame, but forever exists in two phases. Keywords: general narratology, narrator, person, frame, duality

Lu Zhenglan Literature & journalism college, Sichuan University Transsemiosis in Intermedia Music Abstract: In modern culture, music appears mostly in collaboration with other media in intermedia genres, such as songs, musicals, film music, television music, video-game music, etc. Music signification has to function through other media to form a complicated transsemiosic text. In those texts, music plays different roles in association and/or discordance with the “major medium text”. There is indication or no indication of the music source; Music proceeds in agreement or in disagreement with the “major medium text”. Thereupon, four types of rhetoric relationship arise: Simile: There is indication of the music source and music proceeds in agreement with the “major medium text”. Music deepens the signification; Metaphor: There is no indication of the music source and music proceeds in agreement with the “major medium text”. Music describes the signification; Paradox: There is indication of the music source and music proceeds in disagreement with the “major medium text”. Music multiplies the signification; Irony: There is no indication of the music source and music proceeds in disagreement with the “major medium text”. Music complicates the signification; The present paper analyses a series of examples to explain the four situation, paying more attention to the last situation when the transsemiosic text is most complex. Keywords: Transsemiosis Intermedia Music

Ling-Yu 广东广州华南师范大学文学院 The Cross-media Integration of Literature and Dance Abstract: How can we achieve the cross-media integration of literature and dance? Here I refer not only to literary works adapted for dramatic dance, but also to that literature which absorbs the essential elements of dance into its narratives and in so doing stimulates new areas of the reader’s imagination. For example, Blood Carmen, the novel by Hong Kong writer Huang Biyun, combines the rhythm and beat of literature with that of flamenco dance into a unified whole, tapping out a unique artistic form (We should note that Huang Biyun is not only a novelist but also a flamenco dancer who studied in Spain for several years.). Through a careful reading of this novel I identify three key characteristics of its fusion of literary narrative with flamenco dance. First, the form of dance is blended into the form of language in order to create a unified, dynamic narrative. The author takes the essential qualities of flamenco—its driving rhythms and tapping tempo, its dynamic imagery and composition—and integrates them into her prose. Thus, we have the fast, urgent cut of space and time, the interwoven narratives of plot, as well as numerous and varied characters—all adding up to a kind of literary embodiment of the polyphonic music form. Second, literary style is blended with the style of dance. Spanish flamenco is famously known for its outward passion, vigor and dynamism. However, it is also an art form requiring tremendous internal forbearance and restraint on the part of the dancer. In a similar vein, Blood Carmen may appear at times to be characterized by lightness in form and tone; however, the work is ultimately constrained, cold, impassive, and deeply concerned for the hardships of human existence. The narrative style of the novel thus employs what we may call ‘unspoken speech,’ as dancing and writing are infused with elements of paradox: optimism and disillusionment, reality and fantasy, action and stillness, extroversion and introversion. Third, the author, through her portrayal of the dancers’ lives, expertly evokes aspects of the unspeakable pain life often brings. Flamenco is expressive of certain conditions of life through its dancers’ fierce concentration and movement; similarly, Blood Carmen expresses aspects of life through a violent, obscure and crushing style. Influenced by the rhythms and vicissitudes of life the author conveys deeply of the unspeakable pain involved in survival; in her portrayal of dance in Blood Carmen, the author not only depicts the love, hate

and physical pain felt by the female dancers, but also adeptly evokes the confusion and disillusionment they feel while living on the edge of this psychological state. Thus, Huang delves into deeper questions regarding the meaning of life itself. Whether ordinary dancers or a “dancing queen,” in Blood Carmen performers experience a profound emptiness in their lives. In a larger sense, there are bloody “holes” within us all, and so we can never find complete security for the soul. In this way, Huang Biyun’s own soul resonates with flamenco both as an accident and, in a larger sense, as a kind of inevitably. And from this deep, personal experience she has given us new possibilities for the cross-media narrative.

Fatima Festić Zagreb University Trauma, Narrative, Semiosis Abstract: This paper offers a reflection on the relations between narrative and semiotics involving the perspective of recent trauma studies. Taking narrative as one of the basic activities of human mind (a resource/medium/method/tool for cognition), and global semiotics as a conception of (the triadic relationship of) semiosis in the sense of semiobiosphere and the network of signs--the discussion will focus on the ways of narrative recovery/reintegration of the ontological which is disrupted in trauma. The reflection on trauma throws light on mental functioning and narrative production while also points to its prevention and to the blockages in semiosic processes--what remains and comes forth in trauma is the dyadic interaction between the self and the environment as the experience of an immediate brute fact (Peirce), limit event (LaCapra), the Real (Lacan). Psychic trauma is mostly understood as a breach in mind and in the self’s experience of time, life, the world (Caruth), consequently emitting the delayed manifestations of the traumatizing event and a variety of complex representations of its experience (LaCapra). Given that semiotic interaction implies a transcendence of the immediate situation through interpretation with the reference to the third (a “meaning”, purpose, goal, law) (Nöth), and that global semiosis identifies life and semiosis (Sebeok)--both of which are canceled or deferred in trauma--the issuing of trauma narrative as a course of recovering of both semiosis and life may lead to some general findings on narrative and semiosis. The paper will refer to Ingeborg Bachmann’s narrative cycle “Ways of Dying” as a prime example of trauma narrative yet also of cognitive ethics and semiosis. Bachmann’s treatment of the body, language, (the murderousness of) society and wider semiotic environments elucidates conditions for narrative production, the outside causality, the living responsiveness, supportive environment for transference, and empathetic network allowing codification of traumatic symptoms into a narrative and meaning with the purpose of the self’s reintegration. Yet it also elucidates (in)adequate normative frameworks that rule both narrative production and interpretation and thus determine/limit possibilities of transformation.

LI Meixia Beijing International Studies University [email protected] The Interpretation of Poetry from the Cognitive-semiotic Perspective Abstract: From Wikipedia, poetry is defined as a form of literary art in which language is used for its aesthetic and evocative qualities in addition to or in lieu of its apparent meaning. But from the communicative perspective, we can define poetry as a communicative form of verbal and non-verbal language. This form is one of the many semiotic systems (also including films, music, painting, etc.) which have representational functions and which are formed based upon human’s cognition. It can be said that the production and interpretation of poetry cannot be separated from human’s cognition and the process of semioticization of poetry. Then, how can we make sense of poems? What factors are involved into the process? To answer these questions, the present study does the following two things. First, it tries to construct a model of the interpretation of the meaning of poetry from the cognitive-semiotic perspective. Second, it puts the model in action, namely using this newly-constructed model to analyze the well- known ancient Chinese poems. This study is aimed to shed a new insight on the interpretation of the meanings of

poetry. Key words: poetry, interpretation, cognitive-semiotic perspective

Richard Rong-bin Chen [email protected] A Proppian-Greimasian Semiotic Reading of Literary Taipei: The Case of Bai Xianyong’s Crystal Boys Abstract: From a cognitive perspective metaphor can be briefly defined as thinking of one thing (A) as though it were another thing (B), and linguistically this will result in an item of vocabulary or large stretch of text being applied in an unusual or new way.” (Goatly 2007:11) From this definition it can be inferred that metaphor actually is a juxtaposition of two different concepts from two different domains, and we rely on metaphor to understand the world, to talk about the world and to reconstruct a multitude of different kinds of new semiotic worlds. So metaphor is ubiquitous and is pervasive in our daily life. However, for a long time, owing to the dominance of the traditional view regarding metaphor as the master trope (primary figure of speech) and the lack of advanced scientific equipment, the study related with the processing or comprehension of metaphor has been ignored. In the latter part of the 20’s century, with the development of such disciplines as psychology, cognitive science, neuroscience, etc., researchers began to investigate the processing of metaphor from different points of view and have achieved great achievements. Based on the review of the previous research, the present article, taking some theories of cognitive linguistics and psycholinguistics as theoretical rationale, attempts to reconstruct on-line metaphor processing and to dig out the factors influencing the metaphor processing, and then conducts an experiment to verify the reconstruction, in which six optimal principles are found operating. Key Words: metaphor, on-line processing, meaning processing, discourse comprehension, reconstruction, optimal principles

Prof. Seung Kuk BAIK, Master. Hyeji LEE [email protected] A Research on the Storytelling Strategy of Cultural Branding Abstract: Recently in consulting area, people tend to accept and unite two different marketing methodologies. One is quantitative marketing methodology which suggests the strategy based on market data, the other is called qualitative marketing methodology which analyze and diagnose consumer thoroughly. The unity of those two methodologies mean the possibility of exploration of economical methodology that proposes abstract figure of data analysis and the creative marketing strategy that of in the level of consumer's aspect at the same time. In this stream of study, it is being mentioned on the importance of applied humanities. Especially the emerging branches of applied humanities are as follows: aesthetic marketing that establishes product and brand identity, emotional marketing that moves consumers' mind, and cultural branding that sets communication strategy up by the medium of culture. The purpose of this research is to analyse utility of storytelling in the process of consumers to recognize brands in the level of cultural branding. It has its aim at application of the cultural semiotics and methodology into a concept of cultural branding which is derived from 'How Brands Become Icons' by Douglas Holt, the marketing specialist, in particular. Holt mentioned about the importance of cultural branding strategy on the basis of storytelling but he doesn't give any specific concept and methodology from his book. He just simply emphasizes the importance of storytelling strategy to establish brand myth by analyzing commercials. Thus, cultural branding theory concept and methodology will be suggested in the perspective of cultural semiotics in this paper. The research attempts to take a theoretical approach of cultural branding through following interdisciplinary concepts that affects on consumers realm of cognition: symbolization capability, cultural context, cultural code, cultural archetype, cultural myth, storytelling setting.

Noureddine Bakrim (Iremam – CNRS)

The semiosis of representation in Berber narrative spatiality: Scalar and vectorial paradigms Abstract: The mutation from the ahistorical fuzzy space order to the modulation of the ethnic, national-state order in the Berber narrativity implies a referential process which is related to the wide problematic of variable representation of the inhabitable spaces, yet rural or urban ones, that is to say a problematic concerning representational and cultural semiosis at the same time. Beyond any sociological or sociolinguistic representation realism analysis on the discursive literacy level, the main purpose here is the link between Meaning and natural world. Two major semiotic paradigms articulate the discursive narrative representation of the inhabitable space as we could observe it in the new Berber written narratives or inserted in francophone - Arabic written ones. The paradigm of non-directional scalar field : Representing the world in narratives is also reducing to a certain discursive probable and perceptive level. By focusing on the inhabitable world space, the scalar criteria could be grasped in the analysis of the semantic proportionality as manifested by descriptive sememes. Hence, a state of the world ‘Dimension’ –for example- would integrate a quantitative proportionality. The study of a spatial isotopy like Insufficiency will show the proportional nature of the scalar field ‘village’ in the immigration narratives. The same process could be applied to the isotopy of density. Although, the scalar field is a varying value reflecting the variability of the spatiality itself. A vectorial-directional paradigm : We could consider that the main function in this paradigm is the movement which implies vectorial space segmentation on the actantial level. Hence, the transformational process of the inhabitable space (intra-, inter-, and extra-linguistic spaces) would put in play directed spatial orders underlied by the question of value and modality. If we look at the Berber spatiality in the French written novel Légende et vie d’Agounchiche by Mohamed Khaïreddine, the actantial vectoriality is a remodeling principle of the actantial identity as well as in the interrupted narrative programs. Vectoriality would be a decentering process articulating the scalar paradigm by schematizing it and testing its limits. Transformational actants illustrate the limits of scalar divisions (for instance the volitional modality in the novel ‘’Ijjigen n tidi – Sweat’s flowers’’) by Mohamed Akunad. Our aim in this paper is to focus on the semiosis of discourse-natural world relation in narrative texts basing on the scalar and vectorial space paradigms. The specificity of our approach is to contrast a trilingual corpus (Berber written narratives dealing with space and francophone, Arabic narratives including the berber inhabitable space).

Anneli Mihkelev Tallinn University Historical Narratives and Semiosis in Contemporary (Estonian) Culture Abstract: Historical narratives play a great role in our cultural memory and art, and also in our identity. The main question is how does semiosis work in historical narratives and contemporary culture? The first aim of this paper is to analyze how different constructions of time (historical time, present, mythical and fictional time) and space (geographical, mythical and fictional) interact in historical and mythical narratives, and how these narratives influence collective cultural memory (in J. and A. Assman’s sense) and collective identity. Another important question is how these historical and mythical narratives influence individual memory and identity, how interact collective and individual cultural memory in historical and mythical narratives and in contemporary culture? The second purpose is to analyse the mechanisms of intersemiosis in historical and mythical narratives. All the historical and mythical narratives as cultural texts belong to a wide inersemiotic space where different sign systems interact and at the same time appear the fusion of the processes of reception and creation. This paper examines mainly the dialogue and the process of creation between the verbal and visual signs (the novel and the play; the myth and play etc). The paper focuses on two literary works from Estonian and Finnish literature. Sofi Oksanen is a Finnish writer (b. 1977) who has Estonian roots, and her novel Purge (2008) represents historical events in Estonia after World War

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II. The protagonists of the novel are two women of different generations, and the author represents their tragic life-stories and at the same time interprets historical motifs which exist in our cultural memory. It is paradoxical that the novel, play and opera are very popular in many countries, but the reception has been hesitant in Estonia. The question is why the historical narrative can give contradictory meanings although historical facts would be fixed in our memories and also in the textbooks? Another important question is how the historical facts and Oksanen’s fictional time and space are mixed, and what does it mean for different readers? Anton Hansen- Tammsaare (1878 – 1940) was an Estonian epic talent and playwright. His play Judith (1921) interprets the apocryphal story of Judith from the Old Testament in a new way and connected Judith story with the story of Salome and the modernist discourse from the beginning of the 20th century. It means that Tammsaare’s Judith has different meaning than in the original apocryphal story. The apocryphal story of Judith in the Old Testament is not actually an historical narrative (although it contains historical motives from I century BC), and it does not belong also to the Biblical canon. It is a text which exists on the border in Juri Lotman sense, and it means that the text has a great potential for the process of creation also in contemporary time.

Valery Timofeev, St.Petersburg, Russia Narration in progress: Vyborg (Viipuri) Historical/Collective memory Abstract: The paper examines Vyborg(Viipuri) historical/collective memory( in Pierre Nora’s terms ) as narration in progress. Viipuri, the second largest city of Finland which was annexed to the Soviet Union (at first in 1941 and finally in 1944), was conferred the status of “City of Military Glory” by the President of the Russian Federation Dmitriy Medvedev on March 25, 2010, for “courage, endurance and mass heroism, exhibited by defenders of the city in the struggle for the freedom and independence of the Motherland”. Network analyses approach is here an interpretative frame that looks to both the testimony of survivors of historical trauma and memoires of the Soviet “liberators” and “new settlers” as well as memorials / museums, etc constituting or intended to constitute nodes and gaps of the intersubjective network (those that are “in-between-our heads” in Merab Mamardashvili’s words).

Wu Tong, Korea University, [email protected] Saussure with Semiotics of Chinese Characters Abstract: Saussure had mentioned Chinese characters several times in his Cours. His main opinions about Chinese are that: Chinese is the ideographic system; One Chinese character is one word and Chinese is a language which is in least motivation but more lexicological type. We will analyze Saussure’s opinions based on his illustration about Chinese character in his General Linguistics. According to this opinions pertained by Saussure, in this paper we will talk more about Chinese characters’ ideographic system and Chinese characters’ motivation. Chinese characters are a kind of ideograph character system , that is to say, Chinese characters using symbolic writings to record words or morphemes, which don’t express or stand for sound and syllables directly. With development of the creation of Chinese characters, Chinese character system become the combination of “ morpheme, phonetics, semantics. The relationship between the Chinese morpheme symbol system ( signifier) and Chinese phonetic and semantic system (signified) is the relationship of meaning expression. Actually, Chinese Characters system itself is the combination of structure, phonetic (sound) and semantic , morphological structure is the signifier, morphological motivation stands for the signified, they are called the first level symbol system, however, modern Chinese also compound with Chinese morpheme, which become the second level symbol system. Some scholars argued that Saussure’s opinions about Chinese characters were incorrect, because modern Chinese is not like ancient Chinese, with the development of Chinese, modern Chinese language are mainly constructed by multi-syllable system, is a kind of “ word basic language” divided into “ character, word,

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morpheme”. However, Saussure said that one Chinese character in one word, was mainly indicating the ancient Chinese, because ancient Chinese characters’ unit of construction were based on monosyllable. We will support Saussure’s opinion by analyzing Chinese structural symbol system in this paper. With the development of functional linguistics, the opinion about motivation increase. For example: in Chinese, “sweet” is pronounced as “ tian”, in Korean, it sounds as “ 달다” in Japanese, pronounced as “ wumayi”, including the English pronunciation [swi:t] they are all apical consonants plus prior vowels, the reason is that maybe the front part of tongue is the most sensitive part to feel taste of sweet. In Chinese the motivation shown strong expressions not only in onomatopoeia but in the construction of Chinese characters. Chinese Characters are the only left ideographic system, the reason why Chinese did not go into the way of phonetic system, is that the symbols of Chinese characters are not corresponding with phonetic symbols but with concepts. And the concepts only can be expressed in this ideographic system. So Chinese characters are the internal part of Chinese language, the function of Chinese characters can’t be replaced by other systems like pinyin. Chinese characters own the feature of motivation as well as arbitrariness, so we can correct some historical limitations that Saussure made.

Zhang Huimin, [email protected] Symphonic narrative as cyberspace Abstract: In this paper, I will choose Mario Vargas Llosa’s novel “Conversación en La Catedral” as example to discuss the symphonic narrative as cyberspace. It will explor the text from the following three aspeacts: the net structure of image; symphonic voice; and the varied rhythm of clue. The target is to interpret the new narrative function of concentrative space-time continuum.

LI Wei-hua, Hebei Normal University, [email protected]

Narrative Frequency and Three Dimensions of Time Abstract: As human being’s experience, time has three dimensions: linear time, annular time and psychotime. Gerard Genette’s theory of narrative frequency has just involved two dimensions among them:linear time and psychotime. So his theory of narrative frequency appear to be a binary structure of “single/iterative”. It is the lack of annular time that causes the neglet and misunderstanding of “repeat”. Guiding by the three dimensions of time, a new structure of narrative ferquency can be constructed with three antagonists: single/repeat/iterative.

Erin Cahill ‘Sung Reading’: An Operatic Approach to P. Craig Russell’s Graphic Novel The Ring of the Nibelung Abstrac: In his essay “Storylines,” narrative theorist Jared Gardner calls for a “turn to orality and performance studies” in developing a narrative theory of the comics form (67). In response, I offer a semiotic foundation towards a performative reading of the graphic novel by drawing analogies to the sign systems of opera as a narrative medium. I examine the semiotics of the graphic novel, then compare these with corresponding sign systems in opera based on how these systems work to create the “storyworld” (following David Herman) in the mind of the reader/viewer. I will conduct this study via the methodology of the “Reading Drama” approach, which explores the fusion of text and performance in the silent reading of a dramatic work, and apply these methods to the reading of P. Craig Russell’s graphic novel rendition of Wagner’s four-part opera The Ring of the Nibelung (2002). Through my analysis, I come to the following conclusions:

(1) graphic novels and opera are both representational media utilizing visual/verbal channels and signs drawn from common human experience (i.e. the body, architectural space, properties, lighting)

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(2) both graphic novels and opera are mimetic media that do not necessarily require a fixed narrator, which requires synthetic reading on the part of the viewer/reader (3) both graphic novels and opera employ a flexible temporal framework and the “symphonic” composition of simultaneous temporal “streams” (4) both graphic novels and opera are performative in that they are communicative presentations in which the act of narration itself is on display With this study I attempt to illustrate the “storyworld” as a cognitive construct that simultaneously transcends any particular medium and depends on the sign system through which it is mediated in order to recreate a story in the reader/viewer’s imagination.

Mohammad Hatefi, Shairi, Hamid Reza, [email protected] Tarbiat Modares University Discourse, Quasi-discourse, Trans-discourse Abstract: In this paper, we examine how visual/verbal inter-action and inter-genre coexist of the formation of genres manifest postmodern values and the discursive systems evolution is checked. In this study, a different meaning of the genre is being introduced: any common formal framework to perform a task which refers to any representation and interaction. The study shows that the representative of post-modern values results from the rapid growth in technology and global interactions. Disruption in the borders of the text is causing the texts to reflect the values of the state of being in the form of inter-textual influence from each other, as the material reflection of substantive changes in the social and cultural context there has been introduced a “trans-discursive condition” which means that: under the pressure of “anti- discursive” elements, specially in a status that we have multi-channel, multimedia, inter-genre, inter-textual, inter-discourse, and other inter- statuses, finally the “pro-discursive” elements can not help and save the “discourse”, and so finally everything -after passing from a “quasi-discourse condition”- fall in a “trans- discourse” condition which changes the subject, the identities and so the borders of culture: it changes the 2D culture to a 3D one. Finally there has been showed that how the classic phenomenology being changed to a modern or postmodern one. In the process of evolution, the word gradually has left its position in favor of the image in an inter-textual process, and there is a dominant by the non-regular systems in a historic process.

Prof. Dr. Karl N., Renner Alte Universitätsstraße 17 D-55116 Mainz [email protected] Narration as a collective arrangement of world Abstract: According to the sign theory by the German semiotician Rudi Keller, linguistic and iconic signs are not only used as instruments of representation but also as

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instruments of classification and communication (cf. Keller 1995: 73). Therefore every language and every media product are configuring a classification of the represented world sector or of the world as a whole just by their communicative use. As languages and media products are social constructs their specific world classifications are social constructs as well. This classification aspect can be regarded as a bridge to the narratological concept of Yuri M. Lotman, as Lotman defines the subject of a story [“Sujet”] as violation of the classificatory order [“sujetloser Text”] established by the semiotic text which is telling the story (cf. Lotman 1972: 336). The set-theoretical reconstruction of Lotman’s concept shows that these violations are the results of conflicts between general assumptions about the order of the particular world and the properties of specific individuals [“heroes”] which do not fit to the order of this world (cf. Renner 1983). According to the set-theoretical approach the reason of these conflicts is the epistemological friction between the consent- and reference based truth-concept. Based upon the language they use and upon the cultural semiotic products they receive people have general assumptions about the order of the world they live in. But they also observe phenomena which contradict these general assumptions. Narration negotiates such frictions, because the set-theoretical approach also shows that all conflicts will be terminated throughout the story. Maybe the hero will change his properties according to the order of the world or this order will be changed according to the hero’s properties. Therefore storytelling can be regarded as a collective human instrument, that is my thesis, to check, to appraise und to rearrange human knowledge about the world.

Benghenissa Nacer eddine, Université de Biskra Modalisation narrative et dispositif passionnel dans le roman arabe contemporain Dans cette communication, nous proposons d’explorer un aspect de la sémiotique qui a tardé à s’imposer comme une question centrale au sein de la sémiotique narrative. Un débat de fond s'ouvre aujourd'hui sur les acquis et les perspectives de la sémiotique d'inspiration greimassienne. Cette communication propose un éclairage sémiotique sur une de ces questions visant à montrer le passage du passionnel au modal. Mais sans prétendre que ce travail ait une portée théorique. Par exemple, la “terreur” qui fera l'objet de notre analyse, peut se traduire comme une addition entre “un vouloir” et un “ne-pas-pouvoir-ne-pas faire” qui dépasse “la compétence pour faire” relater par les dictionnaires pour définir d'autres états passionnels comme étant une “disposition à”, ou un “sentiment qui porte à” etc.. Qu'en est-il de la mise à discours de cet état passionnel dans un récit défini. Pour approcher cet aspect pratique de la question, notre choix a été porté sur une séquence d’un roman arabe contemporain qui s’intitule (Quartier Latin) de Suhayl Idrîs (Quartier Latin) qu'on peut intituler “manipulation et terreur. ” Modalization narrative device and passion in the novel contemporary Arab In this paper, we propose to explore an aspect of semiotics that has been slow to emerge as a central issue in the narrative semiotics. A substantive debate begins today on the achievements and prospects of semiotics of Greimas inspiration. This paper proposes a semiotic light on one of these questions to show the transition from passion to modal. But no claim that this work has a theoretical range. For example, the “terror” will be the subject of our analysis, can be translated as an addition between “wanting” and “not-able-not-do” beyond “the jurisdiction to” tell the dictionary to define other states of passion as a “disposition” or a “feeling that leads to” etc. .. What is the last speech of this state of passion in a story set. To approach this practical aspect of the question, our choice was focused on a sequence of a novel entitled contemporary Arab (Latin Quarter) of Suhail Idris (Latin Quarter) which can entitle “manipulation and terror.”

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21. Language and Linguistics: from comparative perspective

语言和语言学：从比较角度看（13）

Hu Zhuanglin Peking University

Transdisciplinarity and Disciplinary Development Abstract: Following a brief review of features among multidisciplinarity, interdisciplinarity and crossdisciplinarity and their differentiation, the paper mainly deals with the rise of transdisciplinarity, its theoretical background, features, recent research and application. The paper argues that transdisciplinarity is based on systems theory， is not restricted by a particular discipline, and demands the participation of representatives from science, society, economy, and politics. Transdisciplinarity is marked by its status as mode 2 production of knowledge, humanism, integrity of knowledge, levels of theory, levels of reality, and the three axioms. Aside from further theoretical exploration, scholars are interested in its application to social sciences, education, language education, semiotics, and others.

Keywords ： transdisciplinarity systems theory, Mode2 production of knowledge included middle logic, complexity

Xunzhun Lin & Mingming Liu Global Interlanguage Research Center, Shenzhen, China; Nanjing Normal University, Nanjing, China The Mechanism for Mutual Comprehension between Human Languages Abstract: Currently, linguistic barriers exist both between person / person and between human / machine. The human civilization with a history of thousands of years is still unable to make it possible for people of all languages to exchange their ideas directly, which has become a contemporary problem of the world. Based on semiotics, system engineering, artificial intelligence, and computer science, Global Interlanguage Research Center (Shenzhen) puts forward the Interlanguage Protocol (ILP) (standard), a global translation network (system and instrument) based on human / machine Consensus language, the platform (applied) for global semantic communication and cooperative work. Studies show that it is possible for people of different languages to communicate with each other. The Interlanguage system (ILS) may be a bridge of communication between languages (semantic transmission) with no barrier (see Appendix 1: Schematic Cartoon). Keywords: language barriers; internet language; interlanguage; machine translation; symbols; icon; semiotics

Liu Yuhong Nanjing Normal University A Semiotic Analysis of the Resemblances among Emblems of China’s Four State-Run Commercial Banks Abstract: The emblems of China’s four state-run commercial banks consist of semiotemes and substructures which integrate in such ways that, within an emblem, they are structured syntagmatically while, among emblems, they are structured paradigmatically. Resemblances among the emblems originate from three factors, namely, the repetitive use of China’s archaic coin image and its disproportionately large size, the deformation of other semiotemes and substructures which, as a result, minimize their differentiating functions in the emblems, and human perceiving strategies or cognitive inertion which engenders the negligence of extra meanings of some homonymous semiotemes and substructures. From the perspective of how signification is enacted, the first signification system between coin image and banking service is repeatedly put into use so that the second or even

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the third signification system is formed. Full consideration of embedding one signification system inside another will evaporate the resemblances among the emblems. Key words: bank; emblem; semiotics; subsign; semiotemes; syntagmatic relation; paradigmatic relation

Shi-xu (Centre for Contemporary Chinese Discourse Studies, Zhejiang University) [email protected] Developing a Chinese methodology in discourse studies Abstract: Discourse analysis or discourse studies, now a globalizing form of knowledge production, is West-centric with respect not just to the developing, third world societies, but especially to their intellectual communities. In this paper, through cultural and historical dialogue and critique, I develop a Chinese methodology for discourse research which is characterized by holistic, dialectic, subject-object-interlacing, local-global-inclusive, and continuous-searching principles. The use of this methodology is illustrated through a range of studies of contemporary Chinese discourses.

Lianglin Zhang School of Foreign Languages, Changshu Institute of Technology, A Tentative Analysis on the Linguistic Roots of Structualist Literary Criticism — From a Semiotic Interdisciplinary Perspective Abstract: As a revolt against the traditional extrinsic approaches to literature, structualist literary criticism flourished as an important literary movement in the 1950s and 1960s. However, its difficulties cannot be ignored. The failure of structualist literary criticism can be found deeply rooted in structural linguistics. In the European tradition of semiology, structuralism is equated with semiotics, as is evidenced in Terence Hawkes’ Structuralism and Semiotics. Guided by the spirit of semiotic interdisciplinarity, the present paper makes an interdisciplinary investigation into the linguistic roots of structualist literary criticism. First of all, the concept of “a closed system,” initially established by Ferdinand de Saussure in his Course in General Linguistics, occupies a predominant position in sructuralist criticism. Secondly, structuralist literary criticism borrows the principle of digging various levels of structures from structural linguistics. Thirdly, the typical notion of relations in structural linguistics is also widely used in structuralist literary analysis. Probing into the linguistic roots of structualist criticism helps to make clear the cause of the failure of structualist criticism. Key words: structualist literary criticism; structural linguistics; roots; difficulties.

Pavel Dronov, Svetlana Bočaver Institute of Linguistics, Russian Academy of Sciences, Moscow, Russia [email protected] Principles of Representing Idiom Modifications in Bilingual Lexicography Abstract: This article deals with the problem of representing idiom modifications (both standard and non-standard, context-based and double- take effect ones) in lexicography. A number of approaches to idiom variability and its representation in dictionaries are discussed. Afterwards, a structure of a bilingual dictionary of idioms containing data on various idiom modifications is offered (based on English and Russian text corpora).

BIN XIN Nanjing Normal University [email protected] Generic Intertextuality in Action Abstract: The term “intertextuality” was coined by Kristeva in the late 1960s in her effort to introduce Bakhtin’s works to Western audiences (see Kristeva, 1986, actually written in 1966). She used the term to catch Bakhtin’s insight that “any text is constructed as a mosaic of quotations and any text is the absorption and transformation of another” (Kristeva, 1986: 37), and in her Desire in Language she actually defines the text as “a permutation of texts, an intertextuality: in the space of a given text, several utterances, taken from other texts, intersect and neutralize one another” (1980: 36). Since the emergence of this term, there have been all

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kinds of classifications of intertextuality as an intrinsic property of texts. In this paper, we will first distinguish between specific and generic intertextuality, and then make a demonstrative analysis of the generic intertextual relationships of some texts to show how they reflect and realize social changes and power relations.

DING, Ersu, Lingnan University Saussure’s Principle of Arbitrariness Re-visited Abstract: Although Ferdinand de Saussure was not the first thinker or scholar to discuss arbitrariness of signs, he was rather unique in relating the issue to the typology of signs. According to the Swiss linguist, most lexical elements in a language have no necessary connection with the things they refer to; those that do are very limited in number and characterized by some kind of iconic relationship with their referents as in the case of onomatopoeia. What the present paper argues is that iconicity plays a far more important role in language than what is acknowledged by Saussure and, furthermore, arbitrariness of signs has nothing to do with whether or not they are motivated.

Liu Yu Sichuan International Studies University [email protected] Scientific Literacy in Chemistry: A Social Semiotic Perspective Abstract: Scientific literacy has been defined in diverse ways, ranging from the ability to read and write scientific texts to the history of science. While the different definitions are useful to reveal the multiple themes of scientific literacy, there still remains a lack of research on the interrelationships between these themes. This paper argues that the comprehensive theory of social semiotics provides an integrating platform for interlocking the varied facets of scientific literacy, and the key notions of multimodality, metafunctions, and stratification play a crucial role in exploring the multi-layered nature of scientific literacy. A preliminary analytical framework is proposed to relate multimodal representations to the content of chemical knowledge, two essential components of scientific literacy in chemistry. Through the sample analysis of chemical discourse, the present study demonstrates that symbolic modes possess a range of grammatical strategies which are different from those found in language. These unique grammatical resources enable scientists to represent and interpret empirical properties of substances as interactions between particles at the molecular and atomic levels, thereby realizing semantic expansions from macroscopic meaning to submicroscopic meaning and re-construing everyday experience as scientific knowledge. It is advocated that educators explore the grammar and functionality of multimodal chemical discourse to help novice learners develop scientific literacy.

Hsi-chiang Lin Institute of Chinese Literature and Philosophy, Academia Sinica Aphorism, Rhetoric, and Preaching—A Metasememic Analysis of Alfonso Vagnoni’sPixue (The Science of Comparison) Abstract: The target text of this paper is Pixue (The Science of Comparison, 1633) by Italian Jesuit Alfonso Vagnoni (c. 1568-1640), and this Renaissance rhetorical work of late-Ming dynasty will be thoroughly and scientifically analyzed according to a neo-rhetorical treatise—A General Rhetoric (1981) by Group µ. In his Introduction to Pixue, Vagnoni illustrates ten kinds of comparison in the form of religious aphorisms. As Group µ concisely notes in “Poetics and Rhetoric,” the Introduction to A General Rhetoric, that ancient rhetoricians have a “mania for naming” and these endless nomenclatures have been the evident sign of rhetoric’s decline. In Group µ’s sense, rhetoric merits the name of science—rhetoric appears as a science within the scope of structuralism and semiotics—that is why they rethink rhetoric in structural terms and formulate a new classification of metaboles: metaplasms, metataxes, metasememes, and metalogisms. By means of structural analyses, this paper deals with the nucleus of a rhetorical comparison, that is, how and why the “adduced term” (the visible) can be used to clarify the “solicited term” (the invisible). In the structural linguistic sense, this rhetorical question relates to the alternation of expressions and contents of lexemes, consequently it must also be

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taken as a semiotic question.

Yue-Hong Xu A sociolinguistic view of Animal names in idiomatic expressions in Chinese and French Abstract: As part of the world that we live in, animals have therefore been named in human language. Generally, many animal names (nouns of animal) have figurative/symbolic signification besides the literal sense, and form an active part of language system. This paper aims to analyze animal names by means of “representation”, interpreted by French sociologist Henri Boyer, in order to answer the following questions: Why are only some of animal names employed in idiomatic expressions? What are differences and similarities between Chinese and French in the aspect of figurative/symbolic signification of animal names? How to explain these phenomena from a sociolinguistic point of view? As language phenomena are rooted in society and explained by the latter, this paper argues that animal names in different languages are definitely not labeled to referents but culturally loaded via figurative/symbolic signification: on the premise that referents generally exist in the physical world, animal representation emerges on the basis of animal’s figure, its habits as well as its relation to other animals, especially in accordance with observation and exploitation of animals by human beings in social life, that’s why animal representation reflects people’s moral values and spiritual expectance. Key words: animal names, idiomatic expression, representation, sociolinguistics

Anastasia Christodoulou Aristotle University of Thessaloniki [email protected] George Damaskinidis The Open University [email protected] A Semiotic Quest of the “Fifth Element” in Foreign Language Acquisition Abstract: Our research in the last two years in visual literacy in higher education has shown that using non-verbal semiotic elements in the area of foreign language acquisition is a novel experience for university students. Of particular interest has been our difficult to make students understand why we need these semiotic modes in teaching and learning foreign languages in addition to the traditional four language skills, namely reading-writing-speaking-listening. We call this research a quest because it is suggested that proposing non-verbal skills to stand on equal terms with these four traditional ones would require great exertion on the part of any researcher and overcoming many obstacles. These would include the inability to define precisely what constitutes a visually-literate person, a lack of extensive experimental research in the impact of the non-verbal in foreign language acquisition to defend its role as an autonomous skill, and the relatively narrow focus of semiotics as a field of study in several countries. This paper nominates the non-verbal semiotic element as the “fifth skill” in foreign language acquisition. This “visual nomination” includes a self-examination of our research and teaching experience in visual literacy, and a review of studies that investigate the effects of language instruction that incorporates varying degrees of non-verbal components. We aim to stimulate interest in enhancing the role of the visual in teaching and learning foreign languages with the long-term ambition to be formally introduced as an examinable component in international foreign language certifications. Finally, we aspire to contribute to the efforts to make visual literacy a subject to be taught in itself and across the curriculum in higher education.

Li Yuping Nankai University [email protected] The Chinese Perspective of Intertextuality Abstract: Intertextuality is essentially a cross-cultural phenomenon. It is, accordingly, necessary for us to probe into the Chinese perspective of intertextuality and extend the international studies of intertextuality beyond the European-American cultural tradition, language and literature. In ancient Chinese literary criticism, textual strategies comparable to intertextuality have governed Chinese critics and poets' reading and writing about literature throughout the dynasties. This paper investigates the Chinese

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perspective of intertextuality through analyzing several arguments on intertextuality in the ancient Chinese literary criticism and rhetoric, and provides a critical insight of intertextuality.

Donna E. West, State University of New York at Cortland Semiotic Assessments of Language Processing: Efficacy of the Elicited Imitation Paradigm Abstract: The primary task of Empirical Semiotics is to identify particular testing procedures which measure qualitative differences in how representations are processed. Elicited Imitation (EI) can indicate the nature of the interpretants which hold between sign and object by tapping how meanings are processed in working memory (WM). The way in which linguistic forms are handled in WM reveals striking distinctions between interpretants which express a proposition, as opposed to those which are simply diagrammatic in nature. Learners processing linguistic signs at the diagrammatic level (ordinarily of lower proficiency) focus attentional resources on phonemic and syllabic sequences, while those processing on the propositional level attend to semantic, morphemic and even conceptual world knowledge. The interpretants of learners of the latter group (typically of higher proficiency) process in a qualitatively more efficient way, given means to draw upon symbolic modes of representation. Conversely, less equipped learners process smaller, more verbatim units, namely, acoustic shape and syllabic contours—constituting iconic or indexical interpretants. The EI testing paradigm entails a repetition by the learner of stimulus sentences (auditorially or visually presented). Because the stimulus sentences are developed to elicit particular grammatical categories and relationships, and because they are identical and presented in an invariant sequence for all subjects, they permit robust comparisons across subject performance. Although the benefits of EI extrasemiotically to measure the state of learners’ interlanguage (IL) is well documented (Munnich, Flynn and Martohardjono (1994); Erlam (2006, 2009); West (in press), EI’s import as a measurement of semiosis remains unaddressed. EI procedures are the most sound method (compared to natural speech corpora and grammatical judgments) to measure and trace qualitative semiotic advances because it measures changes accorded to the sign in WM. The subjects (fifteen at each of three proficiency levels of L2 Spanish) were instructed to provide a word association after each stimulus (twenty-four sentences) and before their repetition, to guard against verbatim recall. Repetitions of the advanced groups more often contained meaningful substitutions (words or inflections), whereas word deletions were more often documented in the beginner group’s responses. These findings indicate the propensity of the more advanced L2s to process the sign (stimulus sentence) as a meaningful proposition/argument. Differences between lower and higher proficiency sign users illustrate the efficacy of EI in measuring the shift from diagrammatic interpretants based in Secondness and Firstness to interpretants characterized by Thirdness. The EI testing paradigm exacts valid and reliable findings vis-à-vis developmental changes in the sign-object connection by revealing qualitative differences in the interpretants assigned to such relationship.

Guo Hong （[email protected]） The Ethic Turn of Contemporary Western Philosophy, Semiotics and Linguistics Abstract: The summary of contemporary Western philosophy is the tendency of the confluence and integration of the trends of thought of scientism and humanism, its linguistic turn and the formation of postmodernism which marks the ethic turn of contemporary Western philosophy. The two opposite trends of thought arose between the 30s of the 19th century and the early 20th century, developed and approached each other between the early 20th century and the 70s of the century, and has tended to integrate in the 70s onwards. Scientism, through the new pragmatism of the Anglo-American analytic philosophy, infused in the hermeneutics (a humanistic linguistics) of the European phenomenological movement. Their

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intersection is “anti-logoscentralism”. “Logos- centralism” is a cognitive model of binary opposition between subject and object, in which one side precedes the other. It reflects the social order of the whole capitalist world. “Anti-logoscentralism” is to reverse or cancel the order at all. Around the 70s of the 20th century, Western capitalism entered the period of late capitalism, producing a variety of phenomena of social alienation. “Anti- logoscentralism” implies the general attitude of people in capitalist society, that is, their desire to turn the capitalist social order upside down, or cancel it at all. “Postmodernism”, as the term suggests, is the criticism of modernism, is the criticism of the phenomena of social alienation of modern capitalist society. The postmodernism derived from the poststructuralism or deconstructionism of the phenomenological movement has a variety of critical ethic theories. The most prominent one is “the power theory” initiated by Foucault which turns out to be the most powerful weapon of criticizing imperialist hegemonism. The postmodernism derived from the new pragmatism of Anglo-American analytic philosophy also has a variety of critical theories, among which the major ones are bioethics, ecological ethics, information and computer ethics. In contemporary Western semiotics also appears an ethic turn. In Saussure's linguistic semiology, the most notable one is that the structuralist Barthes, in the late 60s of the 20th century, turned into a post-structuralist. His ethical theory is: “myth” and “anti-myth”. It says that the ruling class invents all kinds of “myth” to make unreasonable things sound reasonable or natural, in order to deceive the masses of the people and, in return, the masses of the people adopt “anti-myth” to reveal these lies. Peircean cognitive semiotics, proceeding from pan-semiotics, holds that the world is full of signs which serve to link up all forms of life in the universe; any kind of semiosis may affect “the otherness”, including all forms of life in human society and natural world, and gives rise to a “global semiotics”. Therefore, everyone must take responsibility for his or her semiosis, in particular, politicians whose semiosis exert much greater influence on the destiny of “the otherness”. In addition, everyone needs “the capacity for listening and criticism”. This is the ethical concept extending from Bakhtin's theory of “dialogue”. Furthermore, there is a combination of Saussurean linguistic semiology and Piercean cognitive semiotics: Jury Lotman’s cultural semiotics. It combines the communication and expression between members of society with the cognition and thinking of the individual and makes it a semiosis of social communication and social cognition which realizes through “text exchange”, that is “cultural exchange”. Cultural exchange is a way of enhancing mutual understanding and increasing knowledge of mankind, a way of peaceful co-existence and common progress of all nations or countries in the world. Thus the phenomena of social alienation are eliminated. Therefore, the author would like to call it “a constructive ethics”. In the area of Linguistics, critical discourse analysis is the synthesis of the major disciplines of linguistics. Around the 70s of the 20th century when capitalism entered its late period, a variety of critical and constructive ethic theories of postmodernism infused into discourse analysis. Among them, the most powerful one is Foucault’s theory of “power” which manages to make critical discourse analysis a powerful weapon of critique of current “globalization” and “imperialist hegemony”.

Zhang Delu School of Foreign Languages, Tongji University Issues in the Construction of Grammars of different Semiotic Systems Abstract: Semiotic systems are systems of social communication. On the one hand, every system has its own unique internal mechanisms for representing meaning, and on the other, each system plays its own part in the social communication process. Although all semiotic systems are equal in status theoretically, their internal working mechanisms may vary greatly from each other. For example, some are complex like language, and some are simple like the traffic light system, as language is stratified into three levels: phonology, lexicogrammar and semantics, while the traffic light system consists of only two: the visual colour and the meaning. It means that the latter has no structural grammar. Also systems are different from each other in type (icon, index and symbol), in dimension (one, two and three dimensions), and in whether it is dynamic or synoptic. The internal working mechanisms of the semiotic systems

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are what we call their grammar. The above differences between semiotic systems result in differences in grammar, and the present article explores the issues of how grammar should be constructed for the different types of semiotic systems. First, it studies the inner mechanisms of the two level semiotic systems in terms of system, and those of the three-level systems in terms of both system and structure. Secondly, it explores the nature of grammar for the different types of semiotic systems: iconic, indexical and symbolic. Thirdly, it probes into the issues of grammatical features for semiotic systems of different dimensions, including both dynamic and synoptic. Finally, we set up a framework for the construction of the grammars of different semiotic systems.

Inna Semetsky, PhD; [email protected] The language of images: improving communication between “Self” and “Other” via silent discourse Abstract: The paper will draw from Gilles Deleuze’s philosophical notions of transversal communication, a- signifying semiotics, and – most notably – silent discourse. Deleuse asserted that even esoteric or non-verbal “languages” possess structural characteristics that can be retrieved, read and interpreted. His a-signifying semiotics partakes of Peirce’s tri-relative nature of the genuine signs due to the logical necessity of the inclusion of the “third” element, an interpretant. As an example of such an esoteric, silent language of images the paper will introduce Tarot pictures the meanings of which are derived in the unfolding process of reading and interpretation. Tarot has been in existence at the “low” level of culture since first documented in the French Court ledger as dating back to 1392. Yet, the semiotic significance of the Tarot images and their relation to real (both actual and potential) human experiences has not been sufficiently explored. It is the Tarot silent messages that, when interpreted and articulated, can establish a long sought-after connection between such binary opposites such as “Self” and “Other”, consciousnesses and the unconscious, subject and object, between nature and culture, matter and mind, overcoming the ghosts of Cartesian dualism that continue to haunt us. According to Thomas Sebeok it is the constitution of messages that forms a subject-matter of semiotics. The messages “spoken” by the unconscious in the form of “silent discourse” embodied in the images and symbols of Tarot pictures provide a much-needed complement to the verbal communication at the conscious level. The ultimate goal of communication (that, according to Igor Kluykanov’s ground-breaking study undergoes development through the evolutionary stagings) is to traverse the schism between “Self” and “Other” at the deepest level that bypasses the expressions of the conscious mind, the Cartesian Cogito; but enables the participants to share “messages” that hide in the unconscious. Such function of the “included third” is achieved via Tarot that establishes a semiotic bridge via the transversal connection between the apparently incommensurable “Self” and “Other”. Historically, the relationship between word and image has been culturally and ideologically troubled culminating in the primacy of the “linguistic turn” of analytic philosophy while the “semiotic turn” remains long overdue especially considering that we live during the times of cultural conflicts, the clash of values and the resulting necessity to understand the “Other” at both personal and collective levels. Such a conflict of values has its semiotic representation in the symbolism of the Major Arcanum “The Tower” which has an uncanny resemblance with the image of the destroyed Twin Towers on 9/11. However the Arcanum that immediately follows “The Tower” in the sequence of Tarot pictures is “The Star” as a symbol of stripping off the outlived habits and recovering the deep connection with “semiosphere” (Lotman, Hoffmeyer) or “signosphere” (Deely). Understanding the semiotic structure and function of Tarot during the interpretive, hermeneutic, process allows for establishing a long-lost ‘Self-Other” relation as our present ethical responsibility. Interestingly, as the Western esoteric practice, Tarot parallels the Eastern practice of I Ching (The Chinese Book of Changes).

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Duan Huimin Suzhou University Little Music in Celine’s literary texts Abstract: In the French literary history of 20th century, Voyage au bout de la nuit is a piece of classic work as known as A la recherche du temps perdu. Its author Louis-Ferdinand Céline subverted the French literature by his original style. Céline affirmed that his success is due to a kind of little music. This paper analysis the process of introducing the little music into the literary text by Céline, and the function of musical text in the literary text.

SUI Yan, Communication University of China [email protected] Meaning Transfer in Connotateurs Abstract: Roland Barthes mentioned connotateurs in his Elements of Semiology without further details. In fact connotateurs play the key role to realize meaning transfer, build new meanings and spread ideology. The signifiers (expressive layers) of a connotation are possibly composed of more than one denotations or sign systems (a combination of signifier and signified), which is called connotateur. when a signified (C2) of a connotation [(E1R1C1)R2C2] which is built with a denotation （E1R1C1）is transferred into another signifier (E1’) of the other denotation (E1’R1’C1’), the transfer of meanings happens.

Mao Xianzhuang Henan University of Economics and Law [email protected] Multimodality in the College English Classroom Teaching ----From the Perspective of Social Semiotics Abstract: With the rapid development of the technology of multimedia and computer-information, our human beings have stepped into the digital age, which is characterized by the multimodality of the information communication. Like language, various modes are also semiotic resources of the meaning potential. Under this influence, multimodality in the college English classroom teaching has become something of which the reform of college English teaching is in urgent need. Some language-accompanying signs, like gestures, postures, facial expressions, stress and some modes in the PPT, like images, videos, colors are increasingly attracting our attention. Solid understanding and careful analysis of the nature and interrelations of these modes could enable us to take full advantage of them to enhance the effect of the college English classroom teaching, and it also has much positive effect on the improvement of the students’ multi-literacy.

Wu Tong Korea University, [email protected] Saussure with Semiotics of Chinese Characters Abstract: Saussure had mentioned Chinese characters several times in his Cours. His main opinions about Chinese is that: Chinese is the ideographic system; One Chinese character is one word and Chinese is a language which is in least motivation but more lexicological type. We will analyze Saussure’s opinions based on his illustration about Chinese character in his General Linguistics. We discuss them from 2 main aspects: Chinese Character System and the motivation of Chinese characters. Although Saussure said in Cours that Chinese is a ideographic system and phonetic system, he didn’t explain the reason why Chinese characters didn’t develop into the way of changing to phonetic system. We all know Chinese already has a “ pinyin” system, we will discuss about whether or is there possibility exist that “ pinyin” system will replace Chinese characters in future. Keywords: Saussure， Cours，motivation，Arbitrariness，pinyin

Sun Xiaoxia, School of Foreign Languages and Cultures, Nanjing Normal University Uwe Seifert, The department of Systematic Musicology, Cologne University Semiotics in Foreign Language teaching Abstract: Language is essentially a system of relationships between sound and meaning. There is a rich tradition of the study of the system of relationship between sound and meaning which is called semiotics paradigm. Ferdinand de Saussure is considered to be the father of semiotic

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paradigm to the study of language. After the succeeding views of Malinowsk (1923, 1935, 1966) and Firth (1957), Halliday (1978) developed further that language is a social semiotics referring to the total meaning potential we have as members of a society. Halliday (1978) suggests that typical social situations or contexts (the semiotic organization of our social system) may be systematically correlated with the linguistic system: when we know the values for the semiotic variables of the social context, we can predict the types of meaning choices that will be selected from the linguistic system. It is fairly recognized recently that when we are teaching a language, we are at the same time teaching a culture, that is, the semiotic patterns constituting the culture of a foreign society, and not just the linguistic system.This paper aims to clarify the relationship between semiotics and language, explore in what way semiotics relates to foreign language teaching, and illustrate how to teach social semiotics.

Meng Hua [email protected] Similar-sinogram and Semiology of Sinogram Abstract: Two essential categories,inter-graphictivity and similar-sinogram,were put forward in this thesis.The author proposed that Chinese characters implied diachronically and inherently and connected synchronically and externally the heterogeneous symbol-relational field constituted by Chinese characters,Chinese language,icon symbols and physical symbols.This heterogeneous symbol-relation is the inter-graphictivity.Three relations of inter-graphictivity were analysed in the paper:AB opposite relation,AB decentrement relation and AB centripetal relation. Meanwhile the last two kinds belonged to similar-sinogram.It was definited that the heterogeneous symbols situated the state of transboundary in the relation of inter-graphictivity.At last the author proposed that Chinese characters that was AB centripetal relation was the center of semiology of sinogram research.The cultural gene of the Han nationality brought by Chinese characters would prove to be a significant part among the world symbolic lineages.

Yan-xia Song Anhui University of Technology Influence on the anxiety/uncertainty management (AUM) theory by intercultural textual informativity Abstract: Textual informativity is believed to be a central point in the theory of text processing. The term “informativity degree” means to what extent the information contained in a text comes out beyond or within the receiver’s expectations. Too low a degree of informativity makes a text tiresome; while too high a degree of informativity makes a text hard to understand. The anxiety/uncertainty management (AUM) theory developed by Gudykunst is a theory in intercultural communication. The author of this paper analyzes how do the degrees of intercultural textual informativity influence the anxiety/uncertainty management (AUM) theory) in detail.

Basil Hatim American University of Sharjah, UAE [email protected] TEXT, DISCOURSE & GENRE AS SIGNS AMONG SIGNS IN READING, TRANSLATING & INTERPRETING Abstract: The diverse range of texts, discourses and genres at our disposal, seen as signs among signs, are seen as communicative resources that represent extra structure and extra meaning. Proper recognition of these additional layers of signification should enrich current analysis of language use simply in terms of the ‘register’ membership of texts (field, tenor, mode). This paper will examine how a ‘text’ such as the ‘counter-argument’ functions as a sign in serving a particular rhetorical purpose (i.e. counterarguing),which in turn tends to enable a ‘genre’ (say, the Letter to the Editor) to function properly. From a similar, semiotic perspective, genres as communicative events are seen as vehicles for the realisation of ‘discourse’ (e.g. ‘racism’), in both form and content. Discursive activity is thus defined in terms of an attitude, a stance or a perspective taken on issues of language in socio-cultural life such as globalisation, the environment or the commoditisation of education. The various communicative resources are examined with Translation & Interpreting in mind, but ESL reading and writing are also considered as areas of professional practice that can immeasurably benefit from this signs-among-

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signs view of interaction. Illustrative examples will be drawn from a variety of situations involving intercultural communication, with English and Arabic featuring fairly prominently.

Wei WANG, research associate of Institute of Philosophy CASS The living speech or the sign of silence Abstract: Through his genealogical and anthropological approaches, Jean-Jacques Rousseau brings to light a form of “language” between the origin and the history, and its conditions of possibility. Such language is radically different not only from any natural one based on the classical logic and predicative judgement, but also from the artificial one embedded in some pre-established harmony, a quasi- language wherein any a priori, natural or conventional hinge of sign and meaning, signifier and signified is broken. This rousseauist conjecture of the linguistic sign is essentially connected to melody and musicality. The three of them are in fact the one, which constitutes a singing language, or a “living speech”, composed of expressive signs instead of the exactitude. The sign as such is no longer a pole arbitrarily allocated in the close and transparent signification. It is instead a system of relations derived from its own homologous necessity and concrete logic, a “good ambiguity” inscribed on the series of qualities immanent in the sensible, which is impossible to be catched or transcribed by any linear discourse or propositional statement. Nevertheless, the relations of subject-self, subjet-others, nature-culture, past-future are precisely re-catched and become intelligible within such silent signs. By developing this latent sign and its functioning relations, Rousseau tries to recover its efficacy in his theory and wiring practice, giving the musicality and the expressivity back to language and philosophy, re-integrating our culture into nature.

Yue He On the Reflections of the Semiotics of Roland Barthes' Abstract: Semiotics itself is a symbol of science, or a science on studying of the signify function. As its independents study of symbol as well as its non-relationship with its objects and other symbols, it is surely hard to get any results on this subject. This article discusses the adjustable effect of the signify function on its various systems and their material within the context of the relationship. Keywords: Roland Barthes semiotics linguistics relationship

22. Semiotics and contemporary pragmatics

符号学和当代语用学（50） He Gang, East China Normal University On Utterances as Cultural Deictic Expressions Abstract：Utterances like “ I am fine.” , “ I hate to lose you.” , “ I am happy that you came.” , “I wouldn’t recommend that …” can not merely serve as speech acts of certain kinds in their respective situations, but also indicate certain implicit cultural assumptions (ideas, beliefs, values and attitudes) of the Americans in their daily interactions. Such assumptions constitute the macro-context of American culture, and features that empower or restrict certain situated interactions and form what we would call the micro-cultural context of a particular utterance or conversation , should it be culturally or inter-culturally intended or interpreted. Classical theories of deixis focus on expressions that encode or grammaticalize certain context or situation at the lexical or phrasal level (utterance- internal), however, as recent linguistic or pragmatic researches (Levinson 2004, Peter Auer 2010) show, the multiplicity of context (immediate/social/societal/cultural/intercultural/virtual) will certainly increase the range or degrees of uncertainty at levels higher than the lexical /phrasal one. Cultural

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anthropologists (Edward T. Hall and others) demonstrate that there are low-context and high-context cultures, while each culture also coincides with the image of an iceberg. Such realizations strongly encourage the author and his team of researchers to go deep into the American culture ( a systems of core assumptions that generate a typical or dominant American mentality or cultural identity, and try to search for utterances that either refer to or indicate or suggest certain forms of such assumptions. This paper is intended to explore cultural deixis at the utterance level. The author is to demonstrate his observation of utterances in a variety of situations that are culture-laden or culture-driven, and show how important it might be for cultural pragmatics to realize the connections between higher-level linguistic expressions and their cultural contexts. Key words : utterance cultural context cultural deixis

Chen Xinren Nanjing University, [email protected] or [email protected] China Social deixis in identity construal: With evidence from print Chinese ads Abstract：As one of the four types of deixis identified by Stephen Levinson (1983) in his seminar textbook Pragmatics, social deixis is defined as refering to “those aspects of language structure that encode the social identities of participants (properly, incumbents of participant roles), or the social relationship between them, or between one of them and persons and entities referred to” (1983: 89). Inherent in the social-deictic terms like ni-nin (meaning tu-vous) in Chinese, which has been grammaticalized in the language system, is the corresponding social information they encode and reflect, such that the use of the terms is generally supposed to match the social relation existing between the interlocutors involved. So far, while some attention has been paid to the default or unmarked use of social deixis in conversation (e.g. Levinson 1983; Yule 1996; Mey 2003; Huang 2007) and the rhetorical use of personal pronouns as a non-distinguished category of person deixis in such public discourse as advertisements (e.g. Li 2009; Wu 1998; Wu and Chung 2006；van Compernolle 2008; Zang 2011), little effort has been made to address the special role that social deixis plays in the pulbic discourse, as evidenced in the data we have collected. In reponse to the need to unveil the pragmatic functions behind the marked use of social deixis in print Chinese ads, this study adopts the discursive perspective of identity construction and discusses the role of social deixis in constructing favorable identities in adaptationist terms. It is argued that the marked use of social deixis in advertising discourse, rather than literally or passively reflecting the actual social relation between the advertisers and the consumers, represents a motivated adaptative effort on the formers’ part with a view to promoting sales by, while engaging the latter by acting personal, identifying themselves in ways that show solidarity with or deference to the consumers as well. Key words: social deixis; identity; advertising; adaptation

Hu Man East China Normal University, University of Shanghai for Science and Technology ) Peirce’s Trilogy and the Intersubjetivity of Linguistic Symbols Abstract：The discussion on intersubjective nature of linguistic symbols is based on the Charles Sanders Peirce’s concept of sign. The three dimensions, representamen, object and interpretant, constitute the triadic character of the sign and construct the unlimited sign-producing and exchanging process. The article advocates combining Peirce’s conceptual system and cultural process and tends to establish a dynamic model to expound the intersubjectivity of symbols in the cultural communication. Peirce’s trilogy claims that the same sign must produce the same interpretant for the different members in a community. The shared interpretant guarantees the smooth communication and determines the intersubjectivity of linguistic symbols. But in the real social and cultural communication linguistic symbols are not static; instead they are in the frequent process of being produced and received. The involvement of a producer and a receiver at the both ends of the communication make the process complicated. The roles of participants determine their approaching to the same sign from different perspectives and generate the different but

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complimentary interpretants. So in this case the intersubjectivity is realized in the shared difference. Key words: sign; intersubjectivity; interpretatant; perspective-taking

MAO Yansheng Foreign Languages Department, Harbin Engineering University Harbin, China The Deictic Picture of “We” in Chinese Narratives Abstract： First person plural narration is a held as a hybrid form in that it is composed of discrepant components: an “I” with a second-person or a third person in either singular or plural form. This hybridity avails it with convenient flexibility when compared with other types of narration in general, and with other personal narration in particular, especially enlightening. “We” narratives lack the objectivity, reliability, and veracity traditionally attributed to third-person narration. Conversely, “We” narratives may lack the rhetorical power of a single consciousness to evoke the reader’s sympathy by means of his or her empathetic discourse from an individual’s experiential perspective. Set in this background, the paper will discuss grammatical and narratological issues of first-personal plural (“we”) narratives via elaborating on the issues proposed by Uri Margolin regarding the semantic instability of the pronoun “we”, a feature that remains general and abstract but far from detailed classification. Then it is unclear about the difference between everyday language and fictional narrative language concerning the use of “we” as well as how literary language contributes to the validity of deictic studies. The paper believes that everyday language tends to conceal this instability through gesture or naming, whereas some fictional narratives stress it, thereby realizing the subversive potential of the first-personal-plural pronoun and highlighting the relationship of the individual “I” to the “we” group and the relationship of this group to “others” , ending up with identity-constructing effect. Like second-personal narratives, first person-plural narratives may come across the boundary between the virtual and the actual and point to the absence of necessary connection between the grammatical form and its deictic function, in this sense “we” narratives earns maximum currency in thought-provoking accessibility via its semantic fluidity. The paper also proposes a distinction between plural, dual and single fictional narratives “we”: due to their deictic properties, plural “we” are more destabilizing than dual “we” narratives, followed by single “we”, which are not characterized by semantic fluidity. In this way, the boundary between everyday language and literary language may be crossed clearly and some implications are revealed about how literary language can contribute to the study of deictic expressions as a case and pragmatics as a whole. Key words: deictic; “we” narratives; hybridity; fluidity

Jia Yanli : 山东省泰安市迎宾大道中段泰山学院外语学院 271021 [email protected] The Cultural Indexicals of American English and its Subjectivity Awareness Abstract: The subjectivity awareness, i.e. the self-awareness of the subject, is a person’s self consciousness of his/her own status, ability and value, including independence awareness and freedom awareness, etc. The Americans highlight a person’s self awareness, leading to the fact that independence, the respect for an individual’s rights, freedom, equality and the sense of identity constitute the core of American value system, which is abundantly expressed in its language use. As one of the important means, indexical expressions play an especially significant role in realizing the Americans’ self awareness, including self positioning, perspective-taking and perspective-shifting, which are commonly expressed by means of indexical expressions, primarily, first-person pronouns. But at the same time, the development of human beings is closely related to, or sometimes constrained by the surroundings, especially the human relationship with each other. So, self awareness can also convey the relationship between people and the real world. Therefore, self awareness is not to be confined to pronouns; the objectivity awareness and relation awareness reflected by other indexical expressions is helpful for us to learn the deep meaning of Americans’ self awareness. The research on indexical expressions in American English can not only help us to get an in-depth understanding of American people’s self awareness, but also assist in revealing the dialectical relationship

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between subjectivity awareness and objectivity awareness, which is of great importance for us to recognize American cultural connotations and people’s communicative principles. Key words: indexical expressions; perspective-taking; perspective-shifting; subjectivity awareness

Zhao Wen The Cognitive and Motivational Influence of Cultural Context on Behavior Abstract：Cultural context includes knowledge, belief, art, morals, law, custom and other capabilities and habits acquired by a member in a society with shard experiences or conceptions. It consists of at least three chief elements: (1) material culture; (2) symbols, meanings and values; (3) norms and rules. Cultural context exerts great influence on a person’s behavior. Its influence can be summarized by the clichés of “When in Rome, do as the Romans do”. Symbols, meanings and values can help a person interpret reality and judge what is good and bad or what is right and wrong. Norms and rules will tell him how to act appropriately in particular situations. For instance, the American culture with its high value of action will hold that actions speak louder than words and emphasize doing or getting things done. The belief that all men are created equal may lead to fair treatment of people from different backgrounds. The norms and rules require people to keep to the right on sidewalks, on stairs, and on the highway. Similarly, Americans hold that everyone should “line up but wait their turn” instead of cutting in line. The influence of cultural context on behavior can be analyzed from both the cognitive and the motivational aspect. The cognitive aspect includes general cognitive skills that are used to create conceptualizations of how to act under a cultural context. The motivational aspect refers to a person’s desire and directed effort to engage in relevant activities cooperatively. Thus, behavior can be seen as a person’s selected action based on various types of cues provided in accordance with cognition and motivation. One must have an underlying cognitive structure and motivation that can guide his acquisition of the appropriate behaviors to observe and to react accordingly. In summary, cultural context can provide a basis for predictable behavior by supplying cognitive cues and directions, driving people forward or inhibiting their action. Key words: cultural context; cognitive; motivational

Qin Yaxun Fujian Normal University “We” as a Means of Pragmatic Cooperation and Identification Abstract：Historically speaking, there once have been at least three disciplines which ambitiously claim the use of language as their proper object of study. They are respectively semiotics, pragmatics and rhetoric. Despite their discrepancies in central concerns and theoretical perspectives, the three do have their own distinct contributions to make to the understanding of how human symbolic means play roles in both linguistic and extra-linguistic affairs. For a comparatively complete view of the function of any one significant linguistic sign or signifier, it is necessary for us to throw overboard the disciplinary boundaries and appropriate useful theoretical resources from each discipline. A case in point is we as a usual deictic expression, which is often treated with less attention to its discursive role than to its customary discoursal role as a pronoun. Here I am attempting to make a distinction between two seemingly interchangeable expressions discursive/discoursal, with the former primarily concerned with the goal of producing intended effects upon an audience which is not ready to accept the speaker’s point of view, while the latter a device for textual cohesion or limited illocutionary force as a result of happy, smooth cooperation in social interactions. In this sense, I wish to downplay we’s separate statuses in the three disciplines and take a closer look into the way we best attains its discursive goal, namely, securing the speaker’s identification with his audience. Of course, “identification” figures prominently in contemporary rhetorical studies, yet I would

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argue that it has an equally pivotal role to play in pragmatics’ theoretical constructs. We as a deictic expression may serve to adequately exemplify my point here. In the grammatical sense, we seems to merely function to extend I’s referential or signifying scope from an individual human being to a group of beings. A critical analysis shows, however, that we is not by any means a mere plural form of I. In addressing an audience one can speak on behalf of herself without recourse to assent of others since one herself automatically approves of her intention in so doing. But this does not equally apply to the use of we. It is worthwhile to note that in addressing an audience one is no position to serve as a spokesperson for any individuals other than one herself without some prior efforts to get recognized by, and then identified with those she views as the same as I. As a matter of fact, the usual grammatical teaching has long concealed from sight the paradox between I and we. The human world is made up of separate individual beings and any two beings must differ in some way or another from each other. No any two can be totally identical or be identified. Therefore, in any pragmatic or discursive situations, the speaker knows quite well that those she designates as we are absolutely they to be won over through overt or covert efforts she sees appropriate. The process involved herein is what is known as identification. In their latest paper carried by The Journal of Pragmatics, Yameng Liu and Chunshen Zhu argue for rhetoric as pragmatics’ antistrophos by juxtaposing Cooperative Principle and Non-cooperative Principle. Whereas Liu draws attention to the mutual enlightenment of the two distinct disciplines, it is important to point out that Liu also clearly acknowledges the fact that on a higher level, non-cooperation still counts as an exceptional realization of cooperation. Drawing on these theoretical resources, I am here to argue that in addressing an audience the speaker always has to undergo a persuasive process in which others are turned into we by removing the audience’s initial resistance and then the audience changes its non-cooperation into cooperation. In other words, this process is what I define as the identification in pragmatics. We can be reckoned as we only when I succeeds in getting they’s cooperation in the first place and in getting identified with they in the second. Key words: “we”; discursive role; discoural role; cooperation

Zhan Quanwang Anhui University Evidentiality as a Deictic Phenomenon in News Reports Abstract： Evidentiality, the linguistic coding of information source, is a common deictic phenomenon in language. It is generally accepted that evidential forms play a role in indexing information to a source and an interpreter of that source, but there has been little research into evidentiality as a deictic phenomenon in news reports. This paper presents a detailed analysis of evidential use as a deictic phenomenon in Chinese news reports. Deictic Center Theory proposed by Duchan et al. (1995) is adopted as the theoretical framework to show how evidentials are used to build the perspective structure of news reports and how they are employed by reporters to provide information from different viewpoints. Key words: evidentiality; deixis; news reports

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Part D: Cutlture, Media, Comparative Studies

文化，传媒，比较研究

23. Semiotics and Reconstructing Human Science 符号学和人文科学的

重建（6）

Semiotics and Cultural Studies 符号学和文化研究（14）

Sinology and Semiotics: theorietical-orientation of the Chinese humanities

汉学和符号学：中国古典人文学研究的理论方向问题（16）

Comparative Chinese-Wesern Philosophy and Semiotics

中西比较哲学和符号学：从分析哲学观点看（20）

Fei Xiaobing , [email protected] Chen Jin 西南科技大学 A Comparative Study of Lao Tzu 's Tao and Semes of Heraclitus’ Logos Abstract: Etymology creator of Reason Heraclitus’ Fire symbolizes the unity of rheological Move and intrinsic Unmove, this Logos can only compare with Lao Tzu 's Tao. Heraclitus’ Reason——Logos did not abandon Fire of perceptual reality, with eternal center fire (One) and rheological flame (Many) namely unified Fire metaphor refers to Logos ,which is unity of amorphous and amorphous.Therefore, his logos symbolizes the unity of rheological Move and intrinsic Unmove, the endless rheological Move thing include” general”,” universal” and “ nature”. One exists in Many, and there is no split between One and Many, One exists in the perceptual reality, not One of other side.——from the semiotic perspective, this semes with semes of Tao is same.. Therefore, so-called adapting natural law to conditions in china, that’s not to say Chinese has another universe different from the Westerners , but in a certain context, emphasizing “Emulating Nature”, emphasizing discoverable natural law is better than Western reason designed natural law after Heraclitus

Luiz Sergio Modesto São Paulo Research Foundation - FAPESP, Brazil [email protected] Complementary Civilization Models: Lao Tzy and Moses Abstract: 1. This research has for object the logical interpretants Tao ( ), of Lao Tzy, and Torah ( ), of Moses, how proposed in -VI and -V centuries and indexed in contemporaneous politics. 2. It’s objectified observe and describe the political data of order and force in domestic and public ambiences, in intra and interethnic relations, structured by Tao and Torah, taking them as work hypothesis in previsibility of order and force in political actions of the States ( ) subsumed to the Oriental and Occidental civilization models. 3. It’s applied the semiotics-physics complex method of the Semiosilogy, the signic action logic in sign-object relation including the Physical phenomenology (Heisenberg, Bohr, Lao Tzy), the Signology (Peirce), and the Progmatic Operational Instrument (Modesto), in syntax with

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Antroposemiotics. 4. As results, the author hopes for demonstrate the complementary singularities of the logical interpretants Tao and Torah, contrasting the void doing ( ) in politics, the conduct without speech ( ) and without fight ( ) in Lao Tzy, with the doing politics superposing in intra and interethnic relations the nómos (ethnical order) and the force per homicide and terror, starting from the akedah ( ), the art of killing in Moses.

“Tao and Logos”: Jung’s psychology of wholeness and Chinese symbols Abstract: Jung’s interest in Taoism and I Ching reflects a latent tendency of the twentieth century’s human science, which no more concentrates itself wholly on the analysis of the particular and begins to take account of the universal background of isolated objects. This tendency has led to Jung’s rejection of Freud and his unique interpretations on some Chinese texts. The insistence on the wholeness of cosmos in the Chinese philosophy is a strong support for Jung’s effort to open up a new path in the psychoanalysis. Through a close reading of his two famous essays, this paper tries to demonstrate how Jung introduced Chinese spirit into his psychology in order to evoke a new form of consciousness. In the symbols of “Tao”, “Golden Flower”, “yin-yang” or the oracle images of Book of Changes, Jung also experienced the process of his own unconsciousness becoming conscious. With the guidance of Chinese symbols, his Self was able to go beyond traditional western conceptual framework and understand the Tao of wholeness in adjusting to the present world situation. Keywords: wholeness, psychology, Tao, Logos, I Ching, synchronicity

Frédéric WANG, INALCO, Paris [email protected] Semitic Identity of the Confucian Sage: A Modal Analysis Abstract: Confucianism is above all a philosophy of life. It is based on wisdom of every day’s life. A Confucian Sage is characterized by humanity (ren) and righteousness (yi). The first is an inner quality and the second is a behavior towards others. Thought a modal semiotic analysis of these traditional notions, we try to bring out the semiotic identity of the Confucian sage. The Chinese corpus will be some paragraphs chosen from the Lunyu (Analects) and the analytical methodology used in the paper will be Jean-Claude Coquet’s semiotics of subject.

Wang Wen-hua Tianjin Normal University [email protected] ZhouYi from the Perspective of Comparative Narratology Abstract: This paper tries to explore the origin of Chinese narrative tradition, which has nurtured Chinese narrative tradition and distinguished it from the west. ZhouYi, as the source of the Chinese narrative thoughts, has influenced the metaphysic thought, space form, deep structure and metaphor mode. The thought of narrative in ZhouYi is the key to interpret the aesthetic meaning of later Chinese narrative works. Keywords: Comparative Narrotology, Chinese narrative tradition, Origin, ZhouYi

Ji Hong [email protected] Semiotic Interpretation of Ren Abstract: It is an earnest request of Confucianism modernization to interpret the essence of Confucian humanity from the perspective of Semiotics. Edmund Husserl’s phenomenological epoché method is a very useful tool to help us have an exhaustive introspection of Confucianism. From Mind Studies and Mentalism in Qing and Ming dynasty to thoughts of Mencius and Zeng Zi dating back to the Spring-Autumn and Warring States Periods, and even ideology transmitted by Confucius to his

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own students, Epoché is needed all the time, the purpose of which is to directly interpret the core existence of Confucius’ Ren. “Many categories and concepts descending from old days once were drawn absorbed from the original ‘source’ in real mode, however, tradition attaches self-evident nature to them and thus paths to the ‘source’ was blocked up”. In order to make the hidden identity and the indeterminate meaning of the ideology of Ren stick out a mile and visual condition, the aid of western rationalism analysis method which directly makes a fresh star from Aristotle's spacetime discussion, and then compares the view of time and space of Kant, Hagel, Husserl and Heidegger's is needed so as to inspect the confluence and a running track of Ren in oriental ethics chronotope(which is also known as space-time body) and Dasein in time and space in western rationalism and also to determine the importance of Ren in human civilization. This thesis attempts to reveal the essence of Ren with the semiotic language mathematical such as formula and matrix mode. The formula uses space as independent variables, time as the dependent variables, honesty for the fixed value constitute a function relation, and benevolence, justice, rite, intelligence and faith to the spatial nodes to form a large matrix and then to interpret Dasein of benevolence, to present the history of it, and to convey its truth that will never fade without a letup.

Xu Tong ([email protected]) ¨Quiero y no puedo¨: A Semiotic Analysis of the Culture of Cursilería Abstract Cursi is a Spanish word with a complex significance, which is hard to find an exact translation or an equal concept in other languages, since all these pseudo-synonyms, such as snob, lion and Kitsch, are impossible to point to its underlying condition, cause, or context. The term itself is a rather unique cultural phenomenon of Spanish middle class from the mid-nineteenth century on, which influence persisted partly during the Franco period and the political Transition by the 1980’s. In fact, lo cursi figures as a form of non-empowered desire to be good taste and shows the particular social and economic circumstances of the nineteenth Spanish middle class and their cultural and ideological dilemma. This study, based on the Spanish literary texts, presents a short analysis of the characteristic of cursi and attempts to explore its inherent modernity.

Dra. Elizabeth Parra Ortiz, Escuela de Periodismo, Facultad de Ciencias Sociales, Universidad de Concepción (CHILE), [email protected] Dr. Álvaro Elgueta Ruiz, Académico de la Facultad de Ciencias Políticas y Administración Pública de la Universidad Autónoma de Nuevo León, (México) [email protected] For a Semiotics of the Environmental: The Case of students from University of Concepcion (Chile). Abstract: The dominant discourse among students of Universidad de Concepción (Chile) about the environmental, climate change and sustainable development is analyzed using a qualitative-descriptive approach grounded on semiotics. The methods used include focus groups, content analysis and discourse analysis from a semiotics perspective. Results point toward the need of building a semiotics of the environment in the University community for the purpose of re-signifying the relationship between man and nature. They also show an urgent need of integration of the environmental studies across disciplines within the University and the emergence of a paradigm shift among students about the role of the University regarding sustainable development. The study also contributes to the coming together of didactic semiotics, culture, critical analysis of social and environmental discourse on representation, and codes used by students to talk about the environmental, the sustainable development and the climate change. Keywords: Semiotics, University, environment, climate change, sustainable development, University role.

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Karl Gfesser The Concept of Infra- and Supraculture Abstract: It is almost impossible to entirely understand a given individual culture, let alone all cultures in their totality. Cultures are systems of values, norms, customs, traditions, conventions, obligations and prohibitions. Any description of their extension will remain incomplete, especially since cultures are subject to a continuous process of change. Therefore, I am not going to describe culture in terms of extension and synthesis, in terms of cultural diversity in unity – which I consider an erroneous notion. I’m not going to talk about intraculturalism or interculturalism. Rather, I would like to approach the concept of culture in terms of intension and analysis, in terms of cultural unity in diversity, in terms of human needs – infraculture – and the faculty of reason – supraculture. Culture represents a collective memory, which is communicated and recalled through a shared system of signs. This collective memory, made up of individual perceptions and experience, is more episodical than cognitive, while individual memory tends to be more emotional than cognitive. Of course, objective cognition is based on individual or subjective experience. And, the apparent contradictory opposition between subjective and objective is only a superficial dichotomy. I will not strive for objectivity in this presentation. In intersubjective terms though, some may agree that culture is an appropriate human approach for facing oneself, dealing with others and relating to nature. I like to suggest a definition of culture based on Charles Peirce’s semiotics, because the triadic sign relation of the means, the object and the interpretant is in accordance to the world-relation of perception, experience and cognition.

Eva Mª Domínguez Gómez ([email protected]) Gemma Delicado Puerto ([email protected]) Mercedes Rico García ([email protected]) Universidad de Extremadura, España Visual imagery of contemporary women in Extremadura: a case study in social /cultural semiotic Abstract: The present paper employs the language of photography as a means of communication and reflection to show the role that women play in contemporary global and pluralistic society. In this sense, a new female social image that combines existing constructions with the new to create a personal and professional paradigm for future generations. The visual narratives constructed through different rhetorical uses of the image are intended to represent the various social and emotional dilemmas that women face in their development as human beings, women, professionals, mothers, grandmothers, partners, whether successful or unseen. We have worked with studio photographs on a neutral background to enhance the image of people and objects carefully selected to work as a visual metaphor representing profiles, performance, career, emotions, and concerns of women in everyday life. The images are supported by narratives constructed from the study and analysis of personal interviews and questionnaires of the participants. The project is being carried out in Extremadura (a region of Spain), a predominantly rural society, in which many models of women remain anonymous and need to be made visible. Photographed women (single, married, with a partner, without, etc..) are accompanied by children or adolescents who represent the future generations who observe the image represented as a role model. The texts that support the visual narrative are written in Spanish and English to facilitate the dissemination of the exhibition and enable diffusion amongst a variety of audiences with the aim of exporting the catalog at a national and international level. This first phase will be enhanced by a second which integrates ICTs and will be launched in 2013. This second stage involves the generation of an exhibition / virtual catalog that begins with the official opening of the exhibition. Through social networks and print media the women of Extremadura will be invited to be a part of this project. This will include an online space for uploading photos and texts in which, following the visual language

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that forms part of the exhibition, so women who wish to can become part of an open catalog. This site will be a place for discussion through forums and the dissemination of material as well as the results obtained. On the other hand, the exhibition aims to faithfully reflect the role of women in Extremadura through narrated profiles conducted through interviews and questionnaires. Profiles show new generations the broad spectrum of possibilities open to women. In developing this summary will explain the methodological process followed in the throughout the project and discuss some preliminary results as the project concludes at the end of 2013.

ZHANG Shu-ping Lanzhou City University [email protected] The Paper Cut of Longzhong and its Rhetoric Abstract: The paper cut of Longzhong was one of the oldest in China, and its original functions were worship and witchcraft. Along with the invention and widespread of the paper, decorating paper-cut came into being in the period of Northern and Southern Dynasties. Worshiping type of paper-cut is mainly engraved by knife and chisel, whilst witching and most decorating ones except for Chunye and Zhemian are made by means of cutting. The Longzhong paper-cut, characterized by its wildness, simplicity and clumsiness, has its distinct themes of Totemism, reproductive worship as well as the intense interest on the human life itself, which are expressed by resorting to rhetorical devices such as simile, metaphor, synecdoche, metonymy, symbol, analogy, homophones and exaggeration. The function of witching paper-cut is of spiritualism, exorcism, illness-driving, evil-driving and rain-praying. The god-worshiping paper-cut, with its simple and abstract patterns, attempts to display prayers’ reverence to gods and goddesses so as to obtain their benevolence and protection. The patterns of ancestor-worshiping paper-cut are much richer and more complicated, which function as expressing men’s love of and missing to the dead and as the wish for being helped supply them with living necessities in the Underworld. The Decorating paper-cut is used to adore the house and utensils. In addition, ideologies such as loyalty and filial piety of Confucianism, Yinyang and five rules of Taoism and Karma of Buddhism are penetrated and female’s social identities such as family-centered, capable in housework and childbearing are emphasized and constructed as well. Key words: paper-cut, worship, witchcraft, decoration, rhetoric, function

24. Media and Semiotics 传媒和符号学（15） Eva Mª Domínguez Gómez ([email protected]) Gemma Delicado Puerto ([email protected]) Julian Mark Coppens ( [email protected]) Universidad de Extremadura, España Graphic and visual codes in digital presentations of academic/scientific research Abstract: Since the advent of the first version of PowerPoint in 1987 and other subsequent presentation applications, such as Keynote, Impress and Beamer, a variety of digital presentation software packages have come and gone. What was assumed would be an aid in communicating ideas has often come to degrade, and at times distort and even impoverish, the communication of ideas through visual presentations. Given that most of the presentations are often based on the combination of text, image, diagram or graph, and that, in addition, they must take into account the role of the speaker, it is not surprising that the outcome is often a poor composition visual codes, resulting in the need for a complex decoding process and therefore limited effective communication (Medina, 2008). For example, it is common to attend conferences at which on more than one occasion the quality the scientific content is not reflected in the quality of the digital presenation.

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Even by starting with a detailed reading of the user manuals published for digital presentation software (Bunzel, J. 2008, Luque, MJ 2007, Negrino, T. 2005), does not guarantee improvement as the problem is not technical expertise but rather the lack of knowledge in the use of graphic and visual codes (Dondis, DA, 1980). In another context, we see how companies, in which part of their income depends on their product’s image, have taken note of the implicit importance of developing good visual discourse to convey their message. Therefore, the question arises why is it not the case in science or academia? To further explore this dilemma we reflect on how the graphic / visual codes are currently used in academic and scientific forums and how improvements can be made. This presentation will show good practice in which visual elements are treated with creativity and in which innovation is the key to communicating scientific and academic content. Our analysis has focused on the elements of graphic language / visual digital presentations including images (photographs, illustrations, drawings and graphics), text (font, color and proportion), color, composition (distribution, space and structure) and rhythm (transitions and effects). From this exploration of good practice it can be concluded that most of the presentations in the areas analyzed were developed in collaboration with qualified personnel (graphic designer, creative, visual, etc.), thus providing, not only a more attractive presentation but also clarity in the exposition of ideas and appropriate communication and interaction with the audience. In this sense, we do not agree with the psychologist John Sweller, that you have to “throw PowerPoint in the trash”, but that its use needs to be adapted to the objectives of scientific communication and that this may require the incorporation of qualified professionals in research groups or centers in order to make optimal use of these tools.

Mijung Kang Seoul National University [email protected] Subject of SNS Design – From the viewpoint of Charles S. Peirce and Bakhtin/Volosinov Abstract: SNS such as Facebook, Twitter, Instagram and etc. has become so popular these days that it has influenced our everyday lives with its power as a media of mass communication. My concern on SNS lies not only in its interconnected system, but also in its interface design mechanism. I’ll argue in this paper that interface designs of SNS are created not by only designers, but by designers-users community on the basis of semiotic theories of C.S. Peirce’s and Bakhtin/Volosinov’s. Facebook page design, for example, has been changed several times when the users had complained about the design. Design production in this kind of interconnected socialized system is made possible in the course of the interlocutions between users and designers. Peirce’s illumination of ‘Self’ and ‘man-sign’ as well as Volosinov’s explanation of ‘verbal interaction’ and ‘inner speech’ could be reliable references for this situation. I think these 2 distinguished semioticians could offer us plausible explanations about the inter-subjectivity of SNS design mechanism and how collective intelligence is formed and works in this social network’s era.

Kay L. O’HALLORAN, Sabine TAN, Marissa E and Yiqiong ZHANG National University of Singapore Interactive Software for Multimodal Semiotic Analysis Abstract: We demonstrate how a multimodal analysis software package developed in the Multimodal Analysis Lab at the Interactive & Digital Media Institute (IDMI) at the National University of Singapore can be used to undertake multimodal semiotic analysis. The software package, consisting of interactive software and concepts and frameworks, is designed around social semiotic principles — more precisely, a systemic functional approach to language, images and other semiotic resources (e.g. Halliday & Matthiessen 2004; Kress & van Leeuwen 2006; Machin, 2007; O’Halloran et. al, 2011, in press; O’Toole 2011). Following this approach, the software contains an ‘analysis’ interface to organise the multimodal analysis via different systems of meaning (design elements, elements of composition, interpersonal

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relations, visual modality, agency and action,) and a ‘media’ interface where overlays and system choices are inserted directly onto the text itself. The aim is to develop a systematic approach to the analysis of semiotic phenomenon using interactive digital media.

Erika Cortés Bazaes Universidad del Pacífico [email protected] Rupturas entre la argumentación lingüística y lo visual en los textos escolares chilenos El sentido de esta comunicación es sintetizar una investigación referida al estudio de la correlación entre la argumentación visual de las culturas infante juveniles y la de los textos escolares. La importancia de ello, radica en lo que ya sabemos de cómo opera la lectura o interpretación de los textos, gracias a las ciencias cognitivas (la percepción y cognición opera a través de una red de conexiones asociativas, sin un procesador lógico central como creía el cognitivismo en sus inicios (Francisco Varela: “Conocer”, Ed. Gedisa, Barcelona, 1996), donde el sujeto sólo aprehende el 24 o 26 % de lo real, y donde lo demás es construido en base a sus archivos de mundo, la historia de vida sociocultural) y la semiótica que describe dicho procesamiento; esto es, todo texto presupone un programa que lo construye, una interfase, conceptualizada como una matriz que liga los diversos fragmentos que lo constituyen (Carlos Scolari: “Hacia una semiótica de las interacciones digitales”, en Revista deSignis No 5 “Corpus Digitalis”, Ed. Gedisa, Barcelona, 2004); y si coincide la interfase presupuesta por el programa presente en la construcción del texto con la de los usuarios, el lector del texto se implica, posibilitando la interacción. Es éste el nudo de los procesos de aprendizaje y de hipertextualización, donde se trata de que el educando se implique en el texto reconociendo inconscientemente su propio procesamiento cerebral en él. Existen investigaciones Sociosemiótica en nuestro país sobre las formas de funcionamiento de la percepción y cognición de las culturas infante juveniles, de las que se infiere y deduce como opera allí, a lo menos tres tipos de argumentaciones visuales, sin embargo, en los textos escolares chilenos de “Lenguaje y Comunicación” de Séptimo Básico y Tercero Medio las funciones de la Imagen es sólo ejemplificadora de fragmentos de la argumentación lingüística y/o un espacio estético agregado al texto pero sin ligazón estructural con él. Las nociones de “Anclaje” y “Relevo” del texto lingüístico estudiada por Roland Barthes respecto a las relaciones entre lo visual y lo lingüístico en la publicidad tampoco son tomados en cuenta en las propuestas visuales educativas chilenas. Luego, el sentido de ésta comunicación es dar cuenta de las rupturas de funcionamiento de las culturas visuales chilenas educativas, basadas en las formas de argumentar occidentales de hegemonía fundamentalmente lingüística con aquellas de los usuarios infante juveniles formados en una cultura más postmoderna, influenciada por el manga y el video- juego.

Hailin Ning Zhejiang University [email protected] Visual Persuasive ACTS Model of News Images Abstract: News images usually contain social power and ideologies and a great number of “myths”. They look to be clear, but it is not easy to grasp them. This paper, viewing news images as a text, puts forward the visual persuasive ACTS (Attention Grasping, Content Directing, Theme Representing and Symbolic Accumulating) model based on American art psychologist Rudolf Arnheim’s theory of visual form dynamics to analyze news images. From ACTS Model, communicators can learn what makes successful news images. It can also tell the viewers how their attitudes and behaviors are influenced by news images.

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25. Cross-cultural Semiotics 跨文化符号学（17） Ding Shaoyan Guangdong University of Foreign Studies Cinematic Representation, Traumatic History, and Viewing Subjects ------A Semiotic Analysis of Flowers of War Abstract: In spite of the diverse representations of the 1937-Nanjing-Massacre on the screen prior to 2010, Zhang Yimou’s new film Flowers of War（2011）has been presented to the Chinese audience with a gigantic marketing campaign in the media, and has been submitted to the Panel of American Academy Award by its producer Zhang Weiping to participate in the competition for this year’s Best Foreign Film award. Simultaneously, the film has garnered the nomination for the Best Foreign Film of the Golden Globe Award in the United States. In China, released at the moment of new-year greeting, the film has also won popularity among the audience. However, Flowers of War has been criticized by scholars in the media, who mostly condemn the film for its employing the traumatic history of China and eroticism to attract the audience. Then, how to understand this “best film ever made” by Zhang Yimou (according to Zhang) as well as the critical comments of the scholars? This paper attempts to analyze the cinematic representation of the traumatic history of China in the film in relation to viewing subjects based on the decoding of cinematic codes, in order to demonstrate the strategies of representation in the film and to disclose the production of economic capital with the capital of culture, the complex schema of the empire of codes inflected by images in the transnational cultural production, and the dilemma of the local/marginalized culture desiring to move toward the stage of the world in the context of globalization. The purpose of this effort of exploration is to point to the emphasis of the need of initiating signs of Chinese experience in cinematic representation rather than simulating merely the established, standardized codes of the cinema to please global consumers.

MAO Sihui MPI-Bell Centre of English, Macao Polytechnic Institute Film Semiotics, Shakespeare & Hamlet’s Chinese-Tibetan Cousins: Feng Xiaogang’s The Banquet & Sherwood Hu’s Prince of the Himalayas Abstract: Films are cultural artifacts which are made up of a series of individual images. In cinematic terms, these series of images create a narrative in their own language. Situated within a glocalised context (the dual process of globalization and localization), this paper, after a brief review of the development of film semiotics and screen adaptations of the Shakespeare canon in world cinema, takes a semiotic approach to the study of two recent Chinese films – Feng Xiaogang’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), both of which are adaptations of William Shakespeare’s Hamlet, Prince of Denmark. To decode a cinematic text is to uncover the various structures -- systems of assumptions, beliefs, ideologies and values embedded in images and discourses, to demonstrate how such structures generate myths, connotations, points of view, modes of address and their significance for the work. Through a detailed analysis of some selected scenes/shots from both films, this paper looks at how meaning is constructed through cinematic verbal and visual codes and signs such as narrative structure, mise-en-scène and montage. Keywords: Hamlet, Chinese, Tibetan, comparative semiotics, narrative, camera movement, mise-en-scène, montage

Peng Qigui Guangdong University of Foreign Studies [email protected] Sense and Non-sense: Different Receptions of The Flowers of War in China and USA Abstract: It has often been the case that Chinese blockbusters fails to find much market abroad, and the release of The Flowers of War, by the iconic Chinese director Zhan Yimou, did not escape that doom either, though Zhang had attempted to change that trend. While achieving considerable box office success and generally positive acclaims at home, The

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Flowers of War has not only failed the Oscar prize for best foreign language movie, but has also been received with quite negative criticisms from the American critics and found equally unappreciated by the American film goers. Puzzled as well as enchanted by this discrepancy in its receptions, this study intends to investigate these differences and tries to explores the underlying cultural assumptions and frames of Chinese and American critics and film audience in the understanding and interpretation of the theme, the narrative, the character and the mise- en-scene of the movie. Key Words: receptions, the Flowers of War, cultural differences

Shi Guang Hainan University An Analysis of Attitude in Chinese Courtroom Discourse Abstract: This paper analyzes the attitude expressions in the audio recording transcripts of eight court trials within the framework of appraisal systems in Systemic Functional Linguistics. The findings indicate that 1) judgement (attitude towards people and their behaviours) is the most important way for subjects in the courtroom to express attitude, followed by appreciation (evaluation of things), while affect (feeling) is the least frequently used; 2) most of the attitude expressions are negative, demonstrating that negative attitude towards people and things is the basic thinking disposition of the subjects in the courtroom; and 3) the three sub-systems have specific features. The first of these specific features is that subjects in the courtroom express their attitude toward people primarily according to social sanction. ‘Legality’ is a prominent category of ‘propriety’, which is, in turn, a subtype of ‘social sanction’ in the system of judgement. Second, judgement-invoking appreciations outnumber the sum total of ‘reaction’, ‘composition’, and ‘valuation’, which are the three types of non-judgement-invoking appreciations. Finally, due to its potential negative influence on the speakers, affect is not frequently resorted to in the courtroom. These findings support the idea that the appraisal systems can be genre dependant and can shed light on our understanding of the characteristics of attitude expressions and their interpersonal functions in Chinese courtroom discourse. Key words: courtroom discourse; appraisal systems; attitude; interpersonal function

Chen Kaiju Guangdong University of Foreign Studies Pan-Symbolization：the Way Minority Culture is Memorized, Circulated and Transmitted Abstract: With Special Focus on Enshi Tujia Ballads and Life Dramatization Abstract: Decades of sustained economic development has brought China’s society into modernization in the wave from coastal to midland and western areas, which is enhanced with the membership of WTO. As capitalist civilization—marked with industrialization—supersedes natural agricultural civilization, life changes accordingly from the traditional self- autonomous, holistic and ethnic style to formatted, modularized and homogeneous modern life style. With modernization and globalization well under way, the diversified culture types and life styles in China’s midland and western areas where most minority ethnicities dwell are giving way to the homogeneous consumption culture and urban life style. The protection and transmission of the NATURO PHARM indigenous minority cultures has become a shared urgent subject to disciplines of cultural studies, sociology and ethnology both in theory and in practice. Applying theories of ethnicity studies of cultural studies, the present essay addresses this problem, with special reference to situations of the Tujia Minority in Enshi Ethnic Autonomous Region (in southwestern Hubei, China), where the indigenous people lived among the remote mountains, inheriting and transmitting Pa culture— a branch of an ancient Chinese ethnic culture: local ballads as oral literature, special festivals developed as farming seasonal markers, and geography-adapting facilities and living customs. The Region gained significant economic development in the new millennium, starting from vast national investment on infrastructure (high ways and railways) since 2002. While the patterns of life and work are quickly catching the fashions in the developed areas, the local ballads, festival rituals, and facilities and customs are adopted and presented at tourism resorts,

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hotels, and eateries. Such phenomena of representations and performance of the various aspects of indigenous culture is termed as “pan-symbolization.” Whereas the change in life style resulted from change in mode of production seems implacable, pan-symbolization proves an efficient way to memorize, circulate and transmit the agriculture-based indigenous traditional culture. Key words: pan-symbolization Tujia ballads agricultural oecology cultural representation

Drina Hočevar University of Los Andes Mérida-Venezuela [email protected] Approaching Hamlet´s Consciousness as a Bridge between Different Civilizations Abstract: The paper will approach Hamlet´s consciousness as manifested in Shakespeare´s play Hamlet. It will employ Eero Tarasti´s existential semiotic distinctions of Self and Moi. Hamlet´s Self, as seen by the Others and his Inner Self or Moi as “that within which passes show”. It will seek to understand Hamlet´s transcendental character that could be seen as global, bridging different civilizations.

Aline Bastos [email protected] Discourse Construction in Veja Magazine Abstract: This work analyses the discourse construction in Veja magazine covers featuring China throughout that publication’s history. Such analysis is based on the post- structuralist semiotic trends and on the discourse’s critical analysis. Therefore, efforts will be made toward understanding postures and political strategies, as well as economical and socio-cultural aspects related to a wider historical context. Moments when there was a consolidation of western hegemonic views, power disputes and ideological change are going to be identified, trying to find plurality, valuing differences and ‘the other’in the midst of it all. Also it will appreciate the relationship of the discourses with the national and international social political scene in the current process of globalization and portmodernity in that China presents affirmatively as a world-wide superpower, becoming an alternative to the universal standard Westernizing.

Wei Quanfeng University of Electronic Science and Technology of China [email protected] Existential Trace in Chinese American Writings Abstract: According to Existential Semiotics, subject carries signs move forward through negation and affirmation to achieve transcendence, which manifests various traces in Chinese American writings. When Chinese depart for America, they begin to experience the disjunction of subject and object, but it also brings many possibilities towards conjunction. The existential traces of Chinese Americans can be described as followings: 1. They move and arrive at target culture and are infused within. 2. They are rejected by double cultures and keep floating in the air. 3. They are rejected by double cultures and the floating signs are combined with each other and form a new culture. 4. They are rejected by target culture and return back to original culture. 5. They are accepted by double cultures and enjoy the free journey between them. The traces reveals the journey from Dasein to Transcendence of the subject. Herein the culture plays the role of Other while the subject must encounter it and penetrate through it, wherein subject shows the dynamic energy through the modalities. Their existential effort is of great significance in introspection of global process.

Juming Shen, Queensland University of Technology, Australia Ye Zhang, Nanjing University of Science & Technology Zijin College Framing Intercultural Literacy in EFL contexts: A Semiotic Approach Abstract: Literacy deals with activities that emerge from the process of encoding and decoding language and meanings as visual signs. The nature of these processes, whether they are perceived as operating in language, mind, society, economy or across history, cannot but be affected by the type of sign-system in which they must finally reside. Intercultural literacy as competencies, understandings, attitudes, language proficiencies, participations and identities in cross-cultural

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engagement, falls on the use of culturally specific sign systems as well. In EFL contexts where learners are exposed to cross-cultural texts from various media and linguistic sources, intercultural literacy prepares and enables them to “read” and “understand” these texts, as well as to “write” texts for the purpose of intercultural communication. These processes involve sign systems which are culturally integrated. This study draws from a semiotic model of intercultural communication to explore the conceptualisation of intercultural literacy as well as its function and manifestation. Based on such semiotic exploration, this study examines the production and development of intercultural literacy in EFL contexts and provides suggestions for enhancing learners’ intercultural literacy which is essential in the culturally globalizing world.

Jiazu (Charles) Gu Nanjing Normal University The Semiotic Principles of Ethical Reconstruction Abstract: The world is made up of signs,and all signs have meanings. Cultural signs which express cultural concepts,are the core of semiotic studies.Ethical signs consist of cultural semiotic systems which constitute the core of cultural semiotics as cultural signs are more or less related to ethical concepts. Ethical signs, like other categories of signs, have the characteristics of dynamic changes:some ethical signs die,others come into being.Ethical signs follow the law of “getting rid of the stale and taking the fresh”, which is regarded as symbol of the vitality of the ethical system, while the reconstruction of ethical semiotic system is the process of the major adjustment of its system, which generally occur in a period of radical cultural and social changes . The author ventures that the change of ethical signs accompanies the change of culture and social formation, and the reconstruction of ethical signs,is,therefore, the objective law independent of human will,and the demand of the age.The reconstruction can be achieved either through the absorption of the similar cultural signs,or through borrowing from alien cultural signs so that the ethical system of a country can be enriched as cultural achievements are owned by all humans , and human ownership of such achievements is not deprived of by the limit of borders.

Peng Baoliang Guangdong University of Foreign Stdies,China [email protected] Between Signifiers and Signifieds: the Zeugmatic Rhetoric and Laugh in “Let the Bullets Fly” Abstract: Jiang Wen’s Let the Bullets Fly immediately makes a hit upon its release in terms of box-office record. However no single reason can account for its success. This paper aims to examine Jiang’s film comic trope which finds its way to all the three semiotic elements: language, visuality and sound under the umbrella of the Piercean triadic semiotician model. Its comic trope is found to have established through zeugmatic rhetoric means the cinematic effect or a laughter created with the discrepancies between what is said or seen or heard (signifier) and what is meant (signified) via the audience who goes to the cinema and pays for fun. In order to bring to the fore why people laugh I shall focus my study on the change and mobility of motivation (理据) particularly its endophoric and exophoric relationship and its loss (Stephen Ulman 1972:121) downgrade and upgrade in the process of signification, which largely in my understanding contributes to Jiang Wen’s success of a well-received postmodern film.

Jing Yang Guangdong University of Foreign Studies,China [email protected] The White Savior Myth Now and Then: Pavilion of Women VS. Flowers of War Abstract: Pavilion of Women (2001) and Flowers of War (2011), two China-made films aiming at world market, adopt Hollywood’s redemption narrative yet fail to impress global audiences. In both films, the American hero’s redemption of Chinese women amidst wartime cruelty is injected with a heavy dose of exotic romanticism and Chinese patriotism. I will examine the respective treatment of interracial romance and women’s agency power against the socio-historical context of China’s entry into World Trade Organization. In view of both films’ transnational

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production and reception, I argue that the appropriation of Hollywood’s classic narrative demonstrates Chinese filmmakers’ painstaking efforts to intervene in Western discourses about China.

Yu Hongbing Nanjing Normal University The Forgetting Mechanism of Culture in the Cultural Semiotic View Abstract: The construction of culture as a nonhereditary memory of the community is a selective process, with cultural forgetting functioning as one of its internal mechanisms. Based on the Lotmanian Semiotic typology, cultural forgetting should be divided into such three types as forgetting of the text, forgetting of the rule and forgetting of the code. The main function of cultural forgetting is ensuring the formation and maintenance of cultural memory, which is manifested in three aspects: establishing cultural identity concerning the infusion of new texts, rules and codes, the external function concerning non-culture and anti-culture in the process of cultural interaction and expansion, and the internal cultural function concerning old culture and the past in the process of internal changes in specific cultures.

Fernando Bertelsen Hocevar Student of History at Bei Hua University, China A History of Misunderstandings: China in the Western imaginary Abstract: In 1793 an important act took place that would shape not just the way how two empires interacted with each other, but also how two very different cultures perceived one another. I am speaking of course about the McCartney mission to China, between 1792 and 1794. As it is known this embassy was doomed to fail and not only because of the obvious conflicts of interests, language barriers or difference in etiquette. I think that there was something deeper within their own ethnocentrism that stopped both parties from fully understanding each other, thus setting the cornerstone of a misunderstanding so big that would henceforth define how the West saw China. I want to explore the possible causes that contributed all through history to create an inaccurate image of China that would influence chroniclers, historians, writers, politicians and regular people on both sides of The Great Wall.

Shi Guang 施光博士 Hainan University, China 中国海南大学 An Analysis of Attitude in Chinese Courtroom Discourse Abstract: This paper analyzes the attitude expressions in the audio recording transcripts of eight court trials within the framework of appraisal systems in Systemic Functional Linguistics. The findings indicate that 1) judgement (attitude towards people and their behaviours) is the most important way for subjects in the courtroom to express attitude, followed by appreciation (evaluation of things), while affect (feeling) is the least frequently used; 2) most of the attitude expressions are negative, demonstrating that negative attitude towards people and things is the basic thinking disposition of the subjects in the courtroom; and 3) the three sub-systems have specific features. The first of these specific features is that subjects in the courtroom express their attitude toward people primarily according to social sanction. ‘Legality’ is a prominent category of ‘propriety’, which is, in turn, a subtype of ‘social sanction’ in the system of judgement. Second, judgement-invoking appreciations outnumber the sum total of ‘reaction’, ‘composition’, and ‘valuation’, which are the three types of non-judgement-invoking appreciations. Finally, due to its potential negative influence on the speakers, affect is not frequently resorted to in the courtroom. These findings support the idea that the appraisal systems can be genre dependant and can shed light on our understanding of the characteristics of attitude expressions and their interpersonal functions in Chinese courtroom discourse.

26. New Cultural Identity and Digitals Mediations 新文化身份与数字中介

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（49） Lucrecia Escudero Chauvel (Université de Lille III - France) TRANSFORMATIONS DE LA VISIBILITÉ L'acceleration des changements produits par les NTIC dessine un nouveau eco-système culturel, avec une organisation complexe et une logique socialement permeable. Situation de transition culturel, celle ci afecte de façon homogène soit les formes de representation espace-temporels, soit les usages et les pratiques d'interaction et d'échange. Cet changement est visible dans différents semio-sphéres, de production economique, de production des connaissances et de production d'imaginaires. Les processus de médiatisation sont re-configurés, et auront une influence crucial dans les modèles de representation et identification sociales. TRANSFORMACIONES DE LA VISIBILIDAD El cambio acelerado y transversal producido por las NTIC perfila, en las últimas décadas, un nuevo ecosistema cultural cuya configuración y lógica organizativa es notablemente compleja y socialmente difusa. Situación de transición cultural que afecta por igual a los códigos culturales, a las formas de representación espacio-temporal, a los hábitos y prácticas de interacción y conocimiento público y a los modelos de regulación y control en torno a las redes sociales. Este cambio se manifiesta en aceleradas transformaciones de las diferentes semiosferas que alteran de raíz las interacciones entre sistemas de producción económica, de producción de conocimiento y de imaginarios simbólicos. Uno de los resultados es la y restructuración de los vínculos entre sistema social y procesos de mediatización, condicionando los modelos de representación e identificación social.

Rafael del Villar Muñoz Universidad de Chile, Chile (Université du Chili, Chili) MEDIACIONES DIGITALES E IDENTIFICACIÓN: EL CASO CHILENO Las sociedades en redes constituyen nuevas formas de implicación, identificación y procesos de construcción de identidades. El objetivo de esta intervencion es dar cuenta de las investigaciones sociosemióticas que en relación a las culturas visuales infante juveniles realizadas en Chile. Las identificaciones no son homogéneas y dependen de la microcultura de referencia de los usuarios. Sociológicamente Internet es una instancia de establecimiento de relaciones sociales, y para un 40 % de la población juvenil una posibilidad de fuga ante los problemas de la vida. El dispositivo semiótico que opera en la cognición y percepción de Internet no es homogéneo: coexisten niveles simbólicos de focalización de palabras y de sintagmas que siguen la lógica conceptual, dispositivos de focalización de imágenes por contigüidad, y dispositivos de implicación corporal. A su vez estos dispositivos integran procesos identificatorios de aceptación/ rechazo al orden social, y tambien procesos de estructuraciones de “un yo móvil” donde el sujeto opera transaccionalmente entre múltiples niveles de “terceridad” (Peirce). MÉDIATIONS NUMÉRIQUES ET IDENTIFICATION: LE CAS CHILIEN Les sociétés en réseaux constituent des nouvelles formes d’implication, identification et processus de construction d'identités. À l'intérieur de la problématique du XI Congrès “Sémiotique Globale: carrefour entre différentes civilisations “, l'apport de notre intervention, est de rendre compte des recherches socio- semiótiques des cultures visuelles de la jeunesse en Chili. Les identifications ne sont pas homogènes et ils dépendent de la micro-culture de référence des utilisateurs. Internet est sociologiquement une instance d'établissement des relations sociales, et presque pour 40% de la population juvénile, une possibilité de fuite devant les problèmes de la vie. Le dispositif sémiotique qui opère dans la connaissance et la perception d' Internet n'est pas homogène: coexistent des dispositifs symboliques de focalisations des mots et d'attachement entre des syntagmes qui suivent la logique conceptuelle, dispositifs d’attachements d'images (photos) et d'association entre elles seulement par contiguïté, et dispositifs d'implication corporelle; toutes à l'intérieur de processus identificateurs d'acceptation/rejet à l'ordre social. Il y a aussi l'émergence de processus identificateurs complexes où le sujet opère transactionnellement entre

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de multiples structurations de “ tiercéité” (Peirce) à travers des indices qui sont mis en relation, soit par complémentarité, soit par des principes d'équivalences. NUMERICAL MEDIATIONS AND INDENTIFICATION: THE CHILEAN CASE Networked societies bring about new approaches to involvement, identification, and identity-building. For this Round Table, we shall report on socio-semiotic research conducted in Chile, in relation to visual cultures among youth. We have found that identifications are not homogeneous, but depend on the particular micro-culture that the participants appertain to. Polls that we conducted on age brackets 11-12, 16-18, and 19-24, revealed that most of the subjects considered the Internet to be a means for establishing social ties, and almost 40% declared it a means for escaping the vexations of daily life, and/or a lift to tiredness/fatigue. There is not a unitary semiotic device that operates in the perception and cognition of the Internet, but rather, a combination of several, such as: symbolic devices for focusing on words and linking syntagms according to a conceptual logic; devices for focusing on images (e.g. photographs) and creating associations merely by juxtaposition; devices for incorporation of body language. All of these operate within processes that recognize acceptance/rejection of the social order, and processes that give rise to a mobile me structure, equivalent to minds without ego, as described by Francisco Varela. The subject operates transactionally among multiple structurations of thirdness (Pierce), apprehended through clues that interrelate via complementarity, or via one or more equivalence principles, constructed in the multiple networks where young people insert themselves, whether through digital means or face-to-face.

Cristina Peñamarín (Universidad Complutense de Madrid. Spain) GLOBAL PUBLIC SPHERE, INFORMATION FLOWS AND PROCESSES OF TERRITORIALISATION Abstract：The global public sphere is today formed in large part by segregated and polarized audiences who compose meaning communities closed to the universe of the other. Its members live conflicts between forces characterized, for example, as “Western” and “Islamists” and become able to conceive of such others as large identities - Islam, West- and are also capable of feeling fear, rejection, hatred, rage by the actions attributed to them. Each of these sectors of audiences perceives himself as a collective “we”, who eventually joins and projects his enthusiasm before that enemy. The study of the emotions involved in the public space will be directed to observe from this perspective the political and informative discourses that build day by day the visions of us and them, the experiences and memories of being part of a particular world.

Teresa Velazquez Garcia Talavera (Universidad Autónoma de Barcelona - España) PRESS, AGENDA SETTING AND PUBLIC OPINION: DEVELOPMENT AND HUMAN RIGHTS IN THE MEDITERRANEAN REGION. Abstract：The present article contains quantitative and qualitative results from the analysis of the press corresponding to the titled investigation “The social construction of the space Euro-Mediterranean in mass media. The information in press and television” (CSO2008-01579/SOCI) the sample has been selected from the subjects that worry to the instances: Process of Barcelona-Union by the Mediterranean; European Neighborhood Policy and Alliance of Civilizations. The observed scopes, therefore, respond to Policy and legislation; Peace and security; Human rights; Economic and Financial cooperation; Cultural and religious diversity; Migrations; Social and human development; Genre; Youth; Mass media and Society of the Information. These aspects are tie closely to the degree of commitment of these societies with the subjects of the cooperation, the development and the Human rights and how these subjects are visualized and gathered in mass media. Key-word: Development, mass media and human rights in the Mediterranean countries

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PRENSA, AGENDA TEMÁTICA Y OPINIÓN PÚBLICA. DESARROLLO Y DERECHOS HUMANOS EN LA REGIÓN MEDITERRÁNEA. El presente contribución contiene resultados cuantitativos y cualitativos del análisis de la prensa correspondiente a la investigación titulada “La construcción social del espacio euromediterráneo en los medios de comunicación. La información de prensa y la televisión “(CSO2008-01579/SOCI) La muestra se ha seleccionado a partir de los temas que preocupan a las instancias: Proceso de Barcelona-Unión por el Mediterráneo, la Política de Vecindad de la Unión Europea y la Alianza de Civilizaciones. Los ámbitos observados, por lo tanto, responden a Política y la legislación; Paz y la seguridad;, Derechos humanos; Cooperación económica y financiera; Diversidad cultural y religiosa; Migraciones; Desarrollo social y humano; Género, Juventud; Medios de comunicación y Sociedad de la Información. Estos aspectos están estrechamente vinculados con el grado de compromiso de estas sociedades respecto a cooperación, desarrollo y derechos humanos y cómo estos temas se visualizan en los medios de comunicación. Palabras-clave: Desarrollo humano, Medios de comunicación, Derechos Humanos, Países mediterráneos.

Eliseo Colón, University of Puerto Rico, School of Communication WORKING ROUTINES AND MEDIA CONVERGENCE IN TIMES OF DRAGON TATTOOS, PLAYING WITH FIRE AND KICKING HORNET NESTS Abstract：Mass Communication conglomerates and cultural industries have joined the economic transitions of present day capitalism. Within the context of a global and information society, these groups have challenged current policies pertaining public and private spheres, especially under the aegis of the so-called media convergence. Research in Latin America has begun to study this transformation in the light of the challenges posed to the processes of democratization and the emergence of new social interfaces. This presentation aims to promote a research agenda for the working routines of new media professionals from the perspective of knowledge-based societies and media convergence, particularly the field of journalism. It tries to put on the agenda of social semiotics research in Latin America issues such as democracy, the transformation of social interface, conversion communication and cultural transformation, from the point of view of the challenges that entail working routines based on knowledge, innovation and media convergence.

TRABAJO Y CONVERGENCIA MEDIÁTICA EN LOS PALACIOS DE LAS CORRIENTES DE AIRE, EN TIEMPOS DE HOMBRES QUE NO AMAN A LAS MUJERES, Y CHICAS QUE SUEÑAN CON UNA CERILLA Y UN BIDÓN DE GASOLINA Los conglomerados de la de comunicación y las industrias culturales forman parte de esta etapa de transición del capitalismo. En el contexto de los modelos de sociedades globales informatizadas, las políticas públicas y privadas de estos sectores se transforman, de forma acelerada, en el espacio latinoamericano bajo la égida de la llamada convergencia mediática. Algunas investigaciones de la región han comenzado a estudiar esta transformación a la luz de los retos que impone para los procesos de democratización y el surgimiento de nuevas interfaces sociales. Esta presentación propone promover una agenda de investigación desde la semiótica social de las rutinas de trabajo de los nuevos profesionales de la comunicación y en particular del campo periodístico, a partir de las diversas visiones sobre el desarrollo basada en el conocimiento y la convergencia mediática. Intenta colocar en la agenda de la investigación semiótica en América Latina cuestiones como la democracia, la transformación del interfaz social, la reconversión comunicacional y la transformación cultural, desde el punto de vista de los desafíos que acarrean las rutinas laborales emergentes basadas en la llamada innovación del conocimiento y la convergencia mediática.

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Alfredo Tenoch Cid Jurado (President of the Latin American Federation of Semiotics) DIGITAL MEDIATION AND IDENTITY IN VISUAL FORMS OF WRITING Abstract： Writing as the visual facet of the spoken language can be seen as a modeling system in the production of meaning. The visual shapes are turned into mechanisms subjected to rules in order to “domesticate” the perceptual image contained in each “communicative writing event”. In this way, the image is bound be read by particular semantic processes. Several approaches to the study of writing have focused on its visual shape as a semantic dimension that produces meaning to “anchor and relieve” the contents that overflow into the linguistic message. As a modeling system, it actively partakes in the social roles assumed by the users of the combinations “image-letter” in order to construct identity. The present work evaluates the main models capable of generating typologies to classify the links between letters, as a transcription of the oral language, that interact with the semasiographic image in its visual form.

LA MEDIACIÓN Y LA IDENTIDAD DIGITAL EN FORMAS DE ESCRITURA VISUAL La escritura como la faceta visual del lenguaje hablado puede ser vista como un sistema de modelización en la producción de sentido. Las formas visuales se convierten en mecanismos sometidos a las normas con el fin de “domesticar” la imagen perceptual contenida en cada “caso de la escritura comunicativa”. De esta manera, la imagen se enlaza a ser leído por diversos procesos semánticos. Varios enfoques para el estudio de la escritura se han centrado en su forma visual como una dimensión semántica que produce significado a “anclaje y relevo” los contenidos que se desbordan en el mensaje lingüístico. Como un sistema de modelado, participa activamente en los roles sociales asumidos por los usuarios de las combinaciones de “imagen-letra” con el fin de construir la identidad. El presente trabajo evalúa los principales modelos capaces de generar tipologías para clasificar los enlaces entre las letras, como la transcripción de la lengua oral, que interactúan con la imagen semasiográfico en su forma visual.

Erika Cortés Bazaes Universidad Autónoma de Chile [email protected] Rupturas entre la argumentación lingüística y lo visual en los textos escolares chilenos El sentido de esta comunicación es sintetizar una investigación referida al estudio de la correlación entre la argumentación visual de las culturas infante juveniles y la de los textos escolares. La importancia de ello, radica en lo que ya sabemos de cómo opera la lectura o interpretación de los textos, gracias a las ciencias cognitivas (la percepción y cognición opera a través de una red de conexiones asociativas, sin un procesador lógico central como creía el cognitivismo en sus inicios (Francisco Varela: “Conocer”, Ed. Gedisa, Barcelona, 1996), donde el sujeto sólo aprehende el 24 o 26 % de lo real, y donde lo demás es construido en base a sus archivos de mundo, la historia de vida sociocultural) y la semiótica que describe dicho procesamiento; esto es, todo texto presupone un programa que lo construye, una interfase, conceptualizada como una matriz que liga los diversos fragmentos que lo constituyen (Carlos Scolari: “Hacia una semiótica de las interacciones digitales”, en Revista deSignis No 5 “Corpus Digitalis”, Ed. Gedisa, Barcelona, 2004); y si coincide la interfase presupuesta por el programa presente en la construcción del texto con la de los usuarios, el lector del texto se implica, posibilitando la interacción. Es éste el nudo de los procesos de aprendizaje y de hipertextualización, donde se trata de que el educando se implique en el texto reconociendo inconscientemente su propio procesamiento cerebral en él. Existen investigaciones Sociosemiótica en nuestro país sobre las formas de funcionamiento de la percepción y cognición de las culturas infante juveniles, de las que se infiere y deduce como opera allí, a lo menos tres tipos de argumentaciones visuales, sin embargo, en los textos escolares chilenos de “Lenguaje y Comunicación” de Séptimo Básico y Tercero Medio las funciones de la Imagen es sólo ejemplificadora de fragmentos de la argumentación lingüística y/o un espacio estético agregado al texto pero sin ligazón estructural con él. Las

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nociones de “Anclaje” y “Relevo” del texto lingüístico estudiada por Roland Barthes respecto a las relaciones entre lo visual y lo lingüístico en la publicidad tampoco son tomados en cuenta en las propuestas visuales educativas chilenas. Luego, el sentido de ésta comunicación es dar cuenta de las rupturas de funcionamiento de las culturas visuales chilenas educativas, basadas en las formas de argumentar occidentales de hegemonía fundamentalmente lingüística con aquellas de los usuarios infante juveniles formados en una cultura más postmoderna, influenciada por el manga y el video- juego.

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27. Semiotics Applied to Marketing Communication and Consumer

Culture

符号学在市场交际与消费者文化中的应用（52） Akpan, Idorenyin; Akpan, Emilienne; Obokuadata, Presly American University of Nigeria A Semiotic Deconstruction of Symbols in Print Advertising Contents: Implications for Consumers Purchase Decisions and Marketing Efforts in Nigeria. Abstract：Anchored on the expositional exploits of Pierce (1958), de Saussure (1984) Barthes(1973), Fiske(1989), Akpan(1996) in the field of semiotics, this study examined ; first, the communicative values of symbols in print advertisements copies of selected Nigerian products; second, the relative influence of symbolic interpretations on consumers purchase decisions as well as the implications of such influence on product marketing. Adopting twin methodological approaches of qualitative content analysis and the Survey, the study investigated the Signifier-Signified relationships and interpretation in the Iconic, Linguistic (referential, emotive and conative ) and Ideological values of elements of the studied product. Findings from the study reveal the dominance of synchronic convergence in the signifier – signified values of symbols found in the studied advertisements, and also, a relatively insignificant diachronic relationship between the symbolic values of the advertisements and consumers claim of influence on product purchase decisions. Findings also showed strong ideological influence in consumers’ interpretation of copy values vis-a-vis their purchase decisions. The study concluded that semiological inputs in advertising and marketing are extant and relevant to contemporary promotional strategies. The study made a strong recommendation for the inclusion of semiotic appraisals as a component of advertising effectiveness test during campaigns

Prof. Baik Culture Management Psychology Institute, Inha University, Korea Semiotic Analysis of Place Branding Strategy of Retail Spaces Abstract：The feature phones which have simple function for telephone is evolved to smart phones today. Smart phones satisfy most of users' requests like Magic wand. Furthermore, they are creating new life-style and new generation. The smart phone is electronic memory media which is the 7th media, awakes biological memory by 100%. An expert of mobile phone, Tomy Ahonen, expected that smart phone will be appeared as the 7th media. The smart phone is a small PC which can be utilized variously by uses decided by users. The smart phone will bring destructive power more than internet. Mobile is the most powerful media, now. The smart phone is GENERATION-C connecting between online and offline in the geo-cyberspace. The generation using smart phones is called by Homo Connectors or generation-C of communication. Generation-C has characteristics, continuous connection, response and interaction in the digital community. Today, the smart phone is really supplementing human memory as one of electric memory measures. If storing information such as schedule, shopping list, check list, capture ideas etc. in smart phone, the push alarm will be provided at proper time in proper place. It provides perfect electric memory to each person and changes life style efficiently. Today, the boundary between online and offline is collapsed by ICT and community is connected to individual at any time anywhere. For example, there are social web, SNS, Twitter, Facebook, etc. In the geo cyberspace, the smart phone plays a role of medium. We can connect to digital community through the smart phone all the time and it means that we are related to the whole world always. It not only connects between life and business all the time but also improves the quality of life.

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Generation-C which is human was not related to anything, Geo Cyberspace is related to sightseeing and Electronic Memory is related to the memory of smart phone. The smart phone tour induces efficiency, user's interests and concentration. And, it has the characteristics of preservation and spread. It can be schematized. The factors of sightseeing are Sustenance, Experience, Memory, Cultural Archetype. And, if it is related by smart phone's cultural factors, Electronic Memory, Geo Cyberspace and Generation-C, the sightseeing can become efficient. Especially, if it is related to strengths of Electronic Memory, the Cultural archetype and myth of regional tradition culture can be preserved, and Ethos can be realized and conveyed. Also, it can let tourists preserve memory, recollection and nostalgia of the place forever and let the information spread efficiently. The cultural resource the region possess can make soft contents related by online and offline. And, it is expanded to Geo-cyberspace by utilizing ubiquitous or ICT. And, if it is combined by electric memory of smart phone, the community memory for space can be preserved and spread forever. It is rightly new trend of cultural sightseeing, applying smart phone.

Bankov, Kristian New Bulgarian University The Experiential Turn in Consumer Culture and the New Challenges for the Semiotic Theory Abstract：With my presentation I shall try to outline some possible outcomes for the semiotic theory after the advent of the mass use by companies of the internet and new media in general for their corporate communication. The key notion of the presentation will be “experience” as opposed to “discourse”. With the technological innovations, allowing communication to simulate the sensomotoric aspects of consumption (both of goods and services) and to introduce interactivity in the relation with the consumer, some crucial notions both from the structuralist and the interpretative paradigms might be questioned. One such notion is the “enunciation” (fr. énonciation). In conventional discursive forms there are many strategies through which the enunciator leaves its traces in the text, whereas in sensomotoric and interactive (immersive) communication such traces seems to be erased intentionally. Also Eco’s idea of the “text as a lazy machine” can be reconsidered. With the immersive experiences which new media allow there is not very much left to the reader’s cooperative activity. Seems that rather than the encyclopaedic competence of the reader, in these cases the author needs a kind of sensomotoric availability and the interpretation is substituted by experiencing. Now we are just at the beginning of the “experiential turn” in corporate communication, but there is enough evidence that this trend will dominate in non- distant future.

Bauters, Merja University of Helsinki Social media and habits Abstract：Using social media for various purposes keeps growing. As the usage forms emerging habits – conventions of use – the more markets adopt social media for their purposes. The tools combinations – tool ecologies – that consumers use for their practices of communication, enjoyment, work, and so, is one of the important aspects of the habit formations. It is also something that the markets are interested in, namely, to know why and which way consumers combine the tools, for what purposes they use them and which kind of habits of usage get created. However, first there are some misunderstandings to discuss. For example, there is an increased body of discussion that the latest wave of technologies enables new way of creating intellectual capacity (“Wisdom of Crowds” or “crowd sourcing”), there is not that much theoretical understanding on how social media supposedly fosters innovation (e.g., Joshi et al 2010). Still many companies are already on social media and successfully or not using it. Such are for example Starbucks and Dell, generating innovations and translating these into implementable ideas by using social media to engage the users into the process (DiGangi et al 2010, Gallaugher and Ransbotham 2010).

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As the tool combinations are created within the niche of the consumers using their previous experiences and conventions as well as serendipitous misusages, the investigation of emerging habit formations needs a systematically used framework and conceptual tools. This will be attempted to be performed by using 4 categories of affordances of social media: 1) metavoicing, 2) network-informed associating, 3) trigger-based engaging, and 4) emergent organizing) (Kane et all, working paper), as well as the concept of affordances and Peirce’s concepts of habit.

Castro Monteiro, Ricardo Nogueira de Universidade Anhembi Morumbi Syncretic Rhetoric Strategies in Advertising and Propaganda: audiovisual and verbovisual case studies Abstract：This paper intends to present and discuss a methodological approach to the analysis of syncretic texts, considering not only the effects created by the juxtaposition of the different instances of substance that compound them (e.g.: words, images, music etc.) but also, and above all, the effects of meaning that result from their mutual and combined interaction. A very important resource for such an investigation is the study of the role of the semi- symbolic relations not only in the production of effects of meaning, but even in the structuration of the syncretic text as a whole. After all, the homologies created between categories of expression and categories of content regard not only the form of content, but also the form of expression, and quite often respond thoroughly to the effect of form itself. If some of the above mentioned homologies have a punctual or limited scope, others pervade the text as a whole, stabilizing relations whose conversion to the discursive level originates effects corresponding to rhetorical procedures – graduations, hyperboles, metaphors etc. The variety and convergence of such figures of style is a very powerful tool of persuasion, especially when combined with a symbolic repertory that is consistent with the values of the target. The demonstration and further discussion of these theoretical and methodological issues will take place through the analysis of verbovisual and audiovisual advertisements. The theoretical foundations of this research are mainly built upon the so-called French semiotics, i.e., the circle of authors directly or indirectly related to the legacy of Algirdas Julian Greimas’ Groupe de recherche sémio-linguistique – especially Jacques Fontanille, Jean-Marie Floch and Andrea Semprini, among others –, and also on contributions by the Peircean and Russian schools of semiotics.

Ivy, Michael; Dullaart, Anna AFDA Film School Consumer Semiotics in Film and Fashion Styling Abstract：Character impressions are semiotically encoded in styling design and marketed to the consumer through photography and film. This research explores the encoding of timing in the affective fashioning of models and actors to be characters in film and fashion. We propose an interdisciplinary methodology using chronemics and semiotics to style the characters for different intended consumer markets. The proposed semiotic framework is associated with consumer psychology, specifically consumers’ self- characterizing processes of identification, internalization, digestion, reparation and externalization . These processes are linked to persuasive communication for consumers through signification of affective states and conflicts. A central research question is: How is semiotics applied to style a fashion model or a film actor to appeal affectively to the consumer with an intended meaning? The proposed methodology is illustrated in the film Shame, by drawing on Greimas’ semiotics of the development of a signifier through time. Greimas’s awareness of how semiosis changes through plot and timing, is a point of

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contact between semiotics and chronemics (the study of time as an aspect of non-verbal communication). Based on Greimas’s semiotics of an elementary structure of signification with two oppositional pairs, we propose a semiotics of styling, and a structural relationship between signifier sets in fashion and film. Two sets of qualitative case studies support the proposed methodology for styling models for stills photography, and actors for moving images. In one case study, a “Star Shoot”, students had to style young actors to encode and market the most desirable characteristics. Here the semiotic square is applied to analyse how character styling leads the consumer’s eye in a stills photograph or in the timing of character processes encoded in the moving image. Another case study is with prominent market players in the South African fashion industry – a top fashion magazine (Cosmopolitan) and a popular fashion retailer (Foschini). Here still images on fashion pages and in store windows are analysed for relevant states of affect, encoded semantically through the styling design of character and chronemics. We motivate that a consistent semiotics is needed for styling, because stylists work in interdisciplinary crews. They work with actors, who also incorporate timing into their encoding processes, e.g. with the help of Rudolf Laban’s movement dynamics and sequencing to portray a character’s inner intention. Editors also work with a semiotics of timing in the pace of a cut. It is important to explicate a stylist’s semiotic methodology in consonance with other crew members’ work in bringing product to market.

Ogenga, Fredrick Oduor; Maseno University, Kenya Visual semiotics, the national flag and Anglo-America Globe-cultural domination through mainstream music videos Abstract：This paper argues that America and Britain have succeeded in globe-cultural domination through visual semiotics and commoditization inherent in their music videos. The paper argues that American and British music, often in different genres, have virtually penetrated different parts of the globe where they have been reappropriated to suit the local context. However, the visual semiotics represented through their music videos reveal how they have succeeded as the de-facto authoritative authors of dominant discourses replicated elsewhere. The most visible aspect of this power play is represented in the symbolic and occasional explicit display of the American and the British flag in many of their music videos and the flashing of the ‘green back’ – US dollar. The lyrical content celebrates the ‘successes’ of global materialism and cultural neo-liberalism as championed by the two nations. The paper uses political-economy of the media and cultural studies theory and semiotics as a methodology to critically unpack the meanings behind these music videos.

Prof. Park, Culture Management Psychology Institute, Inha University, Korea The Cultural Semiotic Analysis of the New Media Smartphone Abstract：This research aims to analyze with semiotic methodologies how companies materialize their identity through retail spaces and communicate with consumers. Retail space is a medium that not only companies make the sale of their products but also communicate directly with consumers, so it reveals one company's value the most. Especially image branding strategy is more important for cosmetics companies than any others' because consumers tend to buy the brand images when they choose to purchase the cosmetics. This study suggests three cosmetics brands- Kiehl's, Aveda and L'occitane- that have same concept of 'Nature' but differentiated feature in space display. Particularly with the three suggested examples, we will look through these companies' specialized branding strategy with semiosis of space by comparing and analyzing. As Douglas Holt mentioned in his article 'What is iconic brand?', 'iconic brand' is the most perfect brand that helps consumers to realize their ideal and fulfill the desires by reducing the cultural contradictory gap which occurs

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between society and the ideology of an era. This research deals with semiotic analysis of how cosmetics brands reveal their brands' identity, philosophy and ideology via retail spaces and become an 'iconic brand' by classifying as three levels of Greimas's generative trajectory of signification model: (1) the deep semio-narrative structure; (2) the surface semio-narrative structures; (3) discursive structures.

Rossolatos, George University of Kassel Applying structuralist semiotics to brand image research Abstract：The aim of this paper is to display a conceptual and methodological framework for brand image research by drawing on the discipline of structuralist semiotics. Upon a critical review of existing research from key authors in the brand semiotics literature and through an engagement with the concept of brand image as formulated by key authors in the marketing literature, a semiotic model is furnished for the formation of brand image and brand identity. By drawing on the structuration process of brand image along the three major strata in a brand’s signification trajectory, and the key operations of reduction, redundancy, recurrence, isotopy, homologation, I focus more narrowly on how the chaining [enchaînement] of elements from the three strata is effected with view to addressing how brand image may be operationalised in structuralist semiotic terms vis a vis a brand’s intended positioning, how it may be linked to a brand’s advertising discourse and how the conceptual framework may yield a platform for ongoing brand image analysis and management.

María Consuelo Moreno González SEMIOTIC OF MARKETING Abstract：During this century, semiotic has been taken importance in different sciences and fields like Medicine, Economy, Psychology, Advertising and Marketing, of course. Semiotic has interdisciplinary, scientific, cultural and symbolic attributes that permits her to combine in an efficient and conciliatory way, humanity and science; and that´s exactly what Marketing is looking for: to understand a set of human processes for producing, interacting and delivering value to customers and to know how to manage customer relationships in ways that benefit companies. It is also unquestionable, that Marketing is an important part of the cultural and symbolic human world. As human is a symbol, every marketing interchange ritual includes symbolic elements and Semiotic is also interesting in to study those kinds of symbolic expressions that people practices during their quotidian life. This paper presents in first place, the Symbolic Characteristics of Marketing. Secondly, the concept of the Semiotic of Marketing as a particular semiotic which main interest is to build senses of the marketing tasks: the market (buyers with similar real, potential and symbolic necessities that could be satisfied by an interchange relationship), its stakeholders (entrepreneur, dealer, marketing researcher, manager, etc.) the 5 Ps (price, place, promotion, publicity and person), services and products in a specific cultural context. Finally, it shows a summary of a Market Semiotic Research of a shopping center analyzed as a narrative text in Bucaramanga (5th city of Colombia- South America). Key words: semiotic, marketing, symbol, sense, market research, shopping center

Dante Greeff The South African School of Motion Picture Medium and Live Performance [email protected] [email protected] Neurosemiotics and the Neuroscience of Meaning: A Neurocognitive Approach to Peircean Semiotics Abstract：The inherently interdisciplinary nature of the nascent, yet burgeoning field that has come to be known as biosemiotics, portends its potential as a veritable cornucopia of theoretical and applied research inquiry. By incorporating and integrating such seemingly disparate, yet ultimately interrelated disciplines as physics, biology, neuroscience, cognitive psychology, anthropology, philosophy, as well as the discipline of semiotics itself,

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biosemiotics holds the promise of transcending the perennial, parochial Western paradigm of Cartesian dualism, thereby illuminating the labyrinthine mysteries and neurobiological bases of meaning-making. The present paper is a theoretical exploration that attempts to synthesize some of the fundamental conceptual tenets within the Peircean Semiotic tradition, including the Sign or Representamen, the Object, as well as the Interpretant, with well-established neurocognitive concepts and nomenclature, including parallel perceptual processing, cognitive schemas, in addition to episodic, associative and semantic neural networks. In doing so, the researcher seeks to explicate a set of neurocognitive mechanisms recruited during the concomitant, triadic interplay between Sign, Object and Interpretant with a view to fruitful interdisciplinary integration as well as practical applications. Ultimately, the researcher advocates the development of a conceptual framework within which to conduct empirical research toward a neurosemiotic account of meaning-making.

Vladimir Djurovic, Nadege Depeux [email protected] Semiotics of Taste Application in China for international (and local) food and flavor industries Abstract：Traditionally the food and flavor industry has created new flavor and product concepts by exploring the space surrounding existing flavors. The employed research methods were primarily quantitative in nature for the purpose of testing whether consumers like or dislike particular flavors. However, opportunities exist to innovate flavors in entirely new spaces that not only satisfy individual consumer expectations but forge new cultural associations. By combining semiotic analysis with qualitative consumer research, an initial mapping of the category serves to orient flavor innovation in relation to the specific product category. The insights gleaned from the first phase can then be used to prepare probe materials for focus groups as well as to interpret research findings in a more structured way. The triadic model from Pierce as well as the six flavor traits framework has been found to be particularly effective tools throughout this process. A phenomenon as complex as flavor experience demands the use of specialized, and often non-traditional research methods, to generate insights that effectively inform innovation. In this article, a preliminary approach for developing insights for flavor development using semiotics is discussed. In the first chapter, we introduce and illustrate specific frameworks used in flavor-related research such as the categorical distinctions of Pierce and a model to understand flavor traits. Then, in the second chapter, we discuss a current need in the flavor industry that is moving the goal of research from enhancement of a flavor to the creation of a cultural expectation and the important role of understanding customer motivations, trends, and expressions in this respect. In the last two chapters, we present an example of preparatory work before consumer exploration done in a different product category (bottled water) that benefits from the exploratory power of semiotics as well as an example of interpretation of consumer results (roast chicken) using the Pierce framework introduced in the first chapter. We conclude our article with suggestions for further application of our recommended approach - the combination of semiotics and consumer research to generate insights for local flavor innovation. This article is based on a methodology designed and applied during a 2009 study sponsored by Givaudan and executed by Labbrand for the Chinese market. It originated from a shared interest in exploring how applied semiotics could be used to better grasp the elusive question of flavor experience and enable improved flavor innovation.

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28. A semiotics perspective on multimodal arguments

多模态争辩的符号学视角（63） Leo Groarke, University of Windsor THE SEMANTICS OF ARGUMENT: HOW TO DO THINGS WITH IMAGES (AND OTHER THINGS) Abstract：Building on previous discussions of “visual argument,” I argue that traditional accounts of the meaning of argument -- which take an argument to be a set of sentences -- are too narrow. In their place I propose a broader account of “speech acts” and meaning that is not limited to written or spoken language, but encompasses non-verbal means of communication that play an essential role in many arguments. I propose my theory as one that can be applied to verbal and non-verbal argument and can, in view of this, readily accommodate the mix of modes that characterizes multi-modal argument. In elaborating a broader theory of meaning, I focus on some central concepts that play a key role in it, and illustrate the theory with examples from advertising, art and political commentary.

Paul van den Hoven Xiamen University School on Journalism and Communication MIMETICS IN ARGUMENTATION, A THEORETICAL EXPLORATION Abstract： In the past years there has been a lively debate on the issue whether the complex communicative act argumentation can be performed by other than verbal means. Dominantly the label visual argumentation has been used, obviously seeing visual non-linguistic signs as the most important possible alternative mode. This however seems no principal choice; the debate is about the possibility to use other sign systems than the linguistic to express argumentation. In Van den Hoven 2011, 2012 a position has been developed that states essentially that irrespective of the mode of the sign vehicles that the rhetor uses to convey the discourse; it is the audience that identifies the speech act that has been performed. Given that point of departure it is obvious that in specific contexts other modes than the verbal mode can be used to invite or guide the audience to reconstruct mentally a speech act argumentation. In Van den Hoven 2012 in the last section the suggestion has been made that when multimodal argumentation is possible, the more or less standard idea that argumentation is propositional may become problematic. A (moving) picture for example does not seem to be a format to convey well defined propositions. In this lecture an analysis is presented that may make clear why protagonists of the standpoint that argumentation needs to be verbal, also tend to take the position that it is necessarily propositional and take a position that narratives are no arguments. Protagonists of the standpoint that non verbal modes can convey argumentation, tend to doubt the requirement that argumentation is necessarily propositional. The analysis starts with a logical model of what an attempt to influence an audience’s perception of reality by means of presenting a discourse to this audience actually means. The claim here is that on a very abstract level such an attempt always requires a start that is mimetic, a follow up that is diegetic to reach a goal that is pragmatic. Reflecting upon possible relations between the elements of the model and semiotic modalities, it turns out that the mimetic start goes well along with many semiotic modes as well as with the narrative and the metaphor, but that the diegetic step in an explicit form requires a verbal mode. It also turns out that some modalities strongly mix up mimesis and diegesis. The elegant conclusion seems to be that those who hold the view that the communicative act argumentation can only be performed verbally define argumentation rather restrictive, reserving the concept for the relation between diegetic and pragmatic element. The relation with the mimetic element is conceptualized as ‘proof’ or as

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‘illustration’. Those who hold the view that the communicative act argumentation can be performed by different semiotic structures define argumentation less restrictive, allowing a direct relation between the mimetic and the pragmatic.

Bill Nichols Cinema Department at San Francisco State University Paul van den Hoven Xiamen University School on Journalism and Communication Leo Groake Windsor University PANEL DISCUSSION: THE RODNEY KING CASE, ILLUSTRATING THE DIEGETIC NEED Abstract： In his book Blurred Boundaries Bill Nichols analyzes in detail the defense of sergeant Koon, one of the officers who were involved in the arrest of Rodney King on March 3, 1991. Koon was accused of “willfully permitting and failing to take action to stop the unlawful assault” while officers that he was responsible were accused of severely beating up Rodney King. The proof seemed evident in the eyes of the prosecution now that the entire event was videotaped by a bystander. The defense however reinterpreted the video in such a way that it could be judged compatible with a standpoint that there had been no unnecessary and excessive beating. The jury was ready to accept this reinterpretation. In this session we will show the video, summarize the analysis and open a panel discussion about the theoretical meaning of this case. Can indeed the mimetics of the video only ‘speak’ through a diegetic elucidation, made by a rhetor (here the defense attorney) or inferred by the audience?

Paul van den Hoven Xiamen University School on Journalism and Communication BAIDU VERSUS GOOGLE, A MULTIMODAL BATTLE Abstract：The rhetorical analysis of multimodal public discourse as a complex move in a public debate poses specific challenges to argument and discourse theory because a complex multimodal discourse is far away from the propositional format that the complex speech act to argue seems to require (Van den Hoven 2011, 2012). Some theorists therefore even doubt whether any other mode than the verbal mode can convey arguments (Johnson 2003). In this lecture we will show that a combination of different modes does convey arguments and therefore needs to be reconstructed as such to determine the accountability of the rhetor. We will demonstrate this by analyzing one move in a multimodal argumentative battle, the popular ad of Baidu in which Ming poet Bohu beats Google.

YANG Ying School of Journalism and Communication, Xiamen University, XIAMEN [email protected] “READING” TELEVISION NEWS FROM THE PERSPECTIVE OF MULITMODAL ARGUMENTATION, TAKING AN ABC NEWS ITEM AS AN EXAMPLE Abstract：The transition from oral and written language to a comprehensive “electronic language” has challenged the traditional definition of argumentation. In the realm of multimodal, often parallel communication, the verbal, propositional theoretical tradition does not answer many highly relevant questions. In order to solve this problem Van den Hoven (2011) points out that in specific contexts other modes than the verbal mode can be used to invite or guide the audience to reconstruct mentally a speech act argumentation. Accordingly, he broadened the definition of argumentation to be a communicative activity aimed at convincing a reasonable critic of the acceptability of a standpoint by putting forward information justifying or refuting this standpoint. This is the starting point of the paper. As news discourse is an ideological representation of the world and the television news is a mixture of spoken and written linguistic signs, stills and moving images, music and graphics, we consider this genre a good example to approach from a multimodal argumentation perspective. In the paper, we use an ABC news item titled “Hu Jintao Visit: Economics and Panda Bears” as our case of multimodal argumentative discourse. We analyze how the news

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item is constructed to convey arguments and how the different semiotic modes integrated in the same discourse function to achieve the argumentative effect. In our reconstruction we rely on the principles of relevance and cohesion the model the accountability of the rhetor/protagonist.

Lin Shengdong, Xiamen Univesity, School of Journalism & Communication Global Advertising Adaptation in China: Evidences from the Early 20th Century Abstract：The author examines the rules of global advertising adaptation in China by collecting similar purposive data between the US and China in the early 20th century. A comparative semiotic analysis of multimodal ads designed for the American market and for the Chinese market is used to illustrate how and why particular components are kept, removed, or transformed when a foreign ad enters China. An argumentative reconstruction is made to clarify how the modifications deeply influence the argumentative appeal of the advertisements. The results confirm that foreign advertising is adapted to transformational style in China if the original is informational, and global brand image is adapted to social brand that emphasizes group membership and affiliation benefits if the original is functional.

MENG Yanli China Academy of Science, Beijing MULTIMODAL ARGUMENT IN THE ENGLISH LEARNING LEAFLETS IN CHINA Abstract： The semiotic patterns in the different stages of the English learning leaflets, including both verbal and visual, vary greatly. Especially in terms of visual mode, there are several different genres of visual semiotics, such as generic images, realistic photos, abstract diagrams and tables. Accordingly, the way in which the verbal and visual elements are linked semantically in these stages show sharp differences. However, there is an overarching principle of the visual-verbal coherence over the individual differences among these stages—the information linking principle. That is, the two modes must be linked through at least one information unit, whether directly or indirectly. Yet the actual patterns of information linking vary with the semiotic configurations in the different stages. Altogether four different general patterns of visual-verbal relations are found. Firstly, in the Reader Attraction stage, the relations between the verbal slogan and the theme picture are looser, and both are indispensible for the communication of the hyper-topic as a whole. The generic images showing happy young glamorous models in affluent, enjoyable international contexts appeal more to reader’s emotions and sensation or the subconscious level of mind. The use of consumerist generic images attaches to English learning many irrelevant but desired features and attributes like happiness, stylishness, opulence, success, vigor, etc. Learning of English is not presented as a systematic, theory-guided, effort-taking and time-consuming process, but more as a fashionable utilitarian commodity for quick and casual consumption. In contrast, the verbal texts are often concerned with exams, going abroad, better jobs, etc. that is, the utilitarian, conscious goal of learning English to get success in life world and they appeal to Chinese learners’ conscious and practical goals that are usually formed with reason and judgment. Secondly, in the stages Corporate Profile and Testimonial, the verbal texts are about the company introduction and positive evaluation from former clients respectively, whereas the visual resources are mostly realistic photos of the classrooms and the former learners as witnesses. The verbal mode takes a more dominant role than the visual mode. The semantic meaning is mainly developed in the verbal text whereas the picture, although starting from one of the information units in the verbal, have its own way to evoke trustworthiness and other positive attitudes in the readers through its realistic details. The third pattern is found in the stages Teaching/Learning Method in which the information is pervasively represented in composite diagrams. The precision in expression of scientific diagrams is reserved here in the

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strong semantic connection between the visual and verbal elements through lexical repetition and information overlapping. The use of diagrams is a manifestation of their attempt to align with scientific discourses. In this way the advertiser tries to convince readers that their teaching method is scientific and thus reliable and effective. The fourth pattern is found in Course information in which tables are the most salient format. The reason might be attributed to the fact that this stage contains a large amount of discrete pieces of information concerning a long series of courses. With its origin from the technical genre, the table effectively and concisely compact the large amount of verbal information in a categorized, comparable, yet unified whole. The conclusion is that the different patterns of semiotic representation serve to achieve certain communicative effect in the different stages of this genre. Through the manipulation of the semiotic configurations, the leaflets construct a staged, purpose-oriented multimodal argument to persuade readers into buying their services by appealing to readers’ sensational, emotional and practical desires associated with English learning.

29. Semiotics, mediatization and advertising 符号学、中介、广告（68） Maria Fernanda Niño Université de Limoges, France [email protected] Juan valdez, le corps du café. Sémiotique des usages publicitaires des signes du caféiculteur colombien. Résumé： Cet article analyse, dans une perspective sémiotique, les dimensions plastiques et figuratives du logo de Juan Valdez ainsi que le discours éthique et esthétique que ce personnage véhicule. Juan Valdez, au-delà d'être une stratégie marketing et de communication qui désigne le nom d'une marque et une création graphique pour positionner le café colombien sur le marché international, c’est une figure matérielle, en chair et en os, qui représente la culture du café colombien. Il a été créé pour « être présent », et cette présence s’impose à travers un corps qu'incarne : un rôle social, un métier, un mode de vie, une façon spécifique de travailler et un ensemble de traditions susceptibles de signaler une appartenance culturelle.

L’hypothèse serait que l'esthétique corporelle qui fait de Juan Valdez une identité, véritablement et fondamentalement visuelle, relève les enjeux identitaires d’une communauté, les valeurs d'une pratique sociale et les imaginaires culturels autour de la culture du café en Colombie. L’analyse aboutit à la définition de la figure de Juan Valdez comme lieu de projection d’une pratique sociale qui s’affirme dans la valorisation des objets et des espaces propres au paysage rural et culturel d’une des régions de référence de la culture du café colombien. Mots clés: identité, pratique sociale, imaginaires culturel, publicité.

Juan Valdez, the coffee’s body. A semiotics analysis of the Colombian coffee signs advertisement uses. Abstract：This paper is a semiotics analysis of the plastic and figurative dimensions of Juan Valdez’s logotype and the ethics and aesthetics discourse that this character encodes. Rather than a brand and a communication and marketing strategy to place the Colombian coffee in the international market, Juan Valdez is a figure that embodies a real person who represents the Colombian coffee culture. He was created to “be present” anywhere, and its presence is set through the embodiment of a social role, an occupation, a life style, a specific way of working and a set of traditions, expressing his cultural attachment and background. The hypothesis is that Juan Valdez’s body aesthetics, as a truly visual identity, discloses the community identity issues, the social practice values and the cultural imaginaries of the Colombian coffee culture. The analysis led to define the Juan Valdez’s figure as a social practice place of projection, and who is asserted trough the objects and the spaces valuation that belongs to the main rural and cultural coffee region in Colombia. Key words: identity, cultural imaginaries, social practice and advertising

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Prof. Ji Seon PARK Master. Ruri LEE Semiotic Analysis of Place Branding Strategy of Retail Spaces Abstract：This research aims to analyze with semiotic methodologies how companies materialize their identity through retail spaces and communicate with consumers. Retail space is a medium that not only companies make the sale of their products but also communicate directly with consumers, so it reveals one company's value the most. Especially image branding strategy is more important for cosmetics companies than any others' because consumers tend to buy the brand images when they choose to purchase the cosmetics. This study suggests three cosmetics brands- Kiehl's, Aveda and L'occitane- that have same concept of 'Nature' but differentiated feature in space display. Particularly with the three suggested examples, we will look through these companies' specialized branding strategy with semiosis of space by comparing and analyzing. As Douglas Holt mentioned in his article 'What is iconic brand?', 'iconic brand' is the most perfect brand that helps consumers to realize their ideal and fulfill the desires by reducing the cultural contradictory gap which occurs between society and the ideology of an era. This research deals with semiotic analysis of how cosmetics brands reveal their brands' identity, philosophy and ideology via retail spaces and become an 'iconic brand' by classifying as three levels of Greimas's generative trajectory of signification model: (1) the deep semio-narrative structure; (2) the surface semio-narrative structures; (3) discursive structures.

Alhen Rubens Clotilde Perez La redefinición de las marcas para una mejor producción de sentido. El estudio de caso do jabón em polvo OMO y sandalias Havaianas RESUMEN Este trabajo tiene como objetivo estudiar el cambio semiótico que se lleva a cabo en las marcas para una nueva producción de sentido. Este cambio se observa en toda la historia de la impresión de anuncios en los medios, que incluyen un cambio en la manera de difundir la marca y sus atributos al público. ¿Cómo es la transición de un concepto a otro, que son signos simbólicos detrás del mensaje. Lo que la nueva convocatoria generada en reformular la marca? Estos problemas, combinados con la semiótica (Greimas, 1992 y Peirce, 1977) nos permiten alcanzar el objetivo de este trabajo es entender la reinterpretación de las marcas y la creación de una orden de la nueva producción de persuadir al público objetivo. Las marcas que nos han servido para el análisis del corpus son: jábon em polvo OMO y sandalias Havaianas.

Evripides Zantides, Anna Zapiti, Cyprus University of Technology, Cyprus. Typography, colour and meaning in advertisements with children: a semiotic study based on content analysis. Abstract: The aim of this paper is to present a semiotic study on the way that typography, colour and meaning are interrelated in printed advertisements that use children as their main visual protagonists. Whether targeting adults or kids as potential addressees, this study builds on a content analysis of advertisements collected from four local weekly magazines over a two-year period in Cyprus. Typography as a vehicle transforming verbal into visual language has always been a carrier of ideological significations. From letterforms’ historical associations to their ideational, interpersonal and textual metafunctions as described by Van Leeuwen, the current study investigates how these attributes appear in respect of linguistic messages, colour connotations and gender representations of children. A series of variables that deal with letterform characteristics, meaning of advertising message, target audience, colour and gender of the participating children in the adverts were used to provide a coding scheme. The contribution of this paper lies on the investigation and comparison of significant differences from the content analysis with Semiotic theories of Language, Typography, Colour symbolism and Gender Iconic Stereotypes. The

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data revealed that there are dominant typeface characteristics and colours relating to specific advertising linguistic meanings and target audience as well as in respect of masculine and feminine stereotypes assigned to children.

Maria Ogécia Drigo e Clotilde Perez Living spaces with the “Chinese culture” that emerges with the semiotic analysis of images: food rituals in focus Abstract：We start this paper with an analysis of ethnographic photos, collected in the first half of 2012, featuring architectural aspects of chinese bars and restaurants as well as an analysis of the visual representations of the advertisements appearing at the facades of shops, promotional materials and menus available. The photos shows clippings from the city of Sorocaba, with 600,000 inhabitants, located within the State of São Paulo, 90 km away from the capital, São Paulo, one of the most populous cities in the world. The semiotic analysis of ethnographic photos, according Achutti (2004), as well as the other visual representations will be done from the perspective of Charles Sanders Peirce’s semiotics (Collected Papers), which enables to highlight the qualitative, referential and symbolic aspects of this representations and to show their possible effects: the emotional and the reactive effects that allows to think, ie, the effects that enable semiosis or the action of these visual representations as symbols. By permeating the analyzes with theories of Burke (2003) and Said (2007) we can characterize the cultural mix in the urban context and in the local cuisine as well as assess the predominant reactions involved in this processes like acceptance, rejection, segregation or adjustment. Additionally we can understand how brands present themselves as mediators in the culturally constructed meanings of food rituals in public, in agreement with Trinidad and Perez (2011, 2012) and Trinidad and Llano (2011). Finally, we emphasize the importance of Charles Sanders Peirce’s semiotic for understanding the spaces mentioned in the town as living spaces built by the bonds of sense with the “Chinese culture”.

Sergio Bairon e Lawrence Koo Universo del Sentido del Consumo Tradicional y Digital La investigación parte del motivo de que no hay diferencias cualitativas a priori entre el contacto atómico (física) y digital (usando bits). Sin embargo, se explora, en principio, las ventajas, en términos de potencial, que el consumo en la pantalla digital tiene en relación con las acciones presentes en el consumo tradicional de física (en el mundo de los átomos). Las diferencias son en términos de expansión de la lengua hacia la interactividad. En este sentido, el estudio presenta un análisis comparativo de los temas entre los modos de consumo para ser digital (web) y el consumo en el mundo físico (atómica). El enfoque es interdisciplinario y contó con la participación de los conceptos antropológicos, sociológicos, psicoanalíticos, hipermediáticos, semióticos y de la comunicación. Se exploran las diferencias entre el concepto de objeto atómico y el objeto de comunicación digital lineal y no lineal, la entropía y la taxonomía, el consumo de física en las tiendas y el consumo de móvil, consumidor pasivo y conservador de los consumidores, entre otros. En otras palabras, lo que parece mejorar, ampliar lo que llamamos lenguaje, dentro de las relaciones del consumidor digital, es un recurso sin fin tecnológicos, lo que puede alimentar las fantasías acerca de las necesidades de los consumidores que compran el producto o servicio, y facilitar un análisis detallado de las características del objeto de consumo. De todos modos, en el mundo digital, la comunicación sirve a una mayor posibilidad de transformar el objeto en un objeto de deseo de los consumidores, ya que las acciones pueden tener en cuenta para el diálogo interactivo de una manera más coherente con la subjetividad del consumidor.

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Pedro Hellín, Eneus Trindade e Lívia Silva Souza La publicidad y las marcas en la perspectiva de la mediatización y de los fenómenos de circulación transmediáticos en España y Brasil Este artículo busca posicionar las nuevas formas publicitárias como formas de publicización (CASAQUI, 2011), que surgen como resultado del desarrollo de la mediatización socio-técnica (FAUSTO NETO, 2010), en el contexto de los valores y fenómenos postmodernos contemporáneos (HELLÌN, 2007), de interacción y circulación transmediáticos de las marcas comerciales, generadores de sentidos para la sociedad de consumo. Por lo tanto, el trabajo cierra su mirada para la particularidad de estas manifestaciones poniendo en discusión la comparación entre algunas ocurrencias del trabajo de comunicación de marcas y publicidad en los contextos brasileño e español.

Clotilde Pérez, Leandro Batista, Paulo Lencastre Tendencias Estéticas en la Publicidad Contemporánea: un abordaje desde Brasil y Portugal. “El presente artículo tiene como objetivo discutir el concepto de tendencia (Naisbitt, 1998; Caldas, 2004 y Pérez, 2007) desde una perspectiva interdisciplinaria, así como analizar las diferentes manifestaciones que son posibles de percibir en el sistema publicitario en ambos países. Pretende, asimismo, explicar las temáticas estéticas recurrentes que se distinguen en Brasil y Portugal, temáticas que han sido identificadas a partir de un trabajo de monitoreo de diferentes medios de comunicación impresos y digitales, además de un trabajo de inmersión etnográfica llevado a cabo en espacios públicos y privados (tiendas, centros comerciales, ferias, etc.) en dos ciudades portuguesas, Oporto y Lisboa, y dos ciudades brasileras, Sao Paulo y Recife. El período de la investigación cubre entre abril de 2011 y abril de 2012. Este trabajo permitió identificar y sistematizar más de quinientas mil manifestaciones, cuyos resultados fueron posibles, a su vez, de agrupar en seis tendencias estéticas que se han impuesto por la fuerza de la repetición. Estas tendencias son la sensibilidad, la ligereza, la ambigüedad, la ocultación, el mundo edulcorado y la reticularidad.”

Paulina Gómez e Claudio Racciatti Tendencias Estéticas en la Publicidad Contemporánea: un abordaje desde Chile En diálogo con el estudio de tendencias efectuado en dos ciudades de Brasil y de Portugal, esta investigación explora en las manifestaciones estéticas que ellas presentan al interior de la sociedad chilena contemporánea. Para ello, el estudio se centra en el análisis de la publicidad difundida en diversos medios de comunicación de circulación nacional, verificando las semejanzas y diferencias, la diversidad de niveles y graduaciones, que se observan en diferentes sectores. Los resultados de este trabajo en materia de identificación, caracterización y categorización de las diversas tendencias estéticas detectadas, se orientan finalmente tanto a dar cuenta de las especificidades que exhibe la realidad local (chilena) como de las similitudes y distinciones que esta registra respecto de las naciones de referencia.

Silvio Sato La evolución del mercado de la telefonía móvil en Brasil en las expresiones publicitarias de una marca “En este artículo se pretende reflexionar sobre la evolución del sector de la telefonía móvil en Brasil, que ha registrado un fuerte crecimiento en la última década, popularizando el uso de teléfonos móviles en prácticamente todos los grupos de edad y clases sociales. En la actualidad hay 255 millones de líneas en el país (Mayo/2012 - Fuente: Teleco.com.br), lo cual caracteriza una densidad de 129 aparatos por cada 100 habitantes. Esa amplia penetración de la telefonía móvil ha creado un mercado atractivo y disputado, configurando un entorno de feroz competencia entre los cuatro players nacionales en busca de mayores cuotas de mercado. Por otra parte, el surgimiento de aparatos con funcionalidades más complejas (smartphones) ha convertido los teléfonos

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móviles en dispositivos que no sólo funcionan para llamadas de voz, sino que agrupan distintos servicios como el intercambio de mensajes de texto instantáneos, el acceso a Internet, el envío de e-mails y el uso compartido de vídeos y fotos en tiempo real, lo que contribuye a difundir un ambiente cada vez más ubicuo y de permanente conectividad. Para lanzar y promover tantas novedades, no hubo grandes inversiones en marketing y publicidad: todas las marcas del sector de telefonía móvil están entre los mayores anunciantes de Brasil. Los mensajes publicitarios han evolucionado a lo largo del tiempo, reflejando nuevos objetivos comunicacionales y mercadológicos que necesitan llegar a consumidores ávidos de novedades relacionadas con la tecnología y la innovación. Para evaluar esa interacción entre el entorno competitivo, el desarrollo del mercado e identificar su impacto en las expresiones publicitarias, se analizan dos películas de la marca líder del sector, que fueron emblemáticas en la construcción de su discurso: la película que comunica su lanzamiento como una marca de celulares en 2003 y la película vehiculada en 2012, en la que se expande la marca para servicios de telefonía fija, internet de banda ancha y TV por cable, posicionándola como una marca de convergencia. El análisis se basó en la Teoría General de los Signos de Charles Peirce, utilizando las relaciones triádicas del signo para recorrer las dimensiones cualitativo-icónica, singular-indicial y simbólico-convencional. A través de la consolidación entre investigación bibliográfica y análisis semiótico de la publicidad ha sido posible identificar la diferencia situacional en la que cada una de las películas se creó y divulgó, evidenciando el contexto sinsígnico de la categoría. La evolución en el comportamiento de uso y sus consecuencias en las prácticas sociales se reflejan en los mensajes publicitarios, y se utilizan para generar el mensaje más apropiado al contexto del usuario y, además, fortalecer los vínculos de sentido con la marca. Es evidente que la publicidad refleja los valores sociales, a la vez que también influye en dichos valores, resignificándolos. “

Bruno Pompeu The semiotic alphabetization Abstract：”Who attends a class of sociology within a graduation course in Advertising in Brazil will probably be faced with a theoretical approach that is often entirely devoted to the condemnation of advertising activity, considering it one of the evils of contemporary society, which corroded by the harmful action of consumption. When this does not happen, what is seen may be even worse: the discipline running in a completely remote context, entirely detached to the specific subject of advertising. Current times are times of consumption. Whatever the adopted perspective– more damning (Baudrillard, 2010, 1995, 1989), more analytical (Douglas & Isherwood, 2004), more optimistic (Lipovetsky, 2007, 2004, 1989), more defeatist (Bauman, 2008, 2001) etc. –, it is hard to deny that the phenomenon of consumption is now a core element in the society, in the human behaviour, in life. So, what we want to present here is a proposal for changing the viewpoint adopted in the Advertising courses, and, from this change, the suggestion of adopting the semiotic theory as aningredient essential to the formation of the advertiser. If consumption is now one of the most apparent features of societies, it is necessary to assume, within the Advertising courses (in the classes of social sciences - like sociology or anthropology), a perspective that not condemns. Because the advertiser is, first and foremost, a fomenter of consumption, and this doesn’t need to be regarded as the worst of the professions (GOMES, 2005). The cause of this negative perspective is the Marxist sociology point of view, strong and present in courses of Communication in Brazil, but that now coexists with other ways of thinking:qualitative sociology or, more specifically, anthropology, for instance. According to the opinion of some anthropologists who have dedicated themselves to studying consumption (MCCRACKEN, 2003; ROCHA, 2006; BARBOSA, 2006) – which are often accompanied by philosophers, communicologists and semioticians– advertising is an activity that gives meaning to the objects of everyday life.

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Because of this, advertising is also what gives meaning to life itself. So what is proposed in this paper is to consider the graduation in Advertising a course that assumes this interpretive perspective of consumption, not only to explain to the studentsthe relevance of this phenomenon in contemporary society, but also making future professionals realize that theirjob is directly linked to questions of senses and meanings. And, to form a competent advertiser in this role as creator of signs, Semiotics must be part of the graduation courses. Not that purely theoretical Semiotics (marxistlySoviet or elitistlyFrench), but a Semiotics concerned with issues of consumption, which allows the students to understand that, if the advertisement gives meaning to life, their profession involves, necessarily, issues of languages, languages that manifestthemselves in different matrices, matrices composed of endless signs, signs that generate meaning (SANTAELLA, 2007, 2004, 2001a, 2001b, 1996; SANTAELLA & NÖTH, 2010, 2009, 2004, PEREZ, 2007, 2004). And the students must be preparedto do so–they shouldundergo a semiotic alphabetization. “

Jôse Fogaça Elementos recurrentes en la representación de la felicidad en la publicidad brasileña: el caso de la propaganda para bajos ingresos “El tema de la felicidad se ha demostrado recurrente en la publicidad brasileña, lo que se hace reflexionar sobre la centralidad y la comprensión de este concepto en el contexto de esta sociedad marcada por la reciente entrada de 40 millones de nuevos consumidores. Este artículo se propone discutir este fenómeno a través del análisis de la publicidad dirigida al público en general y especialmente a las clases populares brasileñas, con el fin de identificar los elementos recurrentes y / o distintivos en la comunicación con los diferentes grupos de consumidores. En el ámbito teórico, la felicidad se abordará en el contexto del consumo y de la publicidad y va a tener como punto de partida La Société de Consommation de Baudrillard (2008) - la primera abordaje del tema que nos muestra que la felicidad contemporánea debe ser visible y mensurable - y va también a considerar las reflexiones más actuales de Lipovetsky (2007), así como la óptica de los brasileños Giannetti (2010) y Freire Filho (2010), (re)direccionando el marco teórico del tema. En términos prácticos, el análisis se llevará a cabo a partir de un conjunto de material publicitario seleccionado en base a dos criterios principales: 1) la felicidad como un argumento claro y 2) la orientación de la propaganda a distintos grupos o clases, para identificar las confluencias y / o las diferencias en la orientación del sentido y significado de la felicidad. “

Alhen Rubens Damasceno e Clotilde Perez La redefinición de las marcas para una mejor producción de sentido. El estudio de caso do jabón em polvo OMO y sandalias Havaianas Este trabajo tiene como objetivo estudiar el cambio semiótico que se lleva a cabo en las marcas para una nueva producción de sentido. Este cambio se observa en toda la historia de la impresión de anuncios en los medios, que incluyen un cambio en la manera de difundir la marca y sus atributos al público. ¿Cómo es la transición de un concepto a otro, que son signos simbólicos detrás del mensaje. Lo que la nueva convocatoria generada en reformular la marca? Estos problemas, combinados con la semiótica (Greimas, 1992 y Peirce, 1977) nos permiten alcanzar el objetivo de este trabajo es entender la reinterpretación de las marcas y la creación de una orden de la nueva producción de persuadir al público objetivo. Las marcas que nos han servido para el análisis del corpus son: jábon em polvo OMO y sandalias Havaianas.

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Cinira Baader e Eneus Trindade Food or Fun? Abstract：The Funny Brands’ expressions in Contemporary context of child-foods Advertising. This paper is part of a broader research project which is focused in the study of child-foods’ advertising, considering the different brands’ expressions materialized in the current consumption’s trend of eatertainment, by semiotic analysis of the main signs present in this advertising and its possible senses’ effects on children’s eating habits in contemporary society. In this way, by highlighting the contrast between the actual context of child-foods’ advertising and the contemporary questions related to children’s eating habits, this study intends to identify, in the process of senses’ regulation of food brands’ discourses, possible ways that could be lined with the regulation of food market and its communications to the infant public.

Rosana Mauro e Eneus Trindade LA CONSTRUCCIÓN DE IDENTIDAD DISCURSIVA MEDIATIZADA EN EL CONSUMO DE ANÁLISIS DE PERSONAJE SOLANGE DE FINA ESTAMPA Las telenovelas brasileñas, en especial las de transmisión en la TV Globo, la mayor cadena de Brasil en el prime time de 21 horas, representan un producto cultural de gran importancia en la sociedad de consumo brasileño. Ellos trabajan en armonía con los contextos sociales en los que operan, creando sensación de realismo en sus parcelas, lo que permite a los espectadores a identificarse con las historias de sus personajes. Este universo simbólico es capaz de estimular el consumo directamente, a través de merchandising, e indirectamente a través del discurso de los personajes. De acuerdo con estos hallazgos, este artículo pretende analizar cómo el personaje de Solange telenovela de Aguinaldo Silva, permite que el universo de los consumidores a través de su discurso.

Fátima Milnitzky Mediatization, Advertising and Subjectivities in Master Card Priceless Campaign Abstract ： This paper proposes a critical study on consumption mediatization in the context of access to credit. It aims to present the subject of consumption mediatization, so much explored in other areas, through the reflection of psychoanalytical concepts. From the analysis of advertising it will examine credit image explored by the “Priceless” campaign of Mastercard brand. The survey will take three pieces of the “Priceless” campaign broadcasted on prime-time television in Brazil focusing childhood and the relations between parents and children. For this, it will be used as a reference the discourse analysis psychoanalytically oriented such as Parker (1997) and Barthes (1966 e 1985) have suggested. Results are treated in the form of a comparative re-description of idealizing aspects, of denial, of disavow, and of strategies on object formation, which could be perceived in the advertising examined.

Diogo Kawano e Leandro Leonardo Batista La comunicación de riegos en Latinoamerica: un abordaje semiótica Este artículo pretende hacer una reflexión en la comunicación de riesgos sobre el sector de las bebidas alcohólicas a partir de la perspectiva semiótica clásica de Greimas (1983). Para esto, en las distintas formas enunciación y construcción delante del proceso generativo de sentido, fue hecho un enfoque teórico y, después, de forma ilustrativa, la selección de tres contenidos de comunicación de riesgos originados de tres países de América Latina (Brasil, Argentina y México) teniendo en cuenta sus distintos contextos socioculturales y legales, subvencionados por Canclíni (1995) y Robertson (2000). El objetivo final, presentado en la conclusión, fue identificar las formas de argumentación presentes en las campañas de comunicación de riesgos.

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Arlete dos Santos Petry e Luís Carlos Petry Onto-semiotic Analysis of the Advergames Abstract：As digital products of the contemporary culture, that put together hybrid elements from several sources, as computing, hypermedia, culture and history, games are one of the privileged digital forms of communication in society of the XXI Century. While digital forms, they are based and are structured as units onto-semiotic that transcend the classical model of sender-message-media, following the idea of McLuhan, that shows that when a mode of being of a culture and communication enters into a new symbolic space of communication, it opens new ways of being of the subjetc, of the message, the communication, and the media itself. This communication aims to present the conceptual basis for thinking the ways of being onto-semiotic called advergames, indicating from a phenomenological point of view the general structures that are present in these digital communication products. Methodologically, the proposal goes from the phenomenological approaches on culture, communication and cyberspace, and see the perspective of Peirce's semiotics and his theory of abduction, the play of Musement and the sign as a corollary of the digital object “game” as a cultural object privileged in the contemporary communication. This study applies the methodological structure organized on a specific group of games, called advergames, showing the relevance of the onto-semiotic concepts to its analysis, and especially to the development of a methodology for the production of advergames in communication. Advergames being increasingly used as a part of marketing campaigns, to promote products and brands, especially those already known, we intend to show how this analysis approach helps to build the conceptual design of advergames and assists in the approximation of brand / product / game, and consequently in strengthening the brand and the product.

30. Semiotic Significance, Culture and Literature 符号学意义、文化、文

学（69） Chen Kaiju Guangdong University of Foreign Studies [email protected] Pan-symbolization：the way minority culture is memorized, circulated and transmitted With special focus on Enshi Tujia ballads and life dramatization Abstract: Decades of sustained economic development has brought China’s society into modernization in the wave from coastal to midland and western areas, which is enhanced with the membership of WTO. As capitalist civilization—marked with industrialization—supersedes natural agricultural civilization, life changes accordingly from the traditional self-autonomous, holistic and ethnic style to formatted, modularized and homogeneous modern life style. With modernization and globalization well under way, the diversified culture types and life styles in China’s midland and western areas where most minority ethnicities dwell are giving way to the homogeneous consumption culture and urban life style. The protection and transmission of the NATURO PHARM indigenous minority cultures has become a shared urgent subject to disciplines of cultural studies, sociology and ethnology both in theory and in practice. Applying theories of ethnicity studies of cultural studies, the present essay addresses this problem, with special reference to situations of the Tujia Minority in Enshi Ethnic Autonomous Region (in southwestern Hubei, China), where the indigenous people lived among the remote mountains, inheriting and transmitting Pa culture—a branch of an ancient Chinese ethnic culture: local ballads as oral literature, special festivals developed as farming seasonal markers, and geography-adapting facilities and living customs. The Region gained significant economic development in the new millennium, starting from vast national investment on infrastructure (high ways and railways) since 2002. While the patterns of life and work are quickly catching the fashions in the developed areas, the local ballads, festival rituals, and facilities and customs are adopted and presented at tourism resorts, hotels, and eateries. Such phenomena of representations and performance of the various aspects of indigenous culture is termed as “pan-

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symbolization.” Whereas the change in life style resulted from change in mode of production seems implacable, pan-symbolization proves an efficient way to memorize, circulate and transmit the agriculture-based indigenous traditional culture. Key words: pan-symbolization Tujia ballads agricultural oecology cultural representation cultural transmission

Erika Cortés Bazaes Universidad del Pacífico, [email protected] “Rupturas entre la argumentación lingüística y lo visual en los textos escolares chilenos” El sentido de esta comunicación es sintetizar una investigación referida al estudio de la correlación entre la argumentación visual de las culturas infante juveniles y la de los textos escolares. La importancia de ello, radica en lo que ya sabemos de cómo opera la lectura o interpretación de los textos, gracias a las ciencias cognitivas (la percepción y cognición opera a través de una red de conexiones asociativas, sin un procesador lógico central como creía el cognitivismo en sus inicios (Francisco Varela: “Conocer”, Ed. Gedisa, Barcelona, 1996), donde el sujeto sólo aprehende el 24 o 26 % de lo real, y donde lo demás es construido en base a sus archivos de mundo, la historia de vida sociocultural) y la semiótica que describe dicho procesamiento; esto es, todo texto presupone un programa que lo construye, una interfase, conceptualizada como una matriz que liga los diversos fragmentos que lo constituyen (Carlos Scolari: “Hacia una semiótica de las interacciones digitales”, en Revista deSignis No 5 “Corpus Digitalis”, Ed. Gedisa, Barcelona, 2004); y si coincide la interfase presupuesta por el programa presente en la construcción del texto con la de los usuarios, el lector del texto se implica, posibilitando la interacción. Es éste el nudo de los procesos de aprendizaje y de hipertextualización, donde se trata de que el educando se implique en el texto reconociendo inconscientemente su propio procesamiento cerebral en él. Existen investigaciones Sociosemiótica en nuestro país sobre las formas de funcionamiento de la percepción y cognición de las culturas infante juveniles, de las que se infiere y deduce como opera allí, a lo menos tres tipos de argumentaciones visuales, sin embargo, en los textos escolares chilenos de “Lenguaje y Comunicación” de Séptimo Básico y Tercero Medio las funciones de la Imagen es sólo ejemplificadora de fragmentos de la argumentación lingüística y/o un espacio estético agregado al texto pero sin ligazón estructural con él. Las nociones de “Anclaje” y “Relevo” del texto lingüístico estudiada por Roland Barthes respecto a las relaciones entre lo visual y lo lingüístico en la publicidad tampoco son tomados en cuenta en las propuestas visuales educativas chilenas. Luego, el sentido de ésta comunicación es dar cuenta de las rupturas de funcionamiento de las culturas visuales chilenas educativas, basadas en las formas de argumentar occidentales de hegemonía fundamentalmente lingüística con aquellas de los usuarios infante juveniles formados en una cultura más postmoderna, influenciada por el manga y el video- juego.

Li Jing Chongqing University [email protected] On Umberto Eco' Semiotic Novels Abstract：Umberto Eco is the world famous Italian semiotician and the distinguished intellectual of modern world. Cambridge history of Italian literature praises him as one of the most dazzling Italian authors in the 20th century. His long list of academic works and novels has won exuberant reception all over the world. As a scholar, Eco's novels are the typical encyclopedic erudite novels. As a great master in semiotics, Eco's novels are full of signs. So his novels are the typical semiotic novels. The essay analyzes Eco's five semiotic novels from five aspects. They are the relation between the signifier and the signified in The Name of the Rose (Il nome della rosa), the code in Foucault’s Pendulum (Pendolo di Foucault), the metaphor and meta-fiction technique in The Island of the Day Before(L’isola del giorno prima), the sign and narrativization in Baudolino and The amnesia and text signs' double-axis-displacement relation in The Mysterious Flame of Queen Loana （La Misteriosa Fiamma della Regina Loana). The essay aims to approach

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Eco' erudite novels by semiotic theory in order to present a reasonable semiotic interpretation to his distinctive novels.

Baranna Baker Mrs. Dalloway and the Semiotics of a First Sentence Abstract：How does fiction work? How can mere words create realities that exist only in the mind of the writer and the reader, yet seem so tangible in their realness? How can the first sentence of a novel transport one into a very real, yet purely objective, world - literally word-by- word? How do the subjective worlds of the writer and readers interact with the words on the page to create similar, yet always highly individualized, objective worlds? How can semiotics function as a means to analyzing a written text in order to answer these questions about how the processes of writing and reading work? These, amongst others, are the questions explored in this paper, “Mrs. Dalloway and the Semiotics of a First Sentence”. In it I analyze Virginia Wolf’s classic novel from a semiotic stance. Through exploring the semiotics of the novel’s first sentence, I attempt to show how we can read even the first nine words of a book and find ourselves transported to a whole, new, highly detailed world – the world of fiction.

Mao Chen Skidmore College, USA [email protected] Semiotics of Reading Autobiography Abstract：The literary merit of contemporary Chinese ‘life-writing’ is sometimes difficult to assess when its intended readers possess only the most rudimentary knowledge of Chinese cultural traditions. Memoirs, journals and diaries written by young people who fled a Communist regime that vanished long ago have made their way to the best-seller lists and have attracted some critical attention. However, the personal account is not necessarily the most appropriate vehicle for communicating knowledge of a foreign culture. My paper will examine the methodological problems inherent in conceiving of ‘life-writing’ in autobiographical terms, and will also suggest how semiotics enables us to approach specific works that may not possess high literary merit but provide critical insights into the mediated nature of cultural reception. The paper will culm inate in a semiotic analysis of a few examples of memoir as a representative post- Communist autobiography. In examining these written works, I will be less concerned with the issue of literary merit than with how a Western audience reveals itself in responding to the ‘signs’ that presumably make up the Chinese world.

Part E: Society, History and Religion（社会、历史与宗教）

31. Social Semiotics 社会符号学（23） Mats Bergman University of Helsinki Communication and Semiotic Vagueness Abstract: According to the Finnish communication scholar Osmo A. Wiio, “communication usually fails, except by accident”. This “law” wittily captures a deep-seated source of anxiety for philosophers and communication theorists; given the inevitable differences in experiences, cultural backgrounds, linguistic habits, and personalities between any two human beings in apparent interaction, one may reasonably question the notion that communication can succeed. Even more troublingly, it is feasible to contend that the very means of communication – the signs used – are by their nature indeterminate, leaving an uncomfortable leeway of interpretation. Whether communication is conceptualised as transmission or dialogue, the menace of scepticism looms large.

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In this paper, I will outline an approach to communicative indeterminacy based on the semiotic philosophy of Charles S. Peirce. Broadly speaking, philosophers have tended to either view vagueness as a necessary evil that must be battled in the name of understanding or treat it as a defect of language that can be bypassed by devising precise means of logical expression – if they have not succumbed to nihilism and proclaimed that the common ground is just an illusion. The delineated Peircean approach is more nuanced; avoiding the penchant to regard semantics separately from pragmatics, it accepts indeterminacy as a logical fact – vagueness “is no more to be done away with in the world of logic than friction in mechanics” – and proceeds to analyse its varieties in terms of communicative latitudes in a pragmatic context of utterance, interpretation, and semiotic mediation. In many purposive contexts, the indeterminacies of communicative signs are not imperfections; they are essential ingredients of social interaction, because they permit reference to semiotic objects and discursive universes in spite of individual variations in experience and habits. Furthermore, many ordinary concepts are decidedly vague and entrenched in metaphors – and functional for that very reason. Attempts to give precise, dyadic, and non- figurative definitions of such signs as “reality”, “society”, and “communication” can reduce their pragmatic power rather than provide pragmatic clarification. Eschewing the tendency to place unreasonable requirements of semiotic transparency on genuine communication (communication as transfer or telepathy), which tends to lead to a dualistic choice between radical subjectivism and inhuman objectivism, the outlined Peircean approach can arguably provide a balanced and realistic philosophical starting-point for discussing communicative successes and failures, and studying the actual and potential variety of social communicative practices and modalities.

Lu De-ping Tianjin Foreign Studies University Erving Goffman: A Semiotic Reflection Abstract: Whereas some students of conversational analysis in sociolinguistic realm admittedly agree to trace their conception system to Erving Goffman’s theoretical formulation (e.g. face-to-face social interaction, adjacency pair, and social encounter among others), few semioticians or linguists are willing to recognize Goffman’s magnificent contribution to semiotic studies, but on contrast, such a contribution is deemed to have a revolutionary meaning for semiotics in terms of our understanding. This situation is even being exacerbated with the fact that not a chapter was allocated to Goffman in available semiotic textbooks, and neither an appropriate evaluation to him for his influence on semiotic studies. The author of this paper intends to correct this regrettable situation with his reflection on the history of semiotics, and attempts to highlight a significant turn of semiotic thinking, which was realized in Goffman’s Presentation of the Self in Everyday Life and his other works, but was overlooked by many semioticians. This significant turn of semiotic thinking could be formulated as turning the social nature of sign from Durkheimian invisible but coercive convention (such as Saussure), to interactional situation based visible everyday life in Goffman’s sense, and reversing sign’s independence and separation from individual personhood in Saussurian semiotics, to the function of person’s self presentation in concrete social setting of interaction. Admittedly, sign begins to become an essential component of one’s existence, or in other words, a status of one’s being per se, through the process of social interaction, and to get liberated from its instrumental position as a vehicle of communication. The paper also wants to give a tentative systematization of Goffman’s overall semiotic thinking beyond his sociological gamut. Key words: Goffman; social semiotics; semiotic turn

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Dra. Elizabeth Parra Ortiz, Escuela de Periodismo, Facultad de Ciencias Sociales, Universidad de Concepción (CHILE), [email protected] Dr. Álvaro Elgueta Ruiz, Académico Universidad Santo Tomás, Sede Concepción (Chile), [email protected] For a semiotic environment: The case of students at University of Concepción (Chile) Abstract: This paper presents the results of a research from the statements of the School of Paris and Tartu -led by Greimas (1982) and Lotman (1996), respectively-, through a qualitative descriptive study from a viewpoint semiotics applied by focus groups and content and discourse analysis to the oral argument of university students, examines the social representations that students of different carreers of the University of Concepción (Chile) have on Environment, Sustainable Development and Climate Change. The methodological framework lies in providing a semiotic perspective to the problem, in order to characterize the sense and significance of the university as a sustainable campus. The relevant results point to the need to build a social, cultural and environmental semiotic in a student college community in order to re-signify the relationship between man and nature; semiotic that seeks to study in depth the environmental significance, which at the same time is a sign of discourse as an essential semiotic mediator involved in the student’s identity construction as well as in the construction university’s identity as a sustainable campus.

Feng Yueji Sichuan University George Herbert Mead’s Semiotic and Semiotic Self Theory Abstract: George Herbert Mead, as the 20th century American important philosophers and psychologists, his theory is so richness and creativity that cause attention by more and more scholars. The most important theory is his self discuss in Mead’s thought system, Mead’s self theory stands in opposition to Descartes position, pointing out that to understand the formation and development of self must be from social level. Even more important, Mead discuss self from semiotics standpoint. Mead’s semiotics theory inherits semiotics ternary-mode of Charles Sanders Peirce, the sign is formed with people’s intelligence completing symbolization of the things in activities. The sign have three functions, participation, communication, and classification. The whole social culture is composed signs, the self rooted in the structure of signs, so the self is semiotic self. Mead’s semiotic self theory has strong pragmatism color, in a word, the characteristics of semiotic self as follows, interaction, sociality, inter-subjective, pluralism, equality.

A.Ambra Zaghetto, University of Milano Bicocca (Italy) [email protected] ITALIAN DEAF LITERATURE: NEW PERSPECTIVES Abstract: Deaf culture describes the social beliefs, behaviors, art, literary traditions, history, values and shared institutions of communities that are affected by deafness and which use sign languages as the main means of communication. It has become widely known that there is a Deaf-World in Italy, as in other nations, citizens whose primary language is Italian Sign Language (LIS) and who identify as members of that minority culture (Italian Deaf Culture). After publication of Volterra’s research (1987) LIS was recognized as a linguistic system (natural language) and a literary tradition in LIS started to develop. The first aim of this research is to define Italian Deaf Literature, typology and historic evolution. Selecting six performative elements from video recording analysis (face expression, classifiers, conventional LIS signs, embodiment, direct speech use, body movement) I had described and characterized six different artistic expression styles in LIS: Narrative, Poetic, Sign Song, Visual Vernacular (VV) and musical Visual Vernacular (VVm). From direct interviews I had established that the evolution of Italian Deaf Literature started in 1990 from Narrative style. The process is still in progress like in VV and VVm, two recent acquired styles of which I had proposed a first description. Furthermore, a visual rhythm (harmonic visual coordination of signs during

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articulation) characterized LIS compositions like Poetry, Sign Songs, VV and VVm. Deaf artists talk about visual rhythm like a kind of music; this fact leads to a new definition of music dimension (second aim of this research): I suggest a deconstruction of the five basic elements of common soundscape (Schafer, 1977) to re-define a new soundscape based on two alternative perception channels, sense of touch (vibration) and vision (visual rhythm).

Zhang Liping [email protected] Multimodal warnings as appraisal resources in dispute mediation Abstract: In the past decades, linguistic warnings have received academic attention and generated a lot of research on the nature, linguistic form and function of warnings as a speech act, leaving other modes of warnings untouched upon. Modern technology has greatly facilitated the collection and transcription of multimodal discourse data. This paper reports on a study of dispute mediation talk on television. The study analyzes multimodal warnings embedded in conflictual environments where mediators employ various semiotic resources (van Leeuwen 2005) to mediate the negotiation between conflicting parties. Specifically, this study addresses the following issues: 1. Configurations of multimodal warnings On a microscopic level, how do social actors, mediators in this case, utilize multiply modes of warnings, say, via the layout of furniture in the negotiation settings, posture, gestures etc. to express their evaluation of the conflictual talk? On a macro-level, how do mediators use visual shapes of various kinds in the negotiation setting to indicate their appraisal of the on-going conflict? 2. Affordance of multimodal warnings in context How do mediators employ multimodal warnings as appraisal resources (Martin & Rose 2003) to evaluate and mediate the linguistic contributions of each party in the fluid context of the negotiation talk? Methodologically, this paper mainly adopts the multimodal interactional approach(Norris 2004) to warnings in mediated discourse. The significance of the paper lies in that multimodal warnings embedded in a fluid talk may reflect the complexity and contingency of multimodality in everyday life.

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Liu Xiao-yu Fujian Normal University On Cassirer's philosophy of symbolic forms Abstract: The creation of Cassirer's cultural philosophy Launched a holistic critique of traditional philosophy，Is the way of cultural philosophy，to answer the problem of Kant's philosophy.,build up a new philosophy. This philosophy take the symbolic function as the core concept, furthermore he taked People's cultural creative activities and the expression of meaning as the highest philosophy of existence. On this basis, Cassirer transformed way of thinking and questioning approach of the modern rationalistic philosophy .thus he achieved the philosophical shift from rational criticism to cultural criticism.

Dr. Sky Marsen ([email protected]) Performing Expertise: Towards a Semiotic Approach to ProfessionalismPerforming Expertise: Towards a Semiotic Approach to Professionalism Abstract: This paper will explore the concept of professionalism from a semiotic perspective. Using tools such as the semiotic square and the actantial model, the paper will examine the signs that make up the category of the professional. As a semiotic category, professionalism signifies an agent’s image (as in dress code), attitudes (as in commitment to a specific course of action) and behaviours (as in control over emotions). It is composed of signs that include public performance, high competence, goal-oriented actions, and recognition through reward. Professionalism is opposed to amateurism, and contrasted with private and personal behaviour. It presupposes expertise, accountability and cooperation, and tends to be positively valorized in culture and language use internationally - ‘being a professional’ or ‘acting professionally’ are considered globally to be positive qualities. Professionalism has been studied in communication theory, sociolinguistics, and discourse analysis, which have investigated how professionals interact, the genres of texts they produce, and the identities that they construct through their discursive practices (Bhatia 2002, Cooren 2000, Marsen 2007, Taylor 1993). This paper draws some elements from such research, but aims especially to develop a semiotic framework for the analysis of professionalism, which has not been done before. It will begin by delimiting semantically the concept of professionalism. It will then describe and analyse selected fictional and non-fictional texts from different cultures that figure the role of the professional, identifying common patterns. This research follows the approach associated with the Paris School of Semiotics (Greimas 1979, 1987, 1991; Floch 2001, Marsen 2006, 2009).

Joseph Mbongue, University of Yaounde I [email protected] The power of concepts, images and symbols of Cameroon: A semiotico-semantic analysis Abstract: The world is being increasingly seen as a global village due to increased information flows and rapid technological changes. In relation to this, reflections are going on in order to redefine the concept of identity, whereas each individual is more linked to poly-identities because of his cultural over-bridging. However, in spite of the existence of the best communication tools such as (Internet, cell phone…) as well as the use of the most facilitating communicative languages (English, German, French…) information flow remains unshared, is misunderstood or is not transferred because of the culturally specific values that are not shared between languages, cultures, or people. This study addresses the problem of how some culturally specific terms, images and symbols of Cameroon should be conceived, interpreted and transferred to other cultures to increase understanding and thus enable some values sharing. Linguistic and Cultural Semiotics is a branch of communication theory that investigates sign systems and the modes of representation that humans use to convey feelings, thoughts, ideas, and ideologies. Semiotic analysis is rarely considered a field of study in its own right, but is used in a broad range of disciplines, including art, literature, anthropology, sociology, and the mass media. Semiotic analysis looks for the

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cultural and psychological patterns that underlie language, art and other cultural expressions. The term “semiotic” stems from the Greek word for sign, sema. The domain of semiotic inquiry has been described by Morris as follows (1964, p.1): “Semiotics has for its goal a general theory of symbols in all their forms and manifestations, whether in animals or men, whether normal or pathological, whether linguistic or nonlinguistic, whether personal or social. Semiotics is thus an interdisciplinary enterprise.” Whether used as a tool for representing phenomena or for interpreting it, the value of semiotic analysis becomes most pronounced in highly mediated, post-modern environments where encounters with manufactured reality shift our grounding senses of normalcy.

FENG Dezheng, National University of Singapore [email protected] Representing Emotion in Visual Images: A Social Semiotic Approach Abstract: This study examines how emotive meaning is represented in visual images using the semiotic resources of facial expression, touch and body orientation. Complementing the cognitive metaphorical interpretation (e.g. Forceville, 2005), the status of the visually represented behaviors is theorized as a partial iconic representation of real life emotive behaviors, which are in turn indexes of emotion. Adopting a social semiotic approach (Halliday, 1978, 1994), facial expression, touch and body orientation are formulated as inter-related systems of meaning, the selection and combination of which constitutes a systemic functional “lexico-grammar” for analyzing and interpreting meaning making in visual imagery. The systems are then used to explain how emotive meaning is represented in comic books. Through examining both American and Japanese comics, it is demonstrated that the social semiotic lexico- grammatical approach is not only effective in explaining emotion resources in nonverbal behavior, but also useful for investigating cultural differences in the visual depiction of emotion. Significantly, the systemic choices are discussed in relation to both psychological studies and comics handbooks. First, the systematic analysis shows that choices made in comics are largely consistent with the signifying power (coding accuracy) of the facial areas (cf. Ekman and Friessen, 1975). Second, a brief survey of comics handbooks (e.g. McCloud, 2006) shows that the system networks are consistent with them to a high degree. However, the systemic description of the choices is more comprehensive and easier for comics makers to refer to. Therefore, the systemic frameworks for emotive behavior provides a useful meta-language for designing emotions (and the teaching of emotion representation) in creative works like paintings and comics as well as in computer vision, games and related domains.

Anna Ponomareva (Imperial College London, UK) The Signs of Time and Class: Pushkin’s Onegin in English and Mandarin Abstract: Pushkin’s novel in verse “Eugene Onegin” (1830s) is an ‘open’ text per se for semiotic analysis. It becomes particularly challenging to look at its translations into other languages and to investigate how decoding in these languages is similar or different from the encoder’s intended meaning in Russian. The paper is going to look at the signs of time and class in the translations of “Onegin” into English and Mandarin. The sample is taken from Chapter 5 of the most recent translations of the novel into English: Hofstadter (1999), Emmet/Makourenkova (1999), Beck (2004), Hoyt (2008) and Mitchell (2008), as well as from “Ougen Aoniejin”, its highly praised version in Mandarin produced by Zha Liangzheng in 1954 and revised in 1983.

For example, it will be shown that the names of usual everyday meals do not only point to specific hours allocated for these meals but also identify the class of their participants, their social ranks and income. In these sense, applying a structuralist semiotic analysis, it will be interesting to look at the paradigmatic relations in the various translations of “Eugene Onegin” into English and Mandarin and to analyse their selection of terms. These terms

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will be later analysed in order to understand relationships between the signifier and signified. Differentiations they might argue are important as they emphasise meaningful contrasts and combinations in languages which are culturally specific.

Antoaneta Dontcheva, PlovdivUniversity”P.Chilendarsky”, Bulgaria [email protected] The Waiting- Samuel Beckett`s enigmatic Sign of Life Abstract: The paper discusses Samuel Beckett`s “Waiting for Godot” as The Phenomena, that erases all signs of Waiting like temporal and psychological concept. The basic constellation of the Beckett`s play is the meeting between the Subject and the Other, where the Other is complex Sign- Self, Another, God, that happened in the marginal time-space of Waiting. In Beckett`s Waiting time has turned into space, the Subject is timeless, the space is frozen. The Other fails in its effort to mediate any Meaning of Life. The waiting is a kind of non-activity, which is self-erasing. Beckett means “self-erasing” in the sense of decentering the subject, exchanging one conventional identity for another in an endless series. But this non- activity also can empty out or erase the contents of the mind more radically, thereby promoting a non-active state of awareness altogether beyond social identity. Beckett's non-activity reflects and also induces a tendency toward pure consciousness. The main point is what happens in the process of Waiting. May be it is the Life itself.

Eliseo Colón, University of Puerto Rico (UPR-Puerto Rico) [email protected] Social Semiotics and the Field of Latin American Critical Thinking: Reflections on the role of the semiotic intellectual Abstract: The problems arising from critical thinking in Latin America cut across the region’s social and cultural dilemmas as contemporary phenomena. The ways and means of approach represent diverse cultural experiences of the region. In this presentation I want to reflect on Critical Thinking as a proposal of what social semiotics can contribute to the socio-cultural and epistemological field intellectual, particularly from the experiences of the Latin American Semiotics Federation. The presentation outlines some epistemological concepts that define Critical Thinking in the Latin American region, quickly outlining the theoretical heterogeneity some of the debates. It aims to place social semiotics, from the perspective of deSignis, as a cultural and intellectual project to advance new theoretical proposals for Critical Thinking in Latin America. Título: La semiótica social y Pensamiento Crítico Latinoamericano: Reflexión en torno al papel del intelectual de la semiótica Resumen: Los problemas planteados desde el pensamiento crítico en América Latina atraviesan los dilemas sociales y culturales de la región en tanto que fenómenos contemporáneos. Las formas y maneras de abordaje representan lo diverso de las experiencias socioculturales de la región. Esta presentación reflexiona en torno a la semiótica social como una propuesta de lo que puede aportar al Pensamiento Crítico latinoamericano. Se esbozan algunas ideas centrales de aquellas propuestas epistemológicas que definimos bajo la categoría Pensamiento Crítico, perfilando rápidamente algunos de los debates que se han dado a partir de la heterogeneidad teórica de la región. Colocamos al intelectual de la semiótica, especialmente a quienes nos vinculamos al proyecto deSignis, para adelantar nuevas propuestas y derroteros teóricos del Pensamiento Crítico en América Latina.

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Sungdo Kim (Korea University, South Korea) Hoe-Chul Kim (Korea University, South Korea) Seung-Hae Hong (Korea University, South Korea) Some Semiotic Elements on the History of the Korean Typography: Towards for the Grammatology of Korean writing Abstract: The purpose of this paper is to present a preliminary research on the history of Korean typography from the semiotic perspective. The domain of semiotics in the Korean typography, which has not been quite explored yet, covers the whole period from the origin of Hangeul in 1443 to the present experimentation. We will explore two subject matters: 1) attempt to provide a micro-semiotic analysis on the semiotic features of individual typography by comparison of different types, and 2) consider the aspects of intermediality of the Korean writing by examining separate characteristics of Korean scripts in diverse media such as ceramics, paintings, etc. One of the unique features of the Korean typography is that the typography had appeared simultaneously with the moment of the invention of writing. Such fact would explain that the Korean typography is completely differentiated from the Western one, which had been preceded by the traditions of manuscript. While the entire history of the Korean typography has not been revealed until today, we will only apply a semiotic model of distinctive features such as boldness, directiveness, geometricity, curvedness, and legibility, to a certain amount of cases including the first cast metal movable type of Gabinja, and other contemporary types during the Joseon dynasty period. In conclusion, we will briefly present several experiments of modern Korean typography and calligraphy, focusing on imagistic dimensions of the Korean writing system. We will present this study as “a grammatology of Korean writing” in an extended sense of such term.

Cheng Lirong, [email protected] The Road of Orlando: The Semiotics of Gender Abstract: The semiotics of gender focuses on the study of the sign gender and its code system，which should include three areas:the sign of gender itself;the code system supporting thesign gender;the cultural system as the basis of the gender sign and code,and the existing ways of the cultural system owing to the operation of the gender sign and code system. Gender itself has been an unlimited semiosis,in that the interpretation of the sign gender always be footed in different signifying systems and hence becomes weaves of the variety of code systems. Therefore, the special research into the theory of gender is rarely(Political Bodies/Body Politcs: The Semiotics of Gender written by Darlene M. Juschka from Canada is the unique special theoretical work,as I know) while the synthetic studies of gender problems in different areas are numerous. The largest contributions are from the feminist semiotic study of gender and the semiotic study of gender and communication. The semiotic research into gender verifies the words said by Ernst Cassirer,‘People can no longer face the reality directly’.The probe of the truth of gender sign is similar to the endless exploration of Orlando created by Virginia Wolf who extends through space, time and sexes.

James Jakób Liszka State University of New York at Plattsburgh Transvaluation in Social Change: Cigarette Smoking in America as a Case Study Abstract: In an earlier work, the Semiotic of Myth, I introduced the concept of transvaluation. Transvaluation is a semiotic process by which the sign alters the value relations of its referent, relative to some purpose or end. The mechanism by which such a process occurs involves markedness and ranking, both well-studied phenomena in linguistics. Markedness is a pairwise relation, in which the presence of the marked versus the unmarked correlate, signals very specific or unique information about the referent that has an effect on the perception of its meaning and value. The presence of the unmarked correlate refers more vaguely and its meanings are more general. Rank is the ordering of information in the sign that conveys essential meanings and values

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about the referent. Higher ranked signs are necessary for representing the referent, whereas the absence of the lower ranked ones may not affect the referential function of the sign. Rearranging this order affects how the referent is perceived or understood. Transvaluation, understood as a function of markedness and rank, is exhibited in ordinary linguistic phenomena such as narratives, tropes, and the like, as well as social perception, fashion, art, and just about any other semiotic phenomena. Whereas these previous studies of transvaluation have focused primarily on the synchronic features of signs, in this paper I want to show how transvaluation can be used to study diachronic semiotic processes as well, such as normative change. I use as a case study, the history of cigarette smoking in America, and how it moved from a marked practice to something considered normative and, then, back again to a marked phenomena. As cigarette smoking emerged in the late 19th century, it was initially considered to be a socially marginal practice, a foul and unhealthy habit. However, in the early 20th century, this image of cigarette smoking completely turned around, so that by 1954 nearly 45% of American adults smoked. However, over time valuative attitudes toward cigarettes changed again, so that by 2010 only about 19.3%. Americans engaged in cigarette smoking. As early as the 1970s, even cigarette industry executives conceded that “ the general public and its leaders are of the opinion that smoking is a messy, indulgent, down-scale, non-family oriented, non-fashionable habit –one that is increasingly alien to contemporary lifestyles and …contemporary aspirations.” Today smokers in America are ostracized and smoking is viewed as an unhealthy, addictive practice. How did this change come about? How did smoking change from something considered glamorous, benign and popular—and even healthful--to something now marginalized and stigmatized. Indeed, even the perception of cigarette smoke changed from aromatic and enticing to something repulsive. To many the obvious answer for change might be that once the health risks of smoking became clear these normative changes came about. But the fact that many Americans continued to smoke after this information was widely known, and that smokers predominate in many countries around the world, suggests that this is not the only consideration at play. This paper will show how various social economic, cultural, professional, legal, and political practices employed semiotic transvaluations, tied to certain senses of the good life, to change valuative attitudes of the American public toward smoking.

Mariana Neţ, [email protected] Two Modern Cities in the Making: New York and Bucharest around 1900 Abstract: The paper is a comparison, in semiotic terms, between the cities of Bucharest and New York in the 1966-1914 interval. Several historical, statistical and biographical data will be compared to this end. After enumerating several differences between the two cities, the research focuses on a few reasons justifying the perfect compatibility between the two cities at the turn of the century, viz. urban facilities, mass culture, communication, framing of specific identities, aims, rate of development. In order to illustrate these ideas, a few „parallel biographies” are also reviewed.

Fang Yan, Tsinghua University [email protected] A Multisemiotic Analysis of A Chinese Long Scroll Painting Abstract: This paper is an attempt to analyze a classical Chinese long scroll painting “Along the River During the Qingming Festival” (清明上河图, qingming shang he tu), produced by Zhang Zeduan about 800 years ago in the Northern Song Dynasty. The reasons to choose this painting as my analytical datum are: 1) the painting itself is invaluable for the study of Chinese cultural features and the ways of living of people from different social strata during this festival; secondly, it has a high value as a work of art

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– it is considered by many to be one of the ten master pieces in Chinese history; and thirdly, this work represents the typical practice of a Chinese painting, which includes a drawing, a title and/or a linguistic explanation, and a seal bearing the name of the writer of the title, the features of which differ from those of paintings in other cultures. The theory informing the analysis is that of Systemic-Functional Linguistics (SFL) (Halliday, 1994). Some scholars of this linguistics school have developed a “visual grammar” (Kress & Leeuwen, 1996) and “the language of displayed art” (O’Toole, 1994), which provide models and dimensions for the analysis of multisemiotic discourse. The present study is a first attempt to interpret a Chinese long- scroll painting by applying this theory. The purposes of the paper are: to identify the semantic features of visual and verbal modes of this work in terms of the three matefunctions developed by Halliday (1994); to reveal how the semiotic resources work together to create meanings; and to explore the cultural context or the “cultural environment” for “engendering” (Halliday, 2002) this multisemiosis, which may verify that meanings “ascribed” to visual and verbal information “are to a large extent socially constructed and culturally dependent” (Martinec R, 2005).

Peng Jia, Southwest University of Nationalities The Middle Item: A Key Concept in the Theory of Cultural Markedness Abstract: In structural linguistics, markedness is an important concept describing the asymmetric relationship in linguistic systems. In a marked/unmarked relation, the dominant, “unmarked” term is often used as a covert term for both members. Borrowing modes and terms from linguistics, theory of cultural markedness reveals the “positive-middle item-alien” structure hidden in the cultural and conceptional binary oppositions. The first two items are “unmarked” while the latter one is labeled “marked”. It is also pointed out that although the middle item tends to identify with the positive item so as not to be marked, such deviation is not constant. Instead, it is subjected to changes. Therefore, the identification of the middle item is decisive for the positions of the positive item and the alien in cultures. This paper is a detailed discussion of the role and function of middle item in the trinary dynamic relationship. The susceptibility to changes of middle item varies on different levels: it is more likely to sway in aesthetics and polities; while its tendency is relatively stable on mealanguage level. Further, although there is a dominant positive item in the asymmetric relation, there is not necessarily a single marked item. In the conclusion, it is argued that understanding of the decisive function of middle item provides strategic guidance to the overturning of the alien and the construction of subcultures.

Xu Tong [email protected]

Abstract: Cursi is a Spanish word with a complex significance, which is hard to find an exact translation or an equal concept in other languages, since all these pseudo-synonyms, such as snob, lion and Kitsch, are impossible to point to its underlying condition, cause, or context. The term itself is a rather unique cultural phenomenon of Spanish middle class from the mid-nineteenth century on, which influence persisted partly during the Franco period and the political Transition by the 1980’s. In fact, lo cursi figures as a form of non-empowered desire to be good taste and shows the particular social and economic circumstances of the nineteenth Spanish middle class and their cultural and ideological dilemma. This study, based on the Spanish literary texts, presents a short analysis of the characteristic of cursi and attempts to explore its inherent modernity.

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Chun Felix Huang, Taiwan Ocean University [email protected] Durkheim and The Symbol Abstract: The early development and construction of semiology is associated with structuralists, like Saussure and Levi Strauss. Yet both of them, to some extent, owe to or stimulated by Durkheim. This study focuses the related works of Durkheim. IN his early works “Division of labor in Society”, Durkheim asserts that a society basically is a state of “ solidarity “, which, as collective existence beyond the individual, corporate people together. This collective existence can only be grasped by a symbolic way, while the “social fact” is the symbol. Durkheim refers the “social fact” as a sort of phenomena about people, which wields the influence on individuals. Individuals who obey the “social fact” get the praise or recognition, while individuals who violate it will be punished. Taking specifically the laws as examples of the symbol, Durkheim points out that the “repressive laws”, such as criminal laws, symbolize the early human society constituted by similarities among people, while the “restorative laws” ,like the civil laws, symbolize the modern human society constituted by differences complementarity. In the later work “The Elementary Forms of the religious life”, Durkheim traces this symbol back to the religion as the root of the society. He points out that, as the basic type of society, the religion makes use of symbols to exert the force. The religion divides the world into the “sacred” and “secular”. In fact, the only difference is whether there is the special cognitive way in a collective atmosphere, The totems with their emblems of many tribes are the object to be worshiped. When people invariably put themselves in the fear or awe of the same objects in a special occasion, it gives rise to the social structures.

Klaus-Uwe Panther, Nanjing Normal University & University of Hamburg Linda L. Thornburg, Nanjing Normal University How animal cultural models shape lexico-grammatical structure Abstract: The conceptualization of humans and even divinities in terms of animals is a plausible candidate for a cultural universal. In many cultures, e.g. in ancient Egypt, gods and goddesses were pictorially and sculpturally represented as animals (or blends of animals and humans) such as falcons, cows, rams, lions, crocodiles, etc. However, there are culture- and language- specific differences in how animals are conceptualized. For example, in Western mythology, dragons are monstrous reptiles to be slain by valiant knights, whereas in the Chinese tradition the dragon is considered to be a friendly and benevolent animal. In the present talk, we focus on English verb particle constructions with animal names used as verbs (“VPrt critter constructions”), such as horse around, clam up, and rat out. These constructions involve the conversion of an animal noun to a verb, a morphological process that is very productive in English (Clark & Clark 1979, Dirven (1999). Critter constructions are interesting because of their (i) grammatical structure, (ii) pragmatic function, (iii) conceptual content, and (iv) the cultural knowledge they reflect. Our talk focuses on the latter two aspects of critter constructions. More specifically, we assume that an adequate analysis of critter constructions requires folk or cultural models of the animals in question, spatial schemas for the particle, metaphorical mappings and metonymic inferences, and aspectual categories in the sense of Vendler (1957). We place our findings in the larger context of the status of cultural and cognitive models. Such models (including animal folk models) are often outdated and reflect age-old beliefs that have left their traces e.g. in idiomatic expressions, and sometimes even – as in critter constructions – in grammatical structure.

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32. Ancient History, Archaeology, textual criticism, semiotics

古代历史，考古学，考据学和符号学（22）

Semiotics and Religion: interaction between faith and reason

宗教学和符号学：信仰和理性的互动（24） Hani Georges, Eternal symbols: semiotic study of some icons Pharaonic Coptic original Abstract: It goes without saying that the icon related to liturgical use, is an image whose form expresses a theological content: it assumes a teaching role as well. Through the efforts of Isaac Fanous, the master of iconographic revival in Egypt, Coptic contemporary icon, find the sources of pharaonic painting, while cultivating the Coptic spiritualuality : while the modern Coptic iconography and symbolism attached to simplicity that characterize Pharaonic art, it is repugnant to some features like the side profile of the characters, Where does the fact that we found in the modern Coptic icons symbolic elements, patterns that are taken directly to the art Coptic: for example, the icon of the Archangel Michael imitating that of Osiris holding in his hand the balance and trampling feet of the viper, symbol of evil, the icon of St. George ride the horse like Horus, the crocodile stabbing, or that of the Epiphany of paintings inspired by the rituals of the coronation of the pharaoh. These icons condense thus a kind of cross between two cultures, two civilizations, Pharaonic and Coptic .. But how then to interpret these layers, these eternal symbols which exceed the centuries, and reappear still used in a different practice ? In other words, what is the exact meaning of these s symbols reinvested in a new culture? We will try to answer this question, while appealing to the semiotics of cultures.

Wu Rui Institute of History, Chinese Academy of Social Sciences [email protected] Did genuine theocratic states exist in East Asia once? Abstract:According to J.G.Frazer’s monumental study, all around the world, at a certain stage in early societies, a king is often thought to be endowed with supernatural powers or to be an incarnation of a deity. It’s a pity that Frazer's own knowledge of primitive societies was entirely second-hand, largely information collected from missionaries familiar with their mission country's culture and language. Today, we can say genuine theocratic states truly did exist in East Asia. The Yangshao Culture would begin in the west of China and spread across half the land. It was at this time that the masked man symbol first appeared in Banpo colored pottery(5000-4500B.C.) It would look like this .This is may be the image of a socerer. Shortly after(4600－4000B.C), the prototype for the Taoist symbol for Taiji( ) would appear on colored pottery. It would appear like this 。These symbols indicated shamanism played an increasingly important role in society. As time went by, the most powerful sorcerer would win the position as chief and eventually became a sacred king. In traditional Chinese documents, the Chinese king was directly called Shen （神） or Guizhu(鬼主)while Korean kings were called Tianjun（天君）. Shen means god, Guizhu means king who is responsible for sacrifices to the spirits. Tianjun means sacred king. At the end of Eastern Han Dynasty(about A.D.147-188), Japan fell into chaos and states began to attack each other. Beimihu, an old maiden, was an expert in sorcery. Hence, she enjoyed the ardent support of her people and would become their king. When Beimihu died, Japan fell into chaos again. In order to put down the turbulent situation, both opposing sides agreed to choose Yiyu, Beimihu’s royal niece, as king even though Yiyu was only 13 years old. Perhaps Yiyu had charisma like Beimihu. Maybe it was because she even worshipped the gods as Beimihu did.

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Tony See Sin Heng Between Daisaku Ikeda and Emmanuel Levinas: Towards a Global Philosophy of Dialogue Abstract: Although much scholarship has been devoted to the study of Daisaku Ikeda’s philosophy in the context of Buddhist thought and contemporary ideas of human rights, relatively little works has been devoted to an investigation of his thought in the context of contemporary European philosophy and poststructuralist thought. This paper aims to correct the lacunae in contemporary scholarship by examining Daisaku Ikeda’s philosophy of dialogue in the context of Levinas’ philosophy of encountering the “face” of the other. This paper argues that although there are structural similarities between the two philosophies of dialogue, there are also important differences between the two – whereas Levinas’ idea of dialogue is based on the idea of encountering the difference of the other, expressed in terms of “face,” while Ikeda’s idea of dialogue is based on Nichiren Daishonin’s idea of faith in humanity’s basic predisposition towards good. By way of contrast, the philosophies of peace advanced by these two thinkers are highlighted. Some issues in interreligious and intercultural east-west dialogue will also be examined. Towards this end, a number of key texts by Ikeda on the subject of peace and human rights will be examined. These include A Dialogue between East and West: Looking to a Human Revolution (2006), A Passage to Peace: Global Solutions from East and West (2009) and For the Sake of Peace: Seven Paths to Global Harmony (2001). In addition to this, key texts by Levinas such as Totality and Infinity (1969), Alterity and Transcendence (1999) and God, Death and Time (2000) will be examined.

Chi Xinyan The Explanation of the emperor scepter symbol of ancient Babylonian and ancient China with Relics from Yin Dynasty and Sanxingdui Ruins Abstract: This article presents that the scepters of two ancient empires were found to be the same through the comparative study of the symbol , and they were formed with the common belief. The ancient Babylonian Shemase in the monument of Hammurabi Code granted Hammurabi the scepter, a bar and a ring intersecting together, that is + = , representing the theocracy and kingship.

+ = and are the prototype of scepter “中” in bronze inscriptions in ancient China, and and in oracle are and with flags. The kings of the Shang Dynasty called themselves “Zhen (朕)” in oracle inscriptions of Yin Dynasty ruins, and its oracle , , represented the emperors took the scepter from the Supreme Emperor . was originated from the record method of the heavenly stems and earthly branches, and the worship of the sun and reproduction and derived from astronomy. The Supreme Emperor was the sun god and the originator.

Emperor Huang whose last name is Ji ( ) created the zodiac heavenly stems and earthly branches, and was revered as the cultural originator and the central Supreme Emperor, therefore Emperors Yao, Shun and Yu handovered in the temple of the cultural originator.

is the rod to measure the sun’s shadow, representing the power from the Supreme God and the symbol of theocracy; is the shadow ring of the sun with the rod, representing the charity from the Supreme God and the symbol of the kingship and territory; covered all the directions, derived for the center of all directions, representing the central state could manage the world.

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is penis and is perineum, and their intersection is . became the tree with branches and leaves, and became the son with flowers and fruits, representing that the emperor was a branch of the

Supreme Emperor or the son of the Supreme Emperor, and the vassals were the branches of the emperor or the offsprings of the emperor. The central state is the central administration of all the states and all the offsprings or the branches. was the tool for centralization by Emperor Zhuanxu to perform caesaropapism and centralization, as Emperor Ku visited the world with it, but it disappeared in about 2070 BC before King Qi of Xia Dynasty The kings of Xia, Shang and Zhou Dynasty were not allowed to hold because they gave up the previous rule of abdication. But they all craved for and then cloned a new central state in other area, while ShangJiaWei, the ancestor of Shang Dynasty used an artificial to revenge for his father, and Ji Chang, the ancestor of Zhou Dynasty, told his son to search as his last words. The kings of Xia, Shang, and Zhou went to the original central state to worship.

The material prototypes of and the sacrificial vessels from all the states including Shang Dynasty have been unearthed in the area around Sanxingdui Ruins as a center, which was the heritage place of the offsprings of Emperor Zhuanxu and called Shi ( , the intersection of all direction) and Shu in Shang Dynasty, in Shichuan Basin, China.

Tony See Sin Heng [email protected] Religion and Semiotics: Interactions Between Faith and Reason Abstract: Although much scholarship has been devoted to the investigation of the relationship between Heidegger’s thought and Buddhist philosophy, the bulk of such works has yet to seriously engage the “paradigm shifts” which are taking place in both Heidegger research and Buddhist studies. In Heidegger research, Thomas Sheehan has, through his careful analysis of Heidegger’s works made a strong case for the view that the “Turn” in Heidegger’s thought did not occur and that he has been consistent in pursuing a hermeneutics of human Dasein throughout his career. Likewise, the recent successful translation and studies of various Buddhist texts from the Chinese language into English by Dan Lusthaus, Paul Swanson and Shen Haiyan have also contributed to developments in Buddhist studies. This paper seeks to contribute to this area by doing a comparative study of the hermeneutics of human existence in both Heidegger’s thought and in T’ien-t’ai Buddhism in light of these recent developments. It argues that there are significant areas of congruence between Heidegger’s analytic of Dasein and the phenomenology of human existence in T’ien-t’ai Buddhism. In this paper, a number of key works by Heidegger such as Contributions to Philosophy (From Enowning) (1999) and Chih-i’s Profound Meanings of the Lotus Sutra will be discussed.

Farouk Y. Seif Antioch University Seattle [email protected] Beyond the Fallacy of the Absolute God and the Inflexibility of Religion Abstract: In Global Semiotics, religion does not mean belief in the Absolute. To absolutize the Divine in religions is to alienate and isolate God from human beings, which contradict the very nature of semiosis. The claims for the existence of God in monotheistic religious traditions has gone beyond mere existence into absoluteness of “True God,” where the rest are being paganism and polytheism. The concept of the Absolute God as a static entity is a fallacy that constructs

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inflexible religious experiences and fabricates a deficient reality. This religious polarization encourages radical fundamentalism, unhealthy religious experiences, and leads to the tyranny of absolutism. If the Absolute is the only worshiped God, it denies humans’ capacities to create and transform, and therefore paralyzes them from performing the very nature of God’s image—the act of creation. And, if this entity exists for its own glory, indulging itself by human worship and idealization, then it is self-observed, self-indulgent, and co-dependent on human beings for its existence. This notion of the Absolute God puts humans at a crossroads of conduct: whether to obey the mighty God in all their conduct and, consequently, be rewarded by receiving the gift of heaven, or to be thrown into hell for their disobedience. Peirce rejected the idea of identifying God with the Absolute. As a semiotic sign, the idea of God has been expressed in numerous signs and recognized by many different names and interpretations. The relationship between humans and God is a relationship that constitutes the desire for seeking mutual fulfillment. God’s command to Adam and Eve to be fertile and increase is not only an invitation to seek the act of creation in all endeavors but also an implicit call to make God as one and as many. For Global Semiotics to bridge different civilizations, it must consider that there is a kind of ever-present reciprocity in which God created human beings and human beings created God.

Victoria Kravchenko, [email protected] The Immortal Humanity Abstract: The idea of immortality was a prerogative for the religious and spiritual thought. Nowadays the possibility of immortality is a point at issue in modern science. The scientific discoveries change our notion of mankind as a whole phenomenon in the Universe. In biology the interpretation of human genome was not only the great achievement. It disclosed the unity of all the people and stability of the human biological basis. It occurs, we are already immortal in our genes! The new investigations of the cloning animals and even men have opened the problem of the real immortality for the concrete person. What is immortality? Is it only spiritual or material problem?

Part F: Science, Semiotic Practice 科学，符号学实践

33. Tools of Semiotic Knowledge 符号知识工具（26） Abstracts To Be Submitted

34. Semiotics and Mathematics 符号学和数学（25）

Global Semiotics, Translation, and Encouner among Peoples

全球化符号学，翻译，民族之间的接触（27） Niculae V. MIHAITA University of Economics at the Academy of Economic Studies in Bucharest, ROMANIA [email protected] ; [email protected]

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Quantitative Methods Interaction on Semiotics and Second Order Cybernetics Abstract: The purpose of this paper is to illustrate some simple algebraic and Informational Statistics techniques helping in finding the value of information and of different states emerging from the process of Decision-Making. The first part is shaped as a more personal or colloquial approach using the Second-Order Cybernetic concept of Observer INSIDE the black/grey BOX of the process he studied. The component shows that the uncertainties created by the mystery of the decision-making depend by the doubts created by those chosen to decide and no-one else. It illustrates how combination of simple quantitative methods reveals hidden scenarios and deals with true and false assignments. It is written like a play, and like a mathematical riddle. The paper content also has results and comments of an original algorithm of factorial experiments and Informational Statistics combination, adding more information to find the information value and shadow prices for the alternative decision. The Quest of this paper was to find at least one answer at the question: is Information Theory needed for decision making looking for consensus (agreement, accord, harmony, compromise, consent)? It is used a new approach by applying algebraic and Portfolio Analysis, quantitative methods, cybernetics and semiotics paradigms and concepts. Among Shannon’s Entropy whom is added to the suspicions created about this kind of approach conditioned by those of Chaos Theory we imagined a new methodology based on Onicescu Informational Statistics looking for information value as it was done by the Academician Solomon Marcus for poems musicality. Organizational theory is in general unable to create any degree of coherence in the field due to the plurality of its unconnected and unrelated models (Suddaby et al., 2008; Scherer, 1998). This has resulted in the search for alternative approaches. The problem is, to find new approaches, one has to move outside the traditional field, and other related fields operate with different and incommensurable paradigms (Burrell and Morgan, 1998). Two promising areas are cybernetics (the study of control and communications) and semiotics (the study of signs and their related processes and signification, especially within the context of communication), and there is often a perceived bridges between them (Brier, 2008). The reason is that the distinct paradigms that operate within the different fields are by their very nature incommensurable, and one has to create a new paradigm from elementary propositions that encapsulate the desirable elements that are extracted from the collective of paradigms. This is not always seen as an appropriate way forward to the traditional holders of those paradigms, which tend to be constrained by the boundaries that they create for themselves, and therefore are blind to alternative perspectives unless they are couched in their own specific terms of reference.

Dr. Lothar Černý Cologne University of Applied Sciences [email protected] „Abstractive observation”: A semiotic construction of translation Abstract: The semiotic orientation in translation studies is not a new one. It opened up pragmatics for translation and translation studies (e.g Nida 1964). The tri-partite dimensions of the semiotic sign also provided the backbone criteria for text linguistics. Gorlée (1994: 11) even argued that Peircean semiotics might become the foundation of a unified theory of translation. The latter wish has not become true yet, and this paper will not be able to meet this expectation either, but I propose to discuss a few reasons in what way Peircean semiotics can contribute to a “unified theory of translation”. Peirce’s method of “abstractive observation” (Peirce 1955: 98) helps to throw some light on the essential processes taking place in the mind of the translator. It is an inquiry into the logic of reflexion and interpersonal communication. Peircean semiotics provides the logical grounding of the translation process. In a Kantian way it provides a “critique” of the mental steps from the perception of a textual sign, from “immediate and instantaneous

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consciousness” to “the consciousness of a Third or medium”. Semiotics helps us understand the conditions and steps of constructing language signs. „But thought is the chief, if not the only, mode of representation.” (Peirce 1955: 100) Thinking means establishing a semiotic relation to objects leading to cognition and thereby creating a new sign. Translation is a process of semiosis. Semiotics frees translation from the venerable “dyas”, the polarity of either ST or TT orientation. Just as no mirror of the designatum is conveyed to the mind of the perceiver there is nothing like a mirror image of the original text in a translation. Semiotics provides correctives to the sender-receiver communication model. The triad is a structural model for any translational communication. Peircean Semiotics lays the ground for a re-adjustment of translation characterized by semantic contiguity and metonymy, and relational positioning to the ST. (Gorlée 1994: 153; Strauss 1962: 79; Jakobson 1956: 58-62). Rather than being „Ersatz” translation appears in relation to its origin as a new sign, with a life of its own. By its very essence translation is dialogue, at the same time a representation as well as a reminder of otherness.

Lei HAN Fudan University [email protected] Aspects of the Semiotics of Translation ——Once Again! Is There A New Paradigm Shift in Translation Studies? Abstract: This article examines the fundamental changes taking place in the methodology of Translation Studies, including a historical survey of the first paradigm shift within Translation Studies termed by James. S. Holmes, and a critical survey of the general trends that have emerged in the last few years, trends that have been partly reshaping the setting of Translation Studies, which preferred to be termed as “Semiotic Turn in Translation Studies” and “Translation Reconsidered as of Semiotics”, should be distinguished from the first one and be underlined in the historical process of Translation Studies. Particularly, this article is concerned with the aspects of the epistemological structure, the radical sense and reference of its methodology and strategy. It is argued in this article that these trends should be viewed as a new paradigm in forming which trying to replace the old one. Key Words Paradigm Shift, Translation Studies, Semiotics, Semiosis, Semiosphere

Dingkun Wang ANU College of Arts & Social Sciences [email protected] Intrude and Introduce: How Subtitlers Comply with the Multimodality of Audiovisual Context and Bridge Intercultural Communication? Intruding to Introduce: How Subtitlers Comply with the Multimodality of Audiovisual Context and Bridge Intercultural Communication Abstract: There has been a proliferation in research on audiovisual translation, in which subtitling attracts substantial attention. Scholars have approached the mode from the perspectives of translator and linguistic analysis, or by answering questions in different aspect of the practice. However, most progress has been made in the subjects related to European languages. Chinese subtitling still attracts relatively less attention, despite the active steps taken by the Chinese film industry into transnational cinema. In China, subtitling is replacing dubbing as the preferred mode of audiovisual translation. Besides the transnational tendencies of filmmaking, the spread of fandoms around the world should be considered as another important factor that causes this change. Like their counterparts elsewhere, fans in China gather and form not-for-profit groups and clubs in order to circulate or share their video resources and translations online through organized channels. Although remaining controversial, fansubs shed light on and raise questions in the both theoretical and practical aspects of subtitling. They have also made significant contribution to intercultural communication. Thus it is necessary to study this amateur activity in order to see the complete landscape of contemporary Chinese subtitling. The writer intends to define what the product of subtitling should be, and then investigate the strategies of translation in use from the perspective of Chinese. The audiovisual medium changes the subject of translation from mono-dimensional into multi-dimensional. It is impossible for this work to

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scrutinize every aspect of Chinese subtitling, so it will specifically focus on the translator's strategies in complying with the constraints of a multimodal medium in order to explain, transform or neutralize the ST for trans-cultural purposes. The goal can be achieved through comparing different versions of Chinese subtitles of the same original. Examples will be selected from two American TV comedies, THE BIG BANG THEORY and TWO AND A HALF MEN.

Pirjo Kukkonen University of Helsinki, Finland [email protected] Relations in Translation: Semiotics and Translation in Global Semiotics Abstract: According to Sebeok’s (2001) concept of global semiotics, the entire universe enters the domain of global semiotics (cf. Peirce “all this universe is perfused with signs”, CP 5.448). In this global perspective, semiotics is the place where life signs and the sign sciences converge. Sebeok’s approach to the life of signs is global or holistic in dealing with studies on the life of signs and the signs of life. The interconnectedness of the sciences in global semiotics may be presented as a metascience concerned with all academic disciplines that are sign-related, as Petrilli (2004a; 2004b) writes. In my presentation for Translation, Encounter and Global Semiotics (RT 27), I will discuss some relations between semiotics and translation as global semiotics including also issues of semioethics (a term coined by Ponzio and Petrilli, cf. Petrilli 2004a, 2004b), i.e. values and ethical requirements in using, producing and interpreting signs and sign systems in the act of signification (semiosis), or translating signs and sign systems into other languages, cultures, ideologies, and civilizations. Questions of ethical requirements are inherent in the act of signification (cf. Welby’s significs). I also try to answer the question, if it is time now to accept the sixth proposed paradigm, the semiotic paradigm, in translation studies (cf. Hartama-Heinonen 2008: 70–80, 2010: 71–72).

Raquel de Pedro Ricoy Heriot-Watt University [email protected] Semiotics abroad: Multimodality in translation Abstract: This presentation will explore how Multimodal Discourse Analysis (MDA) contributes to the study of the translation of audiovisual texts. It will focus on how the recoding of verbal language which is embedded in a complex semiotic construct interfaces with the interpretation of such texts by audiences with different backgrounds and diverse needs and expectations. Multimodal communication is prevalent nowadays and global exchanges, which can undoubtedly enhance our knowledge and understanding of other cultures, are frequently contingent not only on language transfer, but also on cultural adaptation. The need to enable the understanding of multimodal constructs and their cross-cultural transmission has led to the emergence of theories that draw heavily on semiotics as a discipline, such as MDA (see, e.g., Kress and van Leeuwen 2001, Iedema 2003, Norris 2004, O’Halloran 2004, Baldry and Thibault 2006 and Jewitt 2009). The application of MDA to audiovisual texts, which more often than not include verbal signs, is one of the most recent developments in Translation Studies. Whilst monolingual approaches to multimodal discourse centre on the description and construal of the interplay of semiotic codes as the vehicle for signification, the analysis of translated multimodal texts necessarily involves a comparison of what are, in essence, two distinct semiotic entities. Thus, concepts such as anchorage (Barthes 1977) and alterity become highly relevant. The notion of “translation” is problematised by multimodality itself, because of the relative immutability of non- verbal semiotic codes in this context. However, it can be argued that what is translated (at the very least, in the etymological sense) is the multimodal text as a whole, beyond the mere exchange or superimposition of verbal codes, or, in other words, “interlingual” or “diamesic” translation (cf. Petrilli 2003), as in dubbing and subtitling, respectively. Semiotic coherence is key to ensure the credibility of the translated text. Therefore, the manner in which the language transfer is effected for the purposes of making multimodal texts accessible to foreign

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audiences has to be considered both in relation to the co-presence of non-verbal codes and the constraints that pertain to the medium and the translation method.

MERKOULOVA Inna Centre de Russie pour la Science et la Culture à Paris (CRSC) & STIH, Université Paris-Sorbonne [email protected] Sémiotique, culture, explosion et passion. Aspects de traduction. L’ouvrage « L’explosion et la culture » du sémioticien russe Iouri Lotman est consacré au rôle de l’imprévisibilité dans la culture : comment ce qui est imprévisible dans la sémiosphère peut néanmoins y figurer de plein droit et y faire sens. Dans l’exposé, nous présenterons le système de la sémiosphère selon Lotman et nous nous arrêterons plus particulièrement sur quelques aspects de traduction en français des notions telles que « centre et périphérie », « fenêtre sémiotique » et « sémantique de l’explosion ». Nous nous pencherons ensuite sur les difficultés de traduction du français vers le russe des termes relatives à la passion tels que « phorie » ou « ombrage » dans l’ouvrage d’A.J.Greimas et J.Fontanille « Sémiotique des passions. Des états de choses aux états d’âme ». (Traductions d’I.Merkoulova : Lotman, Limoges, 2004 ; Greimas et Fontanille, Moscou, 2007). Semiotics, culture, explosion and passion. Aspects of translation The book “Culture and Explosion” of the Russian semiotician Yuri Lotman is devoted to the role of unpredictability in culture: how the Unpredictable in the semiosphere can there appear to be right and make sense. In the paper, we present Lotman’s system of semiosphere and we are especially interested in some aspects of French translation of concepts such as “center- periphery”, “semiotic window” and “semantics of explosion”. In a second time, we will analyze the difficulties of translation from French to Russian of terms related to passion such as “phoria” in the book of A.J.Greimas and J.Fontanille « The Semiotics of Passion: From States of Affairs to States of Feeling”. (Translations of I.Merkoulova: Lotman, Limoges, 2004 ; Greimas and Fontanille, Moscow, 2007).

Aurora Fornoni Bernardini U.S.P. THE ARCHE-EPISODE OF THE MITH OF FIRE ( JÊ GROUP) Abstract: To work out this paper, which we did after considering the possibilities of applying to non-literary texts the model “Subject - Text”, proposed y the Russian semioticians Iu. K. Chcheglov and A.K. Jolkovsky in their work Towards a Description of the Conjunction Text, (Russian original) we used a selection of ten versions of the myth of fire, given by Brazilian Indian Tribes of the Jê Group (Northern and Central Brazil) and we translated each version into English. According to the theory of the mentioned semioticians, the plot is the most important intermediary link, i.e., it is the level which is to e found between the siujet (a system of semantic oppositions) and the text ( a linear construction which realizes these oppositions according to the different requirements of expressiveness, economy and naturalness. For this reason we reduced all the versions of the myth of fire of the Indians belonging to the Jê group which were avaliale to a single, abstract and compreensive plot. We called it the arche - episode. It can be considered the semantic invariant of the versions. The blanks in parentheses, both in the original and in our translation, are to be filled in by the mythic variants of each version, i.e., by the EP-VARIATION (according to Chcheglov-Jolkovski terminology, EP stands for “Expressive Prioms” (expressive proceedings), as will be seen in Step II of our paper. Arche-episode is obtained by superimposing all the versions. Common elements are maintained, using the terms that most stick to the text and/or those which are as comprehensive as possible, as will be seen in Step O. Elements, which are different from one version to another are incorporate as alternatives or left out (Step II), as far as they do not have the local, social or moral characteristics that are typical of the myth and not of the tale (cf.

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Lévi-Strauss, Jakobson, Bogatiriov et alii). Finally, we return to the arche-episode and subdivide it into episodes or model situations (Step III), which we analyse and re-arrange, in order to obtain a structural description (Step V). Comparing it with the more general one, proposed by the myths of the type called “Reluctant Provider” (Xavante Indians), we can verify its being satisfactorily contained.

Göran Sonesson, Centre for cognitive semiotics, Lund University [email protected] Translation as a double act of communication. A perspective from the semiotics of culture. Abstract: There can be no doubt that translation is an act of communication, but if all communication is translation, it becomes impossible to understand the specificity of the act of translation. Here we will suggest that translation is a double, but integrated, act of communication. The idea rests on a model of communication that the present author has developed in earlier publications, taking his point of departure in the models of communication put forward by the Prague and Tartu schools of semiotics. Starting from this foundation, we will consider the difference in communicating with Alter (which is another potential Ego) and with Alius, considered as the foreigner, the outsider, and/or the fiend. Again, we are involved with ideas suggested by the Tartu school, and developed in several publications by the present author: Culture as opposed to Non-culture, to which may be added Extra-culture, all of which could be better understood in terms of Ego, Alius and Alter. Similar ideas, however, are present also in the late work of Edmund Husserl: the Homeworld as opposed to the Alienworld. The idea of translation between cultures, present in the Tartu school conception, would seem to bring in a metaphorical sense of translation. We will therefore investigate to what extent the translation metaphor applied to the exchange of words in one language (Jakobson’s intralingual translation) and the transference from one semiotic resource to another (Jakobson’s intersemiotic translation), as well as to the relation between cultures (according to the Tartu school) is enlightening or misleading – or perhaps a bit of both.

Giorgio Borrelli Università degli Studi di Bari “Aldo Moro” [email protected] Translation, Encounter and Global Semiotics Abstract: Translation in its translingual and transemiotic dimension constitutes the ἐνέργεια (energheia) that flows through the whole of Ferruccio Rossi-Landi's work. First of all, with his common speech model, Rossi-Landi identified the general conditions of language-thought which make linguistic usage possible and which as such are valid beyond the limits of any given historical-natural language; as the totality of communicative social techniques, common speech constitutes the basis and generative source of every possible interlingual translation and consequently it is also the condition which allows for the development of scientific language whether intra- or interlinguistically. Secondly, Rossi-Landi’s homological method and his theory of language as work and trade are examples themselves of intersemiotic translation. They are based on the genetical-structural connections between verbal and non-verbal production, and application of categories developed by Marx in his critique of political economy to research on language. Moreover, Rossi- Landi's concept of “excess” is central to translation theory. Excess refers to the semiotic residue connected with and produced by interpretive-linguistic work, the condition of possibility for interpretive-translational work to continue beyond passive decodification of anthroposemiosic programs.

Evangelos Kourdis ([email protected]) Lia Yoka Aristotle University of Thessaloniki “Intericonicity” as intersemiotic translation in a globalized culture Abstract: The definition of intersemiotic translation, first offered by Roman Jakobson in 1959, though still the starting point for most studies on this matter, has been broadened so as to include, for most scholars, the transformations between non-linguistic

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semiotic systems. This position allows the translator to by-pass the most powerful semiotic system, which, according to linguists and semioticians alike, is that of language, and to invest in non-linguistic forms of communication, which many scholars still consider communicatively incomplete or even illegitimate as types of translation. The first part of the paper will examine cases of non-linguistic intersemiotic translations in current commercial and artistic visual culture, i.e. cases in which one non-linguistic expression has been translated into another non- linguistic expression. This will make clear how the semiotic system of “pure” language has been rendered almost obsolete as an independent semiotic system. Instead, today's global culture operates on a system of semiosis where the registers of communication are mixed: they are iconic and linguistic at once, they incorporate motion, and they have produced a whole new definition of “text”. Translations can thus occur across “iconological” and “icono-linguistic” registers: From the photographs from the prisons of Abu-Ghraib to Bin-Laden's video-clips, through to the different types of marketing for womens' health products across the globe, or of soil fertilizers in Africa, India and Europe, the intersemiotic translation of images has been a powerful tool in cultural communication. Many of the images generated today rely on a well- established system of signification with a rich cultural and ideological history. The second part of the paper, resting upon the premise analysed in the first, will attempt to show how a semiotic ontology can use the hermeneutically derived terms of iconicity and imagetext, reclaim intericonicity for semiotics, and discuss mass-cultural translation in a changing world. Indeed, if a lot of today's mass-cultural rhetoric rests upon a kind of participatory intermediality (blogging, videogames), where does this leave so-called “intericonicity”, i.e. the condition of translateability and play between images (or between “imagetexts”)? Is semiosis as open and arbitrary as ever, or is it more controlled and semantically limited within the global icono- linguistic, image-textual nexus of infotainment?

LI Meixia (Beijing International Studies University) ([email protected]) The Interpretation of Poetry from the Cognitive-semiotic Perspective Abstract: From Wikipedia, poetry is defined as a form of literary art in which language is used for its aesthetic and evocative qualities in addition to or in lieu of its apparent meaning. But from the communicative perspective, we can define poetry as a communicative form of verbal and non-verbal language. This form is one of the many semiotic systems (also including films, music, painting, etc.) which have representational functions and which are formed based upon human’s cognition. It can be said that the production and interpretation of poetry cannot be separated from human’s cognition and the process of semioticization of poetry. Then, how can we make sense of poems? What factors are involved into the process? To answer these questions, the present study does the following two things. First, it tries to construct a model of the interpretation of the meaning of poetry from the cognitive-semiotic perspective. Second, it puts the model in action, namely using this newly-constructed model to analyze the well- known ancient Chinese poems. This study is aimed to shed a new insight on the interpretation of the meanings of poetry. Key words: poetry, interpretation, cognitive-semiotic perspective

Jude Chua Soo Meng Nanyang Technological University [email protected] Physician, Heal Thyself: “Design”, Criticality and the Market Abstract: There is, currently, a lively interest in ‘design’, and new institutions and programmes in Singapore (in collaboration with MIT) have been created to teach ‘design thinking.’ But what exactly is ‘design’? The question is complicated by a prior one, which asks who is really competent to answer such a question. Nigel Cross has suggested that only designers are best fit to research that question, for fear that researchers from non-design paradigms corrupt design’s true nature. Cross therefore defends

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a theory of design research that excludes persons from other disciplines. Against Cross, I argue that ‘design’ must be articulated from the fully moral viewpoint. In semioethic terms, it is to be translated significally. The phrase is borrowed from Victoria Welby, and in this case this means that the notion of ‘design’ must be interpretively developed in such a way that it points to that particular meaning (amongst many other possible meanings) that is most significant, and hence truly matters. Such a significal translation of ‘design’ presupposes the practically reasonable grasp of what in themselves truly matter, so that the latter is appropriately related to ‘design’. This implies in turn that ‘design’ is to be researched inclusively, employing the results of moral philosophy amongst other disciplines. This was in fact Herbert Simon’s own methodological starting point, and hence it is his account of interdisciplinary design research that is more defensible than the case made by Nigel Cross for an exclusivist design research methodology. Most fruitfully, such inclusively translated/researched ‘design’ that draws on the ethicist’s viewpoint will unveil an account of ‘design’ as a ‘criticality’ that critiques and resists economic and structural deficiencies furthering social inequality. Such a ‘design’ as criticality, which Clive Dilnot complained was difficult to come into view, but which he himself also sought to articulate, is also at the same time a significal account of the ‘designer’ as critique, which indicts the profession as a whole for typically being subject to the market. But Dilnot’s diagnosis of the suppression of criticality in design is incomplete; it is not just that criticality is difficult to come into view, but that it should not, in the current, secular culture, come into view. The substantive critical consciousness is historically and conceptually undermined by theological shifts. Historically a voluntarist theology exalted the autonomous secular, in which the capricious individuality imaged after a capricious Deity and its factum has now full dominium, displacing the bindingly moral. In the current, the secular or atheistic non-affirmation of a theistic metaphysics now continues philosophically to undermine the natural moral law, which derives its normative stability only through participation in such a non-capricious Deity. Therefore, I suggest (perhaps very controversially) that the significal translation of ‘design’ would invite the ‘designer’ to be reflexively critical not only of the lack of ethical consciousness amongst designers in the periphery, but also of these designers’ theological or metaphysical commitments. (478 words)

Andrea Zucchi University of Bari [email protected] About the World: the Same Other of Language Abstract: While cartesian dualism between res extensa and res cogitans had been neutralized by a form of structuralism, it is still present in contemporary thought which mauy be described as pre-husserlian given the return to traditional dichotomies such as body-soul, brain-mind, nature-culture. Naturwissenschaften is still opposed to Geisteswissenschaften just as the exact sciences are opposed to human sciences. In order to supercede this dichotomy, the relationship between language and world needs to be reconsidered: language is a form (in a Hjelmslevian sense) which does not represent or signify the world, but incessantly translates it. The relation between language and world can be compared to the relation connecting a text to its translation: the text requires translation (cf. Benjamin 1962: 40), and the translation is the same other of the text (cf. Ponzio 2001: 89); in the same way, the world requires re-signification through language, and language is the same other of the world. Once this parallelism is accepted, the world does not have primacy over language (such that words appear as the mere echo of things which they represent), nor does language have primacy over the world (such that words give voice to and create things which they signify). Words and things are not in a relation of opposition (cf. Fabbri 2001: 18). Rather, there exists an interlacement, ongoing translation between language and world: the space laying outside, beyond language is – as Jurij Lotman (e.g., 2005: 209) states – the content of a different linguistic reality, which can be part of the language sphere for transduction. The ostensible existence of two levels of objectivity (an external and an internal one in relation to a language) is due to the presence of at least two languages (cf. Marrone 2011: 65) translating each other. The everlasting interlacement between language and world neither continues

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from the end, nor begins over again: just like grass, it grows in the middle.

Xiao Kairong, Southwest University Frame and Transmission of Cultural Information in The Translation of Chinese Classic Poetry Abstract: One of the greatest obstacles in translation of Chinese classic poetry is the gap between the knowledge systems of original and target readers. This paper approaches this problem from the perspective of Frame Theory on the basis of knowledge representation to probe into the cognitive roots of some mistranslations and suggest some cognitive operations for transmitting the cultural information underlying the Chinese classic poetry from the two aspects of frame element adjustment and frame system modification. Key Words: Frame Theory; frame; Chinese classic poetry; cultural information

35. Internet and Semiotics 互联网和符号学（43） Maria Ogécia Drigo e Luciana Coutinho Pagliarini de Souza University of Sorocaba (Uniso) – Sorocaba/SP [email protected] e [email protected] Metaphorical image and the internet as environment of the support, production and dissemination: living spaces and the otherness in focus Abstract：In convergence culture, from the perspective of Jenkins, the new and old media collide, alternative and corporate media intersect, and the powers of the media producer and consumer interact in unpredictable ways. In this context the concepts of media convergence, participatory culture and collective intelligence are pertinent. If the initial idea of media convergence was that all devices would converge into one central unit, we now watch, in fact, the convergence of content. Among the content, the images can be mentioned. Photographs, images that come from the cinema, television, art, advertising, newspapers and of others media migrate to the Internet and intertwine with the help of expertise, not counting the large number of photographs that record the daily lives of facebook friends. It is easy to see the proliferation of these images on the Internet. Among the images constructed on the Internet we can find the metaphorical images, the object of this study. To evaluate the potential meanings of these images, we present the methodological procedures for classification and analysis that come from speculative grammar, a part of the semiotic logic of Charles Sanders Peirce, followed by the analysis of two images, the first one is significant to the Brazilian culture and the other displays a mixture of eastern and western culture. Considering the qualitative and the references present in the materiality of the visual representation, this theoretical-methodological inventory allows the different meanings engendered by the image in different cultures, as well as the meanings that are independent of the cultural context of the interpreter, on the other hand, the meanings generated and dependent of the ability of an expertise can approach or not the other, the different, playing with established meanings in cultures. The relevance of this article is in the fact that it thinks about the metaphorical image as a concrete manifestation of convergence culture, examining its significant potential woven in different cultures.

Luiz Carlos A. IASBECK Universidade Católica de Brasília (Brasília) Semiotic: Universal Method for the Diagnostic of the Communication Conditions Abstract: Charles S. Peirce intended to create a science that was a method capable of guiding all of the other sciences in the search for truth. He manifested this desire - or this dream – in many occasions, but did not have the chance to see fulfilled, in life, his intent. And even if he lived for another hundred years, would not have seen it. If the positivism of sciences did close the doors to the multidisciplinary contribution in the first decades of the XX century, many others have opened in the beginning of the XXI century with the ruin of the exclusive paradigms. The General Theory of Signs from Peirce is more than a logic architecture of meaning production, a method capable of

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conducting the contributions of the diverse sciences in the search for truth, even if provisory and subject to mistakes. Performing the task of transforming the GTS in an efficacious method to resolve the everyday problems of the organizations is what we seek with the research we developed at the Universidade Católica de Brasília. From a previous well-succeeded work in the assembling of a national research about the conditions of school transport at Brazil, anchored in the Sign Theory from Peirce, we developed now a method capable of diagnosing – using the INTERNET - the communication conditions in the public and private organizations. The brazilian experience, if validated, has everything to gain international contours, adapted to the peculiarities of organizations of each particular culture. The starting point of the method that is being developed is the presupposed that – by the principle of semiosis – it is impossible to apprehend the object from behind the sign. Therefore, we abandon all and any possibility of approach that intends to elucidate the form of the sign, to consume it in the condition of the immediate interpretants, dynamic and final. The cumulative characterization of the sign according to its nature, quali, sin and legi, allows us to explore the interpretant possibilities that direct towards the dynamic and mental interpretants. The study of the socio-cultural conditions of these interpretants according to some paradigmatic vectors conceived coherently with the Peircean triad logic, allows us to circumscribe some situations where common collateral experiences lead us to more or less consensual interpretants, even if we preserve the conditions of subjectivity, especially from the emotional and energetic interpretants, the final interpretant will represent, then, the mode of absorption and legitimation of the state of culture around the investigated object. Then, we have a method that will serve us as buoyage to conclusions around the sentiments (firstness), generated in the interpretants by the qualitative dimension of the sign, the reactions and conditions of interaction (secondness), of the dynamic interpretants with the peculiar situations of communication and relationship in the organizations, and finally, the invariant and structural data (of permanence and continuity), that characterize the communicative culture of the organization under exam. In the first dimension we have an individual qualitative panorama or individualizable, in the second a dialogical dimension, interactive and in the third, a collective, cultural dimension. In possession of these information and crossed its variables, we can achieve not only diagnostic conclusions but also to trace prognosis around the future situations of the communicational processes.

Geane Alzamora UFMG [email protected] A Peircean approach to the transmedia storytelling semiosis of “Angry Birds” Abstract: The discussion about transmedia storytelling is usually based upon the theoretical perspective of narratology and the semiotic of narrative, fields that are strongly monomediatic (SCOLARI, 2010). Those theoretical perspectives can handle each medium involved in the transmedia process, but may not be enough to discuss transmedia as an integrated and dynamic system with different sign relations. Transmedia narratives are shaped from a complex group of devices and platforms that cannot be reduced to simply juxtaposing contents that complement or supplement each other. Its main feature, and richness, is the crossing of multiple media environments, in which each new text contributes in its own and valuable way to the whole system (JENKINS, 2006). The media are at the same time independent and integrated parts of a complex media ecosystem. Although each media environment has semiotic autonomy, for it is not required to know all the media pervade by the narrative to understand the meaning process in each one, their transmedia dimension can be better understood from a procedural and integrated semiotic perspective that evinces its global, temporal, heterogeneous, and dynamic dimensions. In this context, we intend to contribute to transmedia subject by adopting C. S. Peirce semiotics. The semiotic of Peirce is a theory of sign actions, that is, a theory of semiosis. According to Peirce, semiosis is “an action, or

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influence, which is, or involves, a cooperation of three subjects, such as a sign, its object, and its interpretant, this tri-relative influence not being in any way resolvable into actions between pairs.” (EP 2:411 [1907]) For Peirce, semiosis is a continuous and dynamic process of producing signs. This sign process includes the semiotic operations of determination and representation, which make sign mediation a partial and incomplete instance of semiosis. We propose in this paper to view the transmedia narrative as semiosis, that is, as a network of related signs. These signs bring about subsequent signs (interpretants) that represent the previous sign determination (object) by adding new signs to the semiosis (collateral experience) and so on. To understand the sign relations that constitute the transmedia semiosis we use as methodological tool the classes of sign of Peirce. The extensive sign classification proposed by Peirce was built as a classification standard that logically indicates all possible semiosis. Its logical and general structure can be applied to any type of sign. Its classification standard is based upon continuity and relation of categories, which explains the complex relations of different aspects on the signs. On this paper, we aim to apply the sign classification of Peirce to describe the semiosis of the transmedia storytelling of the game “Angry Birds” produced by the Finnish company Rovio Mobile Ltd. in 2009. The description of the game semiosis will give details of signs aspects that distinguish media and language, and the relation among them. The game’s singularity is investigated according to the semiotic operations of determination and representation, which shapes the sign mediation of the sign and convey the development of its transmedia semiosis.

ZHANG Yiqiong Guangdong University of Foreign Studies, National University of Singapore [email protected], [email protected] The story behind navigation: A functional study of hyperlinks in online science news The Abstract： Hyperlinks do more than simply guiding a reader from one place to another, they add meaning to the chunks of information that they connect. This paper adopts a social semiotic approach (Hodge & Kress, 1988; Halliday, 1978) to study the functions of hyperlinks in science news. The data consist of 270 science news web pages from institutional and mass media website (university websites, www.futurity.org and www.msnbc.com). Three types of links have been identified on the news story pages: Expansion, Resource and Interaction. Expansion links lead to a detailed presentation of their anchors (e.g. links to a video or a slide show). Resources links direct to resources recommended by the page author (e.g. links to the homepage of a lab or to the original research paper). Interaction links facilitate interpersonal communication (e.g. links to Facebook sharing or email). Resource and Expansion links are more ideationally oriented, while Interaction links are more interpersonally oriented. The applications of the links in the three types of websites vary from each other. Expansion links are used more frequently in university science news than in Futurity and MSNBC to give presence of their researchers on the screen. Resource links are used in university science news and Futurity to promote the universities and researchers, but in MNSBC to promote news of similar topic in the website. Interactions links are used in university news to encourage readers to contact the reporter or researchers, while they are used in Futurity and MSNBC to facilitate reader participation via commenting and sharing. The discussion of link application in science news suggests that it is purpose driven. It is, therefore, argued that hyperlinks are a type of semiotic resources for meaning construal.

Shaev Y. M. The ontology and philosophy of sign in the modern cyberspace Abstract: In the article are analyzed modern tendencies of cyberspace phenomenon. Also the article reveals general points between the school of classic philosophy and the modern semiotic and pragmatic tendencies in analysis of cyberspace. Cyberspace

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represents the sign as special sphere of being, in which shows all its dimensions. We note the further perspectives of the developments and collaboration of ontology and philosophy of sign in the information technologies sphere.

Rafael del Villar Muñoz [email protected] [email protected] l’Institut de la Communication et Image Université du Chili Surfing the Web: Cognitive Simplicity/Complexity and Visual Culture Navegación por Internet: Simplicidad/ Complejidad Cognitiva y Culturas Visuales El mundo global ha generado nuevas realidades culturales que la semiótica, como puente entre diferentes civilizaciones puede contribuir a describir. En el caso chileno en las nuevas generaciones ha existido, desde hace ya 10 años, una fuerte influencia del manga japonés, y con ello muchas formas de funcionamiento generadas en la cultura budista de origen, expandida a China por Confucio y que el marxismo, leído desde Mao resemantiza, lo que a nivel empírico concreto ha significado la inserción de estructuras visuales complejas. Estructuraciones que son retroalimentadas por el alto desarrollo tecnológico que inserta lo complejo en la vida cotidiana de los ciudadanos, donde los jóvenes tienen mayores competencias que los adultos. El sentido de esta comunicación es la descripción semiótica de estos dos polos de funcionamiento respecto a la percepción del espacio cognitivo, uno de aquellos nacidos en la cultura occidental hegemónicamente lingüística (simplicidad: adultos), y de aquellos nacidos en el entorno de las culturas digitales y de las nuevas tecnologías (jóvenes 11- 12; 16- 18 años: complejidad) : a) la percepción de un único espacio cognitivo, esto es, se percibe un solo encuadre de lo que se ve, lo que va la par con una focalización en el relato, construido como estructuraciones narrativas lineales, equivalentes a los modelos de descripción semiótica elaborados por A. J. Greimas, y que siguen los protocolos clásicos de la cultura occidental, y b) la percepción de varios espacios cognitivos paralelos donde se perciben varios encuadres con relaciones múltiples entre ellos, sin una estructura narrativa hegemónica, reencontrándose con la complejidad cognitiva del manga. La coexistencia de dos formas semióticas distintas forma parte tanto del sincretismo cultural de la realidad chilena como de las rupturas entre sus distintas generaciones o edades de vida.

Daniervelin Renata Marques Pereira Universidade de São Paulo [email protected] LES PRATIQUES ÉDUCATIVES DE L’ ESPACE NUMÉRIQUE Si d’un côté, le « Cyberespace » est sollicité pour réduire la distance spatiale entre les enseignants et les élèves, de l'autre côté, il meten question la distance subjective entre les sujets. Comment éviter dans ce nouveau contexte la perte d'intensité affectivetraditionnellement attribuée aux subtilités des langages gestuel, auditif et des images, mis à jour simultanément dans la présencephysique des individus dans une salle de classe? Nous cherchons une répon se à cette question dans l'analyse des chats et desforums de deux disciplines suivies en ligne au Brésil, en 2010. Po ur cette analyse, nous considérons les textes verbaux et non- verbauxqui font partie de la pratique, puisque la configuration expressive de l'espace d'interaction apporte des élé ments intéressants, pourcomprendre les effets de la proximité et de la distance existant entre les sujets, mais aussi de l'objectivité et de la subjectivitéproduites entre eux. Ce qui nous intéresse c’est la construction et l'organisation de ces effets de sens dans les pratiques éducatives del'espace numérique. Notre base théorique et méthodologique est essentiellement constituée par la Sémiotique Française, fondée parGreimas. Base qui est en constante évolutio n grâce à ses disciples, qui ont ajouté d’importantes contributions à l'étude de la sensibilitédans les textes, en parti culier la Sémiotique Tensive. Nous observons dans ce processus que quelques stratégies didactiques desdiscours a nalysés semblent être organisées justement pour produire des effets de proximité entre les sujets, en élisant, par ex emple, lelangage informel, qui n'affecte pas l'asymétrie des enseignants/élèves, propre du genre scolaire, mais le s ystème modal et aspectuelqui les unit. Nous avons remarqué que dans ce contexte, la permutabilité des tours entre les sujets dans les chats et les forums estliée à un changement actantiel au niveau narratif ; la proximité entre l'ens

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eignant et l'élève (contrairement à la relation traditionnelleentre le maître et l'apprenti) ; l'expérience haptique et lu dique atteinte par l'utilisation de l'espace 3D (trois dimensions) – le Second Life – , dans une discipline, a pour but, le rétablisement d’une sensation de présence « corporelle », propre de l'interaction face à face, entre autres stratégies didactiques. Tout cela représente, dans notre étude, une preuve qui démontre que l'occupation de l 'espacenumériques par les sujets trouve des parcours pour aller au- delà de la simple transmission d'informations (l'extensité) et, tout enrespectant les contraintes du genre numérique, n'implique pas la perte de sensibilité régulatrice des relations interpersonnelles(l'intensité). Nous proposons dans ce travail les réflexions théoriques développées dans notre thèse de doctorat, en cours d’élaboration,en ajoutant de s exemples qui nous permettent d'établir quelques réflexions d’ordre général sur les variances et les invariances rel ativesaux pratiques numériques.

Joana Ziller e Maria Aparecida Moura UFMG e UFMG - [email protected] e [email protected] Internet, Produsage and Semiosis: notes based on semiotics from a Peirce perspective Abstract: This article emphasizes an analysis of the relation amongst some concepts of Peirce semiotics and the notion of produsage (BRUNS, 2008). Hence, it will discuss produsage from a perspective of theoretical semiotic structure, particularly from notions of collateral experience, state of knowledge and discussion on the influence of the indices in the relation sign-object-interpretant (BERGMAN, 2010). Bruns (2008) analyzes the typical chain of values from industrial production to propose that the producer- distributor-consumer model is in transition, and discusses its substitution, at least, in what it relates to communicational flows, through the content-produser-content scheme, in which the term produser emerges from the connection of producer, consumer and end user ideas. In this context, the semiosic chain is seen in a multiple and social way, and the processes of semiosis generate recombinations. The interpretant-sign will be the result of the appropriation of shared signs in sociotechnical environments by other interpreters and will generate new sets of modified and extended signs, their planning based on what was interpreted, and then republished. In the digital media, the alternatives for publication, appropriation, modification and republication of representations are found with multiple possibilities of the forwarding of the semiosic chain. In this context, it is possible to compare the idea of produsage to a virtual shared formalization of semiosis, in which colateral experiences and different states of knowledge can have their results registered and disseminated in a rhizomatic, viral growth full of diversity. The dynamics of registration and sharing are subject to a connection among signs, states of knowledge and collateral experiences of the interpreter/produser in a process of semiosis. On publishing a sign or set of signs that emerge at a given point in the semiosic chain, the interpreter/produser does this within a publication environment that constitutes a specific context, and this context will also influence in the semiosis of those who have accessed this content. Inserted in these publication environments, the relation of the signs with the object is influenced by the indicies that comprise such an environment. If we consider YouTube, for instance, the semiosic chain encompasses each element of the page, with titles, tags and comments to beyond the video, permanently pointing to the object, enlarging the possibilities of the set being brought to fruition within the universe of specific reference. Based on these specific potentialities of the environments of publication on Internet, each republication or sharing of signs generates new possibilities of meaning. Appropriated by the interpreters/produsers, altered and republished, these representations stimulate new chains of semiosis, which can generate new signs in a decentralized process, and, to a certain extent, independent from the object that was initially intended to be

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recognized by the signal. Key Words: Semiotics - Charles Sanders Peirce, Produsage, Semiosis, Internet, Interpretant, Digital media.

36. Semiotics of Maps and Atlases （48） Alexander Wolodtschenko (Dresden, Deutschland [email protected] Minidisplay-Atlanten als semiotische Modelle Abstract： Analoge und elektronische Atlanten als semiotische (raum-, zeit- und themenbezogene) Wissensmodelle nehmen einen wichtigen Platz in der modernen Gesellschaft ein. Alle Atlanten kann man aus der Nutzersicht nach dem Zweck, Inhalt, Struktur, Konzeption usw. unterscheiden. Die Minidisplay Atlanten in elektronischer Form auf mobilen multimedialen Endgeräten sind noch „Exoten”. Aber nicht mehr lange. Die 3- bis 5-Zoll großen Bildschirme multimedialer Mobiltelefone bzw. Players sind praktisch und besonders populär bei Studenten. Die Multidisplay-Bildatlanten bringen einen neuen Informationskomfort oder 4-M Komfort hervor, der mit Mobilität, Minimalität, Multimedia und Multidisplaying von raumbezogenen statischen und dynamischen Informationen von Text, Bild und Karte in Verbindung steht. Diverse elektronische Atlanten (auch Mini-Atlanten) kann man beispielsweise als pdf- oder ppt-Dokumente visualisieren und präsentieren, als e-books „lesen” oder als Pictures/Fotos anschauen und durchblättern. Ein One-Display Mobiltelephon ist und bleibt das klassische Gerät für viele Nutzer. Aber die Zukunft der ubiquitären Multidisplay-Atlanten beginnt mit Drei- bzw. Vierfach-Touchscreens. Auf mobilen Geräten (z.B. Smartphones usw.) sind sie spezielle mediale Modelle, die aus atlaskartographischer und atlaskartosemiotischer Sicht kaum untersucht wurden. Hierbei wird das semiotische Potential von Atlanten noch nicht voll erschlossen. Die Minidisplay-Atlanten können neue und attraktive Wege in der Wissensgesellschaft hervorbringen.

Stephan Angsuesser Wuhan University [email protected] About Signs for Train Stations in Chinese City Maps Abstract：This presentation tries to analyze different kinds of signs for train stations in Chinese city maps. For this investigation a pyramidal sign model is used. It allows not only dealing with syntactics, semantics, and pragmatics, but additonally also with signalics and sigmatics of map signs.

Florian Hruby (Guadalajara) [email protected] Alexander Wolodtschenko (Dresden) [email protected] Fife years/volumes meta-carto-semiotics - some interim conclusions Abstract：At the beginning of the 21st century, the field of scientific publishing faces various changes and challenges. In the course of increasing diversification of scientific disciplines, the number of conferences and publications is growing continuously. The number of scientific journals, for example, has been rising from less than 10 in the early 18th century to more than 150000 in the early 21st century. Quantification can also be observed in the realm of evaluation of scientific output, e.g. in the form of impact factors. Hence, managing and processing this flood of information and publications organizationally and intellectually has become a challenging task both for publishers and scientists. Furthermore, ongoing publishing of new journals results in stronger competition for which reason numerous traditional academic magazines see themselves faced with decreasing numbers of paper submissions and readers. New models of publishing and reviewing can be understood both as reinforcing factors and reactions to the aforementioned situation. In these times of change in scientific publishing culture, the e-journal “meta-carto-

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semiotics” was launched in 2008. Topical focus of “meta-carto-semiotics” are research questions on cartosemiotics and theoretical cartography, two subject areas that are hardly taken into consideration by the disciplines they belong to, i.e. cartography and semiotics. On the occasion of the journals fifth anniversary some interim conclusions shall be drawn in the form of a critical review. Evaluating the magazine both in quantitative and qualitative regards we will try to reveal the whole spectrum of themes picked up so far. Taking the editors' point of view, we will also discuss to what extent the chosen open access model with traditional (e.g. single contributions) and non-traditional (e.g. interviews) forms of publication has proved itself to be useful.

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37. Semiotics and Design in the Digital Era 数字时代的符号学和设计

（56） Claudio F. Guerri Universidad de Buenos Aires, Argentina [email protected] The Necessity of a Third Graphic Language Abstract：It can be demonstrated with the Semiotic Nonagon—a logical device, an operative model derived from the triadic categories’of the Peirceansemiotic proposal—that after the Perspective (1500, conic projections) and theMonge System (1800, orthogonal projections) a third graphic language is needed.The Graphic Language TSD is the third graphic system, after the system of Perspective and the Monge System. The TSD was created to address the representation of the qualities of space in regard to pure-form relationship. Since TSD is a graphic language, it has a ‘dictionary’ of form/shape called the Morphic Paradigm and a ‘grammar’ of combinatory possibilities called the Tactic Paradigm. The traditional graphic languages—Perspective and Monge—were developed merely as methods of drawing. Only in the 1980's, advances in Visual and Space Semiotics admitted the status of ‘graphic languages’ for these graphical methods. All languages—verbal, graphic, gestural, etc.—construct a different reality, as do Perspective—quality of dwelling space—and Monge—quantity of matter in space—in regard to the representation of some aspects of space. On the other hand, TSD is the first system of graphic representation that has been conceived as a ‘language’. The CA-TSD isa specialized and expert graphic softwareto operate TSD more efficaciously. By comparing the representations drawn by the different graphic languages, it can be demonstrated that each graphic language makes an ideological reading, absolutely partial and restricted with respect to the architectural complexity.Though, projects of different authors that look remarkably ‘similar’ in a Monge representation are finally very different if interpreted by the TSDs tracings, and on the contrary, projects that look very different may reveal design configurations that are very similar.

Everardo Reyes García (University Paris XIII, France) [email protected] Discovering analysis models for media visualizations Abstract：With the increasing use of computers to visualize large sets of cultural media, we have become aware of new visual productions. Such visual images can be depicted in either static, animated or interactive fashion. The technical process to generate these visualizations is mainly related to image processing techniques: slit scanning, montage, averaging color properties, 2D mapping, 3D plotting. Moreover, we also see networking visualization techniques and text processing visualizations. But what is interesting to analyze in an image that has been produced as result of averaging brightness of a complete film sequence? Do plastic properties of images offer creative perspectives toward the analysis of patterns? In this communication we present some cases where resulting visualizations of large amounts of data of visual media –such as digital visual effects for film and graphic design of skateboards– may be studied from their plastic properties. From the standpoint of visual semiotics, we try to focus on the semantics of indexical and symbolic signs that confer form to resulting visualizations.

Peng LingLing (Wuhan University Philosophy College, China,) [email protected] Metrical Structure in Decorative Chinese Folk Calligraphy Abstract： This communication has it stem on the foundation of the American pragmatist philosopher Pierce’s Iconicity theory beginning from a certain similarity between representation and its denotation to explore the metrical structure and cultural implication of decorative Chinese folk calligraphy. Thus, draw the conclusion that individual’s fancy order is a kind of schema, a valid fashion which revealed the vitality of the natural world around us. As a description, it becomes a mixture

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which does not only resemble the reality of existence, but also involved different meanings. That is to say, it is not only the impression of reality, but can also get a participant in the epistemology of folk art, helping us approach the understanding of Chinese people’s inner circle.

Peng LingLing is student in Wuhan University Philosophy College. Philippe Bootz (University Paris8, Laboratory Paragraphe, France) [email protected] Digital poetry: the nature of signs in programmed digital literature Abstract：Digital literature has several genres and facets and does not constitute “a” literature but “literatures”. In this set, works than manipulate the natural langage and that are designed to be read on a personal computer have interesting semiotic properties dispatched on all the devices and actors involved in the situation of communication the work creates. We will locate different spaces that can be invested by meaning: inside the program, on the screen, in the relation between the reader and the work and even in the internal space of the signal. We will examine then what systems of signs can access one or several spaces. We will examine more precisely the different kinds of signs that can have aesthetic properties inside the program, temporal semiotics that occurs on screen, the regime of dual signs that lies the program with the perceptible result of its execution. Finally we will propose an articulation for a semiotic descrpition of the interactivity. The model will be based on the semiotics of Jean-Marie Klinkenberg. All situations will be illustrated with works.

Cristina Peñamarín (Universidad Complutense de Madrid, Spain) [email protected] World images. Intermediality and the change in meaning systems. Abstract： This communication analyzes visual-verbal texts showing different ways of conceiving and representing the world, that in each case involve certain ways of reinforcing or challenging preconceptions about the object and ways of positioning author and addressee. Its aim is to explore a method by which to address presupposed world visions in the texts and to ask how images and plurisemiotic texts are used to confirm, discuss, or expand the boundaries of systems of meaning. It raises the question of the possibilities of dialogue, hybridization, cultural translation, and the change of systems without losing sight that communication includes walls, barriers, and collectivities that see themselves as mutually incompatible, of discrimination and inability to dialogue. We will develop these problems by analyzing examples of maps and other every-day visual-verbal texts in order to investigate the contributions of these intermedial practices to common interpretive resources.

Mercedes Rico García ( [email protected]) Eva Mª Domínguez Gómez ( [email protected]) José Enrique Agudo Garzón ( [email protected] ) Universidad de Extremadura, España. Moodle interface customization for language e-learning through graphic and visual design Abstract：The teaching-learning process emphasizes visual communication as a key component in facilitating the activation of cognitive processes such as perception, memory, attention, reasoning and motivation among others-(Hoffman, 1998; Kosslyn, 1996; Pro , 2003). If training activities are also based on e-learning, the visual aspect of communication undoubtedly becomes a key element. In this regard, online learning management platforms present significant flaws in the key visual components involved in communication and interaction with the user. Included within these deficiencies are, among others, the lack of identity, the limited use of visual elements to prioritize information, difficulty in communication / visual interaction with the user and the misidentification of activities or content.

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It is true that, especially on platforms free of charge, the modification or editing interface is either complex or of limited use in order to increase user-friendliness. This means that these platforms are generally confusing or intuitively difficult spaces that complicate the process of teaching and learning (Bouza Bou, G., 2003) and require a largely standardized appearance and use, regardless of the didactic purpose they are intended to provide. Therefore, we have developed a graphic design on the Moodle platform for building visually spaces suitable for the transmission and acquisition of language skills. Different environments have been designed based on the philosophy that the visual narrative and graphic codes should be closely related to the objectives of teaching and learning: the color that identifies the skills, the icons that differentiate content, visual differentiation of the types of activities, differentiated icon sizes in order to hierarchically represent information and blank spaces that offer a visual break in order to assimilate visual content. The main purpose is to make an open source platform more visually attractive and ergonomic, where labels, colors, drawings, and the various graphic components generally promote rapid acquisition of knowledge, especially among those students who have a strong visual style of learning (Gardner, 1987). In short, this is a visual perspective of e-learning, because in reality there are many designs that can be used for online learning and many nuances and approaches that emerge from them. (Panella, J. and Rodriguez, I., 2004) This project is part of a research project “Interactive Classrooms 2.0: e-learning platform for language teaching occupational” (PDT08A022), held at the University of Extremadura in collaboration with an e-learning company and was funded by the Government of Extremadura (Spain).

38. Semiotics and computers 符号学与计算机（60） Jianqiao Dong Jiangnan University [email protected] Motivated Arbitrariness of Signs: A Semiotical Analysis of Web Icons Abstract：The arbitrary nature of the linguistic sign is an intrinsic attribute of human language, so it is considered by Saussureans as the cardinal principle of modern linguistics. However, the notion of “arbitrariness” (there is no necessary or natural bond between the signifier and the signified) has long been misinterpreted as “There is no logical connection or relation between a word and what it designs”, thus causing the everlasting debate on “arbitrary and non-arbitrary”. The studies on visual iconicity of Chinese Characters are typical examples to challenge the Saussure’s theory, together with some other studies on phonetic evidence of onomatopoeias and metaphorical phenomenon from the view of cognitive linguistics. Actually, we don’t have to trace back so far as to the origins of the verbal signs. The emerging and extensive use of web icons may well provide us a new perspective to view the issue of arbitrariness of signs because they somewhat resemble the development of human language. Non-linguistic signs as they are, they possess nearly all the natures of linguistic signs, such as interchangeability, replacement, productivity, semanticity, traditional transmission, and above all, arbitrariness. This paper will focus on how web icons take shape, what are their semiotic features, and especially the relationship between their iconicity and arbitrariness: All web icons are explicitly iconic and highly motivated when they happened to be made at first, indicating the relationship between the sign and the referent. Nevertheless, they are symbolic and arbitrary at the same time with no exceptions. For instance, a sign shares a likeness in the form of a house, but it actually means the home page, the place you begin with, go back to the first page, etc. It can be used arbitrarily for any purpose in different context. It is the same to the signs which do have the iconicity to their original forms in details, but once they are fixed as a sign, they have the nature of arbitrariness, respectively taking the connotation as picture, movie, setting, twitter, shopping, podcast, comments or some other meanings or intended activities. Any signs, both linguistic and non-linguistic, are iconic, indexical and symbolic to some extent. This is termed by

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Peirceans as motivation and constraint of signs, but is by no means equal to non-arbitrariness, and contradicts the cardinal principle of sign’s arbitrariness. Both motivatedness and arbitrariness are two un-separable sides of a coin. The former is the external attribute of signs, possesses the nature of relativity and provides the sign sources from the real world, while the latter is the internal attribute of signs, processes the nature of universality and provides the cognitive sources from inner world. Due to the explicit visual features of icons (icon fonts, emoticons or smileys ), they have been widely used in Web Application, Text Editor, video player, Directional and Social communication as well. Most of them have eventually become the criteria of software development and interface design. Systematic study of such a visual language should be attended so as to help us explain more intrinsically the nature of human’s sign action (semiosis). Key words: linguistic sign; arbitrariness; motivation; web icon

Paolo Rocchi LUISS University [email protected] How Semiotics Can Improve Our Knowledge on Computing Abstract： Computer systems manipulate signs and necessarily a straight line links computing to semiotics. This idea unifies the researchers beyond the variety of themes they have tackled. This statement should encourage computer theorists to resort to semiotics in order to decipher the inner logic of systems, that is to say the structural features of digital systems and not merely the communication tasks of those systems. Several computer experts share the concepts of ‘signifier’ and ‘signified’; however they very rarely are familiar with semiotics. There is a special digital divide between semiotics and technology, and the semiotic notions wait to be redefined with the mathematical language. The present study defines the signifier as a physical entity which has the property of being distinct. The semantic relation between the signifier and the signified is formalized through the graph theory. These formal definitions answer some classical paradoxes in information science, specify the dualism analog/digital, demonstrate the possibilities and limits of systems, justify the components and the overall hardware structure of a computer system, calculate the redundancy of systems in a unified way and provide even other results.

Xuening Li School of Foreign Studies Jiangnan University [email protected] A New Semantic Triangle For Applying SFG in Natural Language Generation Abstract: The paper proposes a new semantic triangle which consists of three systems: language, society, and natural & conceptual world. These systems motivates the existence of three metafunctions in Systemic Functional Grammar (SFG), i.e., the ideational function, the interpersonal function, and the textual function respectively. In the perspective of natural language generation, the world system represents the knowledge base, the language system the lexicogrammar source, and the social system the reader's model. Traditionally, the first two systems are placed in a linear sequence, while the society system is consulted occasionally in the selection of knowledge or expression. With the rise of connectionism and artificial neural network, the systems can be re-represented in a new paradigm with the characteristics of being parallel, dynamic and bi-directional. Consequently, this model provides a new understanding of the complex relations among the metafunctions in SFG, and facilitates its application in natural language generation. Experiments show that the model works well for the generation of different texts of Chinese traditional culture for readers of different expertise. Key words: semantic triangle; Systemic Functional Grammar; natural language generation

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Yang Si-young Korea University, [email protected] Semiotic analysis of HCI interface process Abstract：This paper deals with what kind of role the haptic aspects play especially with regard to HCI(Human-computer Interaction). The haptic aspect is characteristic of input devices such as mouse and keyboard. Human should communicate with machine in order to represent their own ideas through machine, which means that human’s using those input devices including keyboard and mouse is quite necessary in order to communicate with a popular machine, computer. In the process of analyzing the steps of interface and its system, the semiological analysis can be quite helpful for that task. We can apply Hjelmslev’s glosematics.(table 1) to the study of making analysis of that communication process. Each cell part of the table could be analyzed independently but also connected with each other. contents(do something in the process of expression(clicking actions) interaction with computer)

Form of content Form of expression Form ex) work processes of word program or ex) Materiality of clicking act moves in computer game interfaces

Substance of expression Substanc Substance of contents ex) gaining interactional emotional effect e ex) Contents of working on document of using mouse Table 1. haptic process applied to hjelmslev’s glosematics Through this work, we could find out the structure of interface interaction, which can be represented by means of the sense of touch that takes diverse forms.

Jianqiao Dong Jiangnan University [email protected] Motivated Arbitrariness of Signs: A Semiotical Analysis of Web Icons Abstract: The arbitrary nature of the linguistic sign is an intrinsic attribute of human language, so it is considered by Saussureans as the cardinal principle of modern linguistics. However, the notion of “arbitrariness” (there is no necessary or natural bond between the signifier and the signified) has long been misinterpreted as “There is no logical connection or relation between a word and what it designs”, thus causing the everlasting debate on “arbitrary and non-arbitrary”. The studies on visual iconicity of Chinese Characters are typical examples to challenge the Saussure’s theory, together with some other studies on phonetic evidence of onomatopoeias and metaphorical phenomenon from the view of cognitive linguistics. Actually, we don’t have to trace back so far as to the origins of the verbal signs. The emerging and extensive use of web icons may well provide us a new perspective to view the issue of arbitrariness of signs because they somewhat resemble the development of human language. Non-linguistic signs as they are, they possess nearly all the natures of linguistic signs, such as interchangeability, replacement, productivity, semanticity, traditional transmission, and above all, arbitrariness. This paper will focus on how web icons take shape, what are their semiotic features, and especially the relationship between their iconicity and arbitrariness: All web icons are explicitly iconic and highly motivated when they happened to be made at first, indicating the relationship between the sign and the referent. Nevertheless, they are symbolic and arbitrary at the same time with no exceptions. For instance, a sign shares a likeness in the form of a house, but it actually means the home page, the place you begin with, go back to the first page, etc. It can be used arbitrarily for any purpose in different context. It is the same to the signs which do have the iconicity to their original forms in details, but once they are fixed as a sign, they have the nature of arbitrariness, respectively taking the connotation as picture, movie, setting, twitter, shopping, podcast, comments or some other meanings or intended activities.

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Any signs, both linguistic and non-linguistic, are iconic, indexical and symbolic to some extent. This is termed by Peirceans as motivation and constraint of signs, but is by no means equal to non-arbitrariness, and contradicts the cardinal principle of sign’s arbitrariness. Both motivatedness and arbitrariness are two un-separable sides of a coin. The former is the external attribute of signs, possesses the nature of relativity and provides the sign sources from the real world, while the latter is the internal attribute of signs, processes the nature of universality and provides the cognitive sources from inner world. Due to the explicit visual features of icons (icon fonts, emoticons or smileys ), they have been widely used in Web Application, Text Editor, video player, Directional and Social communication as well. Most of them have eventually become the criteria of software development and interface design. Systematic study of such a visual language should be attended so as to help us explain more intrinsically the nature of human’s sign action (semiosis). Key words: linguistic sign; arbitrariness; motivation; web icon

Ren shixian Guizhou BANT information research institute of engineering best-synergy technology Theory of network synchronic research Abstract：The initial network and critical network is two kinds of running state which network plan has in the same element node, it is the foundation and starting point of network synchronic research. Elements and sub network is the two basic objects of network planning technique research. This paper illustrates network synchronic research through elements and sub network; it also reveals and proves that the structure symbol network belongs to linguistics. Consequently it tests and verifies that Saussure who divided linguistics into synchronic linguistics and diachronic linguistics and emphasized to study language as a system is right from the point of view of the network symbol language. At the same time, it proves that structure symbol network planning technique is right from the point of view of the network synchronic research. Key words: Critical network; Element node moments; Network synchronic research; Nested-network structure; Zj/i hierarchical operation.

Wei Zhang, Jiangnan University [email protected] A Social Semiotics Approach to the Multimodal Discourse Analysis of Pizzahut Homepages in Different Cultures Abstract: The paper analyzes several multimodal homepages of Pizzahut systematically, from three perspectives, namely representation, interaction and composition within the visual grammar theoretical framework, which is the social semiotic approach to multimodal discourse proposed by Kress and Van Leeuwen. This paper attempts to explore how the representational meaning, interactional meaning and compositional meaning are realized to improve the effect of advertising, and how Pizzahut has tried to convey cultural information by different homepages. Based on this analysis, a cultural comparison is also made to examine how they realize their communicative purposes with the target consumers. It is proved that the multimodal discourse analysis theory is very helpful in understanding the web page advertisements. Key words: multimodal discourse analysis; Semiotics; Pizzahut homepages; cultural variations, web advertisement

Chun Hu, Jiangnan University [email protected] Reflections on separability of Language and Thought Abstract: Language, thought and meaning are three distinct systems integrated in the process of expression and comprehension. Language is the form, thought is the means, and meaning is their common target. Linearity is an essential characteristic of language, while thought is multidimensional. Multidimensional thought is to be transformed into linear grammatical sentences, which

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combine language elements in fixed order. The fixed order in one language may not be grammatical in another. Hence separation of language and thought is crucial and indispensable in expression and comprehension, especially in interpretation. If language and thought can be separated, meaning is deverbalized and can be expressed in any language. Key words: language; thought; separability

39. Semiotics for the innovation in the product design 产品设计革新符号

学（64）

.D:I ESp German Charum Sanchez Universidad Autonoma de Colombia Universidad Piloto de Colombia Pontificia universidad javeriana The semiotics and the design; value of the cultural communication across the object/product Abstract：Since the Industrial Design does his incursion in the social human scene, since a young woman disciplines that it tries to happen between the desires of the being, the needs of the same one and his manifestations material as condition and response, the objects and / or products and in epochs mas recent the services, they have constituted his raison d'être. The above mentioned processes are loaded undoubtedly with specific conditions that reflect the condition of thought and the world visions that this being has, doing that these interlace in complex processes that discover knowledge, conditions, distresses, and establishments of the cultures and his possessions It is possible at the time to understand, from this perspective, the products arisen from the skilful capacity of the designers as punctual answers who are constituted in a redemption of the cultural act and in a fundamental demand where the communication rears up and hands of the product with great strength and with the intimate need to come in a forceful way to his consuming public inspector and to his mediate company loaded with processes and with communicative means that compete in constructing rhetoric’s of convictions and imaginary of wished worlds and many. Unattainable times. The products, services and objects become at the time in communicative means that denote the harsh undeniable cultural one and connote particular qualities from this relation of the identity that in the contemporary world appellant glimpses as a scene increasingly and pregnant and that to any light will be the domain of the object / product in a nearby future. The fundamental intention of this table is to reduce and to accentuate increasingly the bows that join us from the vision to discipline of the Semiotics, giving him content to his absolute priority of being incorporated as essence of the design and soul of the creative process of the designer, since his occupation is of giving sense and forms to the demanded products form that is communication and communication that he constructs it affects and establishes the concept of culture. Target. To talk , to raise, to structure and to enunciate the deep and precise relations that from the semiotics are projected towards the design, as condition of commonness, of understanding and of deconstruction constant of the environment, for his draft, writing, make a project and communication across possible products and processes that demand increasingly the companies, in his zeal to give response to what it is known as implicit needs of the subject and that is sustained in the acceleration of the history, the fragmentation of me, and the image as fundamental value in the new scenes.

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Di Esp. Germán Charum Sanchez Autonomous University of Colombia Universidad Piltoto de Colombia Pontificia Universidad Javeriana THE OBJECT OF DESIGN AND THE CONSTRUCTION OF THE EXISTENTIAL CONTEMPORARY SPACE Abstract： The survey of the composition of the space, is in reality her search unceasing of the signification of the very, of your dimension and transcendence on the fussiness of the liable in her plight of townsman. The object Product as gist of the design industrial , has as finality the power erect , creditworthy , satisfy and nourish the interfaces ( protocol of stock and relationship ) which itself produce in the activities of humankind , The design at that time , as of his onsets of philosophize itself she worries around render larger signification and relevant at the notion of dwell as of and by the object of wear , and at o'clock relationships which has with the space , is this ( the object ) the which in reality directional and net box at the liable in her dimension one-to-one into her space , delivering heartfelt and identical equation at o'clock relationships of permanent and they live which itself give rise to as of of the space object and the object space. Jean Baudrillar in her book “ The system of the objects interrelated the heartfelt and her signification of the dimension spatial , architectural , at the dimension of the object very , which too is content and assorting , structure fundamental of the job of the tracer , and which she needs one reflection semiótic each time further violent of the heartfelt of this and her structure of intercourse. The unworn territories inhabited and socially live itself undo and itself they build at unworn commands of objects , birdlime her search of the identical equation , her acceleration of the deeds and her velocity of the very at the worth symbolism which the object I attained hand over to these , that is the object evolve according to the dimension of the space , and convertible at the space as per your own form at function of the liable which the possessor and they use. . The fathom and erect the axiom of form , and the unworn heartfelt of the system object contemporary at infinity of humanity parallel and instantaneous ; which overflowing the markets live , at function of the space container , is the spindle fundamental of this speech , which pretend declarative of way concretion as her semiotic of the knowledge itself ago part on the she reflects significant in order to render heartfelt and profundity at the speech visual which emanation of the product and itself holdings on the memory of the space which itself casing with he on a timeless while away of assessments , and purport , fitting

Dr. Alfredo Tenoch Cid Jurado Universidad Autónoma Metropolitana Xochimilco Asociación Mexicana de Estudios de Semiótica Visual y del Espacio Federación Latinoamericana de Semiótica La semiótica, el objeto y la escritura: uso y complejidad en la vida Una característica cada vez más presente en el diseño de los objetos cotidianos remite a la tradicional dependencia la lengua escrita que se hace presente a manera de indicaciones, manuales, explicaciones en grado de determinar la complejidad en la interacción con los seres humanos, el objeto y su entorno inmediato. Una serie de factores intervienen en esa relación y condicionan el grado de complejidad de manera ulterior llegando a complicación como el resultado de la interacción entre dos lógicas: la que modela el pensamiento a partir del objeto como prótesis o extensión del cuerpo, y la que modela a partir del pensamiento lógico de la lengua natural- Se trata de la suma de aspectos culturales, éticos, cognitivos, ontológicos y su despliegue en las formas rituales y en la acción cotidiana de cada día. A partir de la presentación de los modelos canónicos de la semiótica aplicados para el estudio del objeto cotidiano, se analizará el grado de complejidad que se agrega con la presencia determinante de la escritura en la interacción. Se trata de poder definir al objeto cotidiano desde una perspectiva semiótica que describa el grado de complejidad determinado gracias a la presencia de la escritura como requisito indispensable para la relación factual con objeto- hombre. La tipología resultante de los casos observados podrá establecer las casusas que generan una presencia de los factores definidos a manera de aspectos, mismos que resultan necesarios para poder establecer grados de

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complejidad gracias a la presencia de la lengua escrita como catalizador determinante en el uso del objeto. A partir de los modelos de Eco (1999), Bonnot (2002), Deni (2002), se revisarán las contribuciones de Zinna y Fontanille (2005), Pezzini (2007) y Norman (2010). El objetivo es mostrar la vigencia de la semiótica del objeto en el acto de individuar las problemáticas que derivan del uso cotidiano de los objetos en la complejidad y relacionados por la escritura para lograr la interacción con el hombre. ALFREDO TENOCH CID JURADO Doctor en semiótica por la Universitá degli studi de Bologna en Italia donde curso también el curso de posgrado en Semiótica del Arte. Trabajo en la Cátedra de semiótica de esa institución bajo la dirección de Umberto Eco y Paolo Fabbri. Es miembro del Sistema Nacional de Investigadores desde 2001 y posee perfil PROMEP. Autor de más de 45 ensayos y artículos especializados en Semiótica Visual, Semiótica del espacio, Semiótica de la escritura, Códices Mesoamericanos. Ha publicado en Visio, Designis, Opción, Cuicuilco, Colección latinoamericana de Semiótica, etc., en francés, italiano, español e inglés. Ha sido conferencista y profesor invitado en universidades de Europa, Latinoamérica y México. Ha coordinado diversos grupos y seminarios de investigación: Códices y escritura Mesoamericana, Antropología Visual y Semiótica de la Imagen, Cátedra de Semiótica. Ha realizado estancias de investigación en el Museé de l’Homme (París 1994 y 1995), Universidad de Viena (2002), University of Texas at Austin (2003), Universidad Autónoma de Barcelona (2007), Archivo General de Indias (2011). Es Profesor Investigador Titular C en la Universidad Autónoma Metropolitana Xochimilco.

Humberto Chávez Mayol Centro Nacional de las Artes, México Ese objeto del tiempo… El objeto asume formas y conceptos distintos al momento de interactuar con el tiempo. El connubio resultante representa una amplia gamas de posibilidades útil en un doble sentido: por una parte dirigido hacia la comprensión de los objetos en su relación con el hombre, por el otro hacia la apropiación semántica del tiempo por parte de cada cultura generadora de objetos. En este trabajo se analizan las funciones representacionales del reloj, entendido como objeto y como diseño a partir de las expectativas del tiempo dentro de los marcajes culturales de distintas épocas. Se habla del reloj en el tiempo y el tiempo del reloj en la cultura. Una aproximación semiótica, permite comprender cómo se constituye un objeto representacional que alude a los ritmos de la actividad humana y como se articula la ficción temporal de la cultura focalizada en un objeto. Mediante una serie de reflexiones que toman como punto de partida la semiótica de Charles Sanders Peirce será posible la descripción de la relación del tiempo como signo del objeto y el objeto como signo del tiempo.

Jun Yamaguchi and Teruyuki Monnai Graduate School of Engineering, Kyoto University ([email protected]) Constructing a Model of Design Process Based on C. S. Peirce’s Theory of Inquiry Abstract： Architectural design methodologies have been profoundly affected by epistemologies in philosophy. Two major traditions in epistemology, rationalism and empiricism gave the origin to a strong view of designing as a rational problem-solving. However, this view has its limit which has its root in a foundationalistic tendency of these epistemologies. That is, because it recognizes designing as a derivation of knowledge or solution from a given problem as a base of the knowledge, it is not adequate as a model of architectural design process, where the problem is often uncertain or “wicked”, and so cannot be a base of knowledge, but should be redefined and clarified continuously by designing.

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George Rossolatos University of Kassel Applying structuralist semiotics in brand image research Abstract：The aim of this paper is to display a methodological framework for brand image research by drawing on a structural semiotic perspective. In greater detail, the paper will address how brand image may be operationalised in structural semiotics terms vis a vis a brand’s intended positioning, how it may be linked with the brand’s advertising discourse and how the conceptual framework may yield a platform for ongoing brand image analysis and management. Furthermore, it will be illustrated by pointing out gaps in previous endeavors in brand semiotics as to how a competitive outlook may be and must be incorporated in a brand’s image exploratory. In the course of the presentation a rationale will be exposed for comparing between a standard marketing theory branding model and the suggested semiotic approach, while highlighting their respective pros and cons. In the context of this comparative outlook the relative merits of structuralist semiotics will be highlighted with regard to bespoke brand image studies and tracking surveys.

Part G: Areas

40. American (USA) Semiotics: Current Trends

美国符号学：当前研究方向（29） Farouk Y. Seif Antioch University Seattle, Center for Creative Change [email protected] Toward Global Semiotics in a Transmodern World Abstract: The idea of connecting semiotics with transmodernity is more than conjecture. In fact, Peirce's philosophy includes most of the significant features of transmodernity, particularly, where the extraordinary triadic conception of semiotic sign makes our perception of reality utterly open, continuous, interpretable, and transparent. The infusion of “global semiotics” is evidenced by various trends of transdisciplinarity, interculturality, interfaith, and metamorphosis of the Absolute, to name a few. To sustain global semiotics in our transmodern world we must develop the capacity to perceive transparently and integrate disparate modes of thought and consciousness. Initially, transmodernity was introduced to overcome the deficiency of both modernity and postmodernity, reintegrating many contrasting variables and prevailing over the conservative ideology and dogmatic establishment. Paradoxically, while transmodernity maintains the singularities and differential perspectives of postmodernity, it retains simultaneously the universality and integral trends of modernity. In a transmodern world—which is characterized by diaphanous perception, cognitive revolution, interconnectivity, and cultural metamorphosis—global semiotics needs to cross over the inflexible boundaries of absolutism. Bridging civilizations is not accomplished by homogenization of differences; rather, bridging civilizations must be obtained through semiotic transparency of the long-held differences of history, languages, cultures, traditions, and religions. This seems to be the raison d'être of global semiotics in the new millennium.

Donna E. West State University of New York at Cortland Lived Experience as the Basis for Abductive Reasoning: A Peircean Developmental Perspective Abstract: A case will be made for the indispensability of embodied experience as a foundation for Peirce’s pragmatic semiotic, especially given the place of semiosis in signification. Lakoff and Johnson’s model of space and time, from dependence on physical, embodied experience, to more analogous based concepts in the mental world, is employed as a framework for a discussion of the primacy of Secondness in Peirce’s model of reasoning. Peirce’s

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later writings reveal that abductive reasoning entails “recommending a course of action,” demonstrating the pivotal place of Secondness in abductive thinking. Nonetheless, recommending a course of action does not stop at experience—it likewise relies on spontaneous insights to trigger a synthesized and acceptable explanatory prediction of a state of affairs. The prediction/hypothesis emanates not from previous direct experience, but from its culminating effects. This “retroduction” ensures the preeminence of self controlled logic (Thirdness impinging on Secondness) over capricious affect in Firstness.

Richard L. Lanigan International Communicology Institute [email protected] Communicology and American Semiotics: Recent Research Reflections Abstract: Communicology is the new name for the science of human communication, and replaces a long line of historical names for the theory and method of studying it. After a review of this traditional Western nomenclature and its general shifting theory base, the analysis turns to recent publications of applied research on Communicology in the United States of America. The role of Semiotics as a methodology has been and is a major influence in the ongoing development of Communicology as reflected in the current activities of the National Communication Association (USA) and the Semiotic Society of America.

41. Semiotics in Japan 日本符号学（30） Takuya OGURA Osaka University [email protected] Translation and Existence Abstract: In this presentation, we examine the relationship between translation and human existence, more precisely, “human existence as translation,” by following such thinkers as M. Heidegger, J. Lacan, and G. Agamben. As famously known, R. Jakobson, basing on C. S. Peirce’s theory of semiosis, determines the translation in broader sense. According to him, the meaning of a sign is nothing but a translation of that sign to other alternative signs. This insight into the translation enables us to consider that the world appears as a kind of translation. Adopting Heidegger’s phenomenological theory of the world, human and language, we explore the relationship between this “world as translation” and human being. In the course of exploration, we have to deal with a kind of metaphysics of translation. In other words, we speculate on the dynamic moment and its internal structure of the origin of translation. By referring to the investigations into infancy by Lacan and Agamben, we try to explain the origin of translation as language acquisition which is not a chronological but transcendental and logical moment. Agamben’s view on the denotation and the shifter makes it possible to consider human being as translation. We can draw out from above the perspective that it is through translating himself that human being is born into the world as translation. Then we relate this conception to D. Davidson’s radical interpretation theory and the principle of charity, in order to demonstrate that the translation of the self and the world is grounded on the gamble of interpretation. Yumiko TOKITA-TANABE Global Collaboration Center, Osaka University [email protected] Substance-code, Body-person and Social Relations in India Abstract: This paper takes up the concept of “substance-code” in the ethnographic context of India to illustrate how social relations are constructed. The idea of substance-code was first introduced in anthropology of South Asia and has been subsequently taken up in ethnographies of other parts of the world. Substance-code, or coded substance, is material substance imbued with meaning which is transferred from person to person. According to this logic, a person is made up of substances which are transferable, and there is continuity between substances composing the actor, substances which flow to a receiver as the result of action, and substances composing the receiver of the action. In other words, persons are

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not conceptualised as bounded units or an individual, but as open-ended entity or a “dividual”. Transfer of coded substances occurs through food, sex, sharing social space and gift exchange. In this paper, I introduce the concept of the “body-person” to describe and analyse how the flow of substance-code constitutes the material body and social position as a single entity. In this view, the body is embedded in social relations throughout the person’s life course from the very beginning at the time of conception to the time of death. I take up examples of how a body is formed at conception and transformed through ritual and social interaction in India. The body-person in this context is conceptualised as a manifested form of sakti, an unlimited power that is the generative potential itself. By sakti being manifest, I refer to the materialisation of the infinite power in a bounded form in concrete space and time as a specific body-person. The life course of a body-person is a process of transformation of the material form of sakti. The ethnographic description in this paper deals with how sakti is transformed with special reference to changes in a woman’s body-person during her life course. What is particular about a female body- person is that it has the capacity of mediating the transformation of sakti in the life course of a body-person by nurturing the foetus in the womb, giving birth to the body-person and feeding and maintaining it. A married woman whose husband is alive is responsible for cooking for and feeding family members, and exchanging food between households. Partaking of food is a major way in which the body-person is transformed. The woman is the main transformer of raw food to cooked food and the one who serves this food. She is thus the mediator of sakti through food to the family members. The family members share substance-codes by eating the same food mediated through the wife-mother. This paper shows the significance of substance-code exchange in the construction of social relations which change over time in the course of a body-person’s life.

Tatsuya HIGAKI Osaka University [email protected] Possibility of Ecological Semiology in Deleuze=Guattari Abstract: Deleuze=Guattari presented in their collaborated work entitled Mille Plateaux the possibility of newly thought ecological semiology. This type of semiology rejects semantic and syntax when approaching to the language, and highly esteems their own ‘pragmatics’. They say that this idea excludes the ‘siginifiant’ of Saussure as the Oedipus of linguistics, and make clear the hybrid and collective character of language out of the ordinary linguistics. They quote the name of L.Hjelmslev or C.S.Peirce, but their thoughts are deeply founded by their own theory of Nature. In his first stage, Deleuze tried to explain how the language appears from the body by using the psychoanalytical theory and examined the language by the structuralistic way , but after the collaboration with Guattari, they denied the psychoanalyze and in the same manner the linguistics itself. For them, a kind of ‘regime of signs’ on ‘plane of consistency’ is more important. And with this base, they began to think the origin of sign or language as refrain which every animal or plant has for their own life, for example, to territorize their space or to make a couple(as sexual selection). This type of sign appears in various ways by using our body or natural materials. Of course this type of sign is different from that of human beings. But to think our language from this point of view can open the new type of the existence of language as in the domain of the ecological unconsciousness.

William James McCurdy (Department of English and Philosophy, Idaho State University [email protected] Kūkai’s Metaphysics and Philosophical Anthropology in the Light of C.S. Peirce’s Semeiotic Abstract: Kūkai (774-835 A.D.) is the first thinker in Japanese intellectual history of major philosophical significance. As a young man he turned from the Confucianism of his childhood to Buddhism, eventually going to China to study Vajrayana Buddhism. After returning to Japan he began to articulate a sophisticated account of the universe in general and a correlate account of human beings in particular involving a theory of signs as the core of his Shingon (True Word) Buddhism. Kūkai’s semeiotical metaphysics together with its companion

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philosophical anthropology is one of the greatest Japanese contributions to world philosophy. In this paper I will argue that the philosophical semeiotics of American philosopher C.S. Peirce is especially well-suited to provide concepts and tools for elucidating Kūkai’s theory of reality, man, and their interrelation. First, I will examine some major parallels and affinities between ideas of these two thinkers. Paramount among these is that they both believe that the macrocosm is a vast sign as well as that the microcosm which is man is also a sign, indeed, a sign of the macrocosm. Next, I will discuss Peirce’s thesis that the semeiotic relation is a genuine triadic relation and examine some triads that are central to Kūkai’s thought. I will contend that Kūkai’s sound/word/reality (Shoji jisso) triad are the relata of a genuine triadic relation of signification. I will also apply the icon/index/symbol trichotomy from Peirce’s taxonomy of sign classes in order to illuminate Kūkai’s account of how man signifies Mahavairocana (Dainichi). I will end by using these insights to give a semeiotical account of the doctrine of Hosshin seppo, the teaching of ‘the dharmakaya’s expounding the dharma’.

Satoshi Sako Osaka University [email protected] Empathy” in Semiotics Abstract: The aim of this presentation is to explore and develop the concept of “empathy” in semiotics, especially that of C. S. Peirce, with reference to studies on the mirror neuron system (MNS). In Peirce's evolutionary cosmology, evolution has three modes. First mode of evolution is tychastic evolution (tychasm), which is based on natural selection (Darwinian way). Second mode is anancatsitc evolution (anancasm), which is based on cataclysm (outer changes) or genes (inner changes). Third mode is agapastic evolution (agapasm), which is based on inheritance of acquired characteristics (Lamarckian way) and has been most emphasized by Peirce. This anancatsitc evolution is driven by two powers: “sympathy” and “effort.” But Peirce does not adequately explain “sympathy,” and the expression “agapastic evolution” seems romantic. Therefore, my presentation refers to recent scientific researches on “empathy,” in considering Peirce’s idea of “sympathy.” Since the discovery of mirror neurons in the early 1990s, the MNS is largely regarded and researched as a neurophysiological basis of empathy, imitation and language. These researches have revealed that the MNS, a mechanism of empathy, is related not only to mechanisms for social perception, but also to mechanisms of body and action. Furthermore, the MNS is more deeply related to “perception of action itself” regardless of the distinction between self and other. These results have influenced fields beyond neourophysiology, such as psychology, ethology and even robotics, and have changed our ideas about empathy itself. Although scientific researchers almost always use the word empathy, Peirce uses the word sympathy and does not use the word empathy. For this reason, we cannot directly link the researches on the MNS with Peirce's evolutionary cosmology. Also empathy and sympathy are often used in confusing ways in different fields. In this presentation, I refer to Wispé’s view on empathy and sympathy. Lauren Wispé, an American psychologist, examines each genealogy and then redefines them as follows, “Sympathy is a way of relating. Empathy is a way of knowing.” From this point of view, I re-explore Peirce’s concept of “sympathy” and recent scientific researches on “empathy” and try to locate “empathy” in semiotics. By a way of conclusion, I discuss the potentiality of empathy in semiotics.

Takuya KOBAYASHI (Kyoto Sangyo University [email protected] Deleuze’s Natural Philosophy and Problems of Language Abstract: The French philosopher Gilles Deleuze with Férix Guattari who is specialist of the psychoanalysis, criticized every theories of language including Chomskian linguistics in A Thousand Plateaus (1980). That is because the phonology and morphology aim to extract only the grammatical rules or homogeneous system, and never understand that “[e]very language is an

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essentially heterogeneous reality” (MP93). Their aims are very political, Deleuze and Guattari say, because they “claim on a base in pure scientificity” (MP92) homogenizing and standardizing our various language. Deleuze and Guattari’s comprehensions of language clearly appear here. They investigate the language from the various aspects provided by non-linguistic elements, and try to understand it as a problem of the individuality or the expressiveness realizing itself within these elements. This paper argues the awareness of problem from which such singular comprehensions of language result. It would be anticipated that it was caused by Deleuze’s interest in the multiplicity, rhythm and repetition in nature, and his criticism against the way of philosophical thinking reducing them to the unity of subjective perceptions or the identity in recognitions. Deleuze had kept on attention to these issues since Difference and Repetition (1968). Deleze and Guattari are neither linguists nor semioticians, nevertheless, their conceptions of language would force us to reconsider what the language is essentially, and what the sign is. This paper would get some clues to reply to these essential problems through clarification of Deleuze and Guattari’s conceptions of language.

Aroz Rafael, Aingeru Graduate School of Interdisciplinary Information Studies, University of Tokyo [email protected] Austrian Echoes in Two Japanese Criticisms against Ferdinand de Saussure: A study on the theoretical background of Tokieda Motoki’s and Nakashima Fumio’s rejection of the Saussurean key concepts of “signe linguistique” and “langue” Abstract: Ferdinand de Saussure’s Cours de linguistique générale was read in Japan since the mid-1920s and very early translated by Kobayashi Hideo in 1928. Ten years later, the Japanese linguist Tokieda Motoki would carry out, through a series of works starting with “The essential view of language as a mental process” (1937) and culminating in the famous Fundaments of Linguistics (1941), a harsh criticism of the Cours and its kernel notions of linguistic sign and langue. In the same period, Nakashima Fumio, a linguist and a declared follower of Anton Marty, published his Semantics: Principles of Grammar (1939), in which he inveighed against Saussure’s linguistic theory in terms not dissimilar to Tokieda’s. While Nakashima’s theoretical assumptions. loyal to the philosophy of language of Marty, kept his work out of the mainstream debate of the Japanese linguistics of the following decades, Tokieda’s theory of language and his comments on Saussure made rivers of ink flow. His misunderstandings about the Cours, due, to a considerable extent, to the problems of the early Japanese translation, are nowadays well known. It seems that Nakashima’s critical attempt, for its part, stumbled with the same obstacles. The purpose of this paper is to read their rejection of the Saussurean concepts beyond their flaws: rather than evaluating them for what they say about Saussure, we will delve into their criticism in order to grasp what it tells us about their own conception of language. Nakashima’s explicit adhesion to Marty’s theory of language and the important influence of Husserl’s phenomenology in Tokieda’s work give us a crucial clue: the often overlooked fact that the theory of language and meaning elaborated by Franz Brentano and his disciples exerted an important influence in the Japanese linguistics of the first half of the 20th century. We intend, thus, to demonstrate that Tokieda and, of course, Nakashima, speak basically an “Austrian idiom” in their reflections on the essence of language and that the nature and terms of their opposition to the Saussurean conception of language as a system of signs cannot be understood completely unless considered in the light

Goro Yamazaki (Osaka University [email protected] Affection and Economic Action: On the Socio-economic Life of Organs Abstract: In this paper I discuss the relationship between body images, affection and economic practices in the case of organ transplantation in Japan. Most of the materials cited here were collected during my anthropological fieldwork in Japan from 2002 to 2008, including interviews with recipients and donor families.

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As is well known today, contemporary medicine evokes many questions on humanity and subjectivity in relation to the use of human body as resources. Resources imply an economy and that is why recent medical practices are frequently discussed as a matter of bioeconomy. Following the Foucauldian conception of biopolitics, this term is used in social sciences to refer to the economy of life itself, and it is characterised by the specific way of transforming non-economic materials (human bodies) to exchangeable objects. This socio-economic process of transformation involves various problems from ethics to the way of imaging the body. Thus the economy of human bodies is different from market economy. In order to understand this process, I focus on the effects of affection that recipients and donor families have when they participate in the medical practices. For example, recipients have curious feelings after the transplantation in relation to the anonymous deceased donor. These feelings are sometimes expressed in terms of rebirth, change of personality, naming the organ and so on. Furthermore, this kind of imagination leads them to participate in social activities together with other recipients and donor families. Without these social relationships, the act of donation and the experience of transplantation remain a personal matter. I also examine how these social imaginations construct the economy of organs. In other words, I focus on the processes that body and economy are co- constructed through these social practices. Organ donations and their implications are often explained in terms of gift economy. But when we take into account the aspect of affection, it reveals another dimension which differs from the theory of gift in anthropology. I try to clarify the difference and argue the importance of reconceptualizing the bioeconomy of organs from the point of view of affection. By doing so, we can understand the significant relationship between affection and economic actions. The investigation of bioeconomy from the point of view of affection opens up a new horizon in understanding the experience of organ transplantation. As conclusion, I point out that experiences of recipients and donor families, which sometimes appear to be curious and over personalized, are crucial to understanding the socio-economic status of the body. The body can be imaged without specific person-body correspondence and can be experienced differently from organic unity through such medical practices. I also argue that focusing on the role of affection provides an important key to conceptualizing bioeconomy beyond the gift/commodity dichotomy.

Yuki YAMAMORI Osaka University [email protected] “Attention” and “Subjectification” in Society of Control Abstract: Today we live in a society in which information technology is highly developed (TV, internet, mobile phones, etc.). We are faced with overflowing amounts of information, and under such conditions we realize that our “attention” has become a limited resource, since it is impossible to direct our attention to all the available information. We are also tired of being flooded with too much information. In spite of this, we cannot help paying attention to the interface which supplies information. In the past decade, economic theory has turned to the concept of the “attention economy” to come up with economic strategies to benefit from focusing and controlling limited human attention. We now live in an age where our attention is not at our disposal, but attracted, forced and controlled. In this presentation, I take up Gilles Deleuze’s idea of “society of control” and examine how our attention is controlled by analyzing the function of signs which attract our attention, and explain the process of subjectification through the control of attention. The presentation takes the following steps. Firstly, by applying the semiotics of Charles S. Peirce, I discuss the relationship between attention and index attracting it. Secondly, I consider the contemporary context of the problem of attention, with special attention to the works of Jonathan Crary, Jonathan Beller, and Franco Berardi, and explore the relationship between attention and subjectification. Thirdly, I deal with the basic concepts in The

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Attention Economy by Thomas H. Davenport and John C. Beck to develop my argument. Finally, I examine whether it is possible in today’s world to become the subject of attention without being subjugated.

Ramunas Motiekaitis University of Vilnius Lithuanian Academy of Music and Theater [email protected] XX Century Philosophical Paradigms of Japan and the West: A View from Greimassian Perspective Abstract: In this presentation I would like to reveal some basic ideas of my interdisciplinary and intercultural research. I would like to show how the aspects of homogeneity in philosophical myths (texts) can be explained on the basis of Greimassian semiotics. Since philosophy always speaks about human’s relationship with the surrounding, in philosophical texts we can always find fundamental actants – subject and object and fundamental modalities – conjunction and disjunction. Philosophical paradigms, in this way can be considered and analyzed as narratives based on fundamental and discursive syntax. “Totality” and “belongingness” are the key XX century philosophical principles I would like to discuss. As distinct from logocentrism, manifested as substantializations of the “world of ideas”, god or mind, totality could be defined as the coexistence (belongingness) of ontological opposites and opposite modalities. Heidegger, Merleau-Ponty and Nishida often illustrated this principle by identifying polarities, such as being and nothing, seer and seen, truth and illusion, etc. Accordingly, totality could be schematically presented as an all- encompassing middle of the semiotic square, i.e. initial differentiated unity.

42. Semiotic research in the German-speaking countries: Architecture, music, gesture, picture

德语国家符号学研究：建筑，音乐，姿态，绘画，传媒，风格（32）

Gloria Withalm University of Applied Arts [email protected] [email protected] An Overview on Semiotic Activities in Austria and Jeff Bernard’s Role in the Semiotic Community Abstract: Though Austria cannot compete with Switzerland with regard to a founding father of Semiotics, there are certain well-known scholars like Karl Bühler or Ludwig Wittgenstein—to name but two— who contributed to the theory of signs and sign processes. However, semiotics in the sense of a real enterprise developed only in the late 1970s starting with the foundation of the Österreichische Gesellschaft für Semiotik– Austrian Association for Semiotics ÖGS/AAS in 1976. Some thirteen years later, in 1989, the Institute for Socio- Semiotic Studies ISSS followed. Together they organized larger and smaller conferences, published several book series and two journals and initiated research projects. In a first part I will present an overview on some of the topics and trends that characterized Austrian semiotics throughout these three decades. The second part of my paper will be dedicated to the late Jeff Bernard who initiated, or was at least closely connected to, many of these activities. But his role—scholarly and on an organizational level—was not confined to the semiotic scene in Austria, as shown by the close collaboration with other semiotic groups (especially in the neighboring countries) and by the twenty years of fulfilling different functions in the Bureau of the International Association for Semiotic Studies IASS.

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Roland Posner Semiotic Research in Germany: Sign Theory as a Basis for the Analysis of Cognition, Communication, and Emotion Abstract: Since the publication of the historical survey by Posner and Krampen on “Semiotic Circles in Germany: From the Logic of Science to the Pragmatics of Institutions” in The American Journal of Semiotics 1 (1981): 169-212 (see also Zeitschrift für Semiotik 1 (1979)), sign theory has made steady progress in Germany, which was supported by the German Association for Semiotic Studies (DGS) founded in 1976 and by a growing number of interdisciplinary research groups, which concentrated on the analysis of (1) science, (2) the arts, and (3) everyday life. These activities strongly contributed to the epistemological paradigm change from the humanities to cultural studies, which revolutionized the organization of academic teaching and research in the 1990's. They helped (a) to conceive of the arts as special ways of cognition, to explain cultural institutions as specialized ways of communication, and to understand everyday life as controlled by individual and collective emotions. The present paper informs, among other things, about prominent recent institutional, research, and teaching developments such as the controversy — between phenomenology, media studies, art history, and semiotics in the analysis of picture perception (Sachs-Hombach), — between linguistics, psychology, and semiotics in the analysis of gestures (Müller), — between social psychiatry, biology, and semiotics in the organization of medical therapy (Debus), — between architectural theory, design practice, city planning, and semiotics in metropolitan studies (Reif), — between food industry, hotel business, tourism, and semiotics in culinary studies (Wierlacher), and — between game theory, discourse analysis, and semiotics in soccer and other olympic sports (Gebauer, Ziem).

Ernest W.B. Hess-Lüttich German Department, University of Bern [email protected] An Overview on Semiotic Activities in Switzerland Abstract: The paper attempts to present a short overview on semiotic activities in Switzerland, starting with a historical perspective on the beginnings (Geneva School), moving on to the Swiss Association for Semiotic Studies (Association Sémiotique Suisse, founded in 1981) and a look at the institutional situation of semiotic studies in Switzerland, including the Bern Semiotic Circle, up to the turn of the century, and finally summing up the main activities during the past decade.

Zinaida Fomina ([email protected] : Lehrstuhl für Fremdsprachen, Staatliche Universität für Architektur und Bauwesen Woronesh (Russland) Globale Kultur als biogeochemische Energie” verschiedener Zivilisationen (aus der Sicht der Weltentwicklungslehre von W.I. Wernadskij) In meinem Beitrag wird Versuch unternommen, die Zusammenhänge zwischen den Globalisierungsprozessen im Rahmen verschiedener Weltkulturen/ Kulturräumen und den dominanten Voraussetzungen der Synergetik und der Weltentwicklungslehre von W.I. Wernadskij festzustellen. Die Vielfalt der Kulturen begründet den zivilisatorischen Reichtum der Menschheit - auch und gerade im Zeitalter der Globalisierung. W.I. Wernadskij gilt als ein hervorragender russischer Kosmist, der eine Lehre über die Biosphäre und Noosphäre entwickelte. Als ein roter Faden zieht sich durch das ganze wissenschaftliche Gewebe von W. I. Wernadskij der Gedanke an die untrennbare Einheit aller Zivilisationen, Gesellschaften, Rassen, Kulturen, der ganzen Kulturmenschheit, da sie alle durch eine gemeinsame Biosphäre (einen gemeinsamen planetarischen Bereich des Lebens) miteinander verbunden sind.

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Es kristallisierte sich, so Wernadskij, ein Bild der jahrtausendelangen Geschichte des Zusammenwirkens der Zivilisationen, der einzelnen historischen Zentren über Eurasien, Afrika, von der Atlantik bis zum Stillen und Indischen Ozean heraus. Wernadskij betonte die Rolle aller Nationalkulturen für den Werdegang und Entwicklung der Weltkultur (Globalkultur). Ungefähr vor zweieinhalb Jahrtausenden geschah, nach Wernadskij, gleichzeitig eine tiefe Geistesbewegung im Bereich der Religion, Literatur und Philosophie in verschiedenen Kulturzentren: in Iran, China, in arischem Indien, am Helinischen Mittelmeer ( in heutigem Italien). Es erschienen die großen Schöpfer religiöser Systeme – Zarathustra, Piphagor, Konfuzij, Buddha, Lao Tsy, Machavira, deren Einfluss auf die Millionen von Menschen bis heute spürbar ist. Wernadskij führte in seine Kulturkonzeption einen neuen Begriff, nämlich “die biogeochemische Energie” ein, unter dem er “die Energie der menschlichen Kultur” verstand. Nach seinen Vorstellungen gilt ein Lebenselement als Träger und Schöpfer der freien Energie. Diese freie Energie - die biogeochemische Energie - umfasst die ganze Biosphäre und beeinflusst grundlegend ihre Geschichte. Die neue Form der biogeochemischen Energie, die man als Energie der menschlichen Kultur oder kulturelle biogeochemische Energie bezeichnen kann, ist jene Form der biogeochemischen Energie, die in der Gegenwart die Noosphäre schafft. In meinem Beitrag wird auch den Fragen der interkulturellen Zusammenhänge nachgegangen: es wird versucht, das Zusammenwirken vs. die Wechselwirkung zwischen der chinesischen und deutschen Kultur/Literatur, einerseits, und der chinesischen und russischen Kultur/Literatur, andererseits, aufzuzeigen.

43. European Radical Ideology, Philosophy and Semiotics: Developments

along German and French Directions

欧洲极端意识形态，哲学，符号学：沿着德法两个方向的发展 (3)

French Semiotics and its consequences in Asia

法国符号学及其在亚洲的影响 (28)

European Semiotics, Old and New Trends 欧洲符号学：旧的和新的

流派 (33)

Richard Wolin Husserl and Heidegger on Truth and Error Abstract：Heidegger’s endorsement of an ontological condition in which truth and error are indistinguishable also represents a nod in the direction of “primordiality.” Only at a later point, one that is coincident with the emergence of Western metaphysics and which, in Heidegger’s view, signifies the onset of ontological decline, will philosophy begin to rigorously differentiate between truth and untruth. It is on this basis that Heidegger argues for the equiprimordiality of truth and untruth in his conception of truth as uncoveredness or disclosedness. According to Heidegger’s conception, the rigorous distinction

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between truth and untruth popularized by the Socratic School is subaltern and derivative vis-à-vis a more originary ontological perspective represented by pre-Socratic thought. (Heidegger is fond of quoting a well-known anecdote concerning Heraclitus. Warming himself at the hearth as a contingent of startled admirers arrives, the philosopher remarks: “Here, too, dwell the gods.” In other words: contrary to the commonly held prejudice, philosophy does not merely yield ethereal and disembodied precepts and truths, but concerns Being-in-the-World, which is also in its own way is holy.) But in seeking to transcend inherited notions of philosophical truth, “fundamental ontology,” as Heidegger refers to his project, risks falling behind them. Theories of truth presuppose the capacity to distinguish between truth and error, right and wrong, good and bad. In the last analysis, Heidegger’s concept of the “destruction of the history of ontology” and, subsequently, “Overcoming Metaphysics” (“Die Überwindung der Metaphysik”), belittles the capacity to make meaningful, inner-worldly philosophical distinctions and intellectual judgments. In the end overarching generalizations and ponderous abstractions [Discussion of “Überwindung der Metaphysik”] win out, as the Seinsfrage fuses with a variety of Zivilisationskritik worth of Spengler. Heidegger to dismisses traditional modes of philosophical questioning wholesale as subjective and anthropocentric. He considers the “pragmatic” orientation of Being and Time, which centers on the “analytic of Dasein” and its worldly involvements – discourse (Rede), tools (Zeuge), Being-with-others (Mitsein), the “They” (das Man) – obsolete insofar as, in his view, it is suffused, with untenable anthropological presuppositions and claims. He holds such claims, and the philosophical standpoint underlying them, directly responsible for having covered up or suppressed more profound and originary ontological truths. On this basis, Heidegger, following Nietzsche, goes so far as to restyle the entire history of philosophy as a “history of error” (Irrnis). Conversely, Husserl’s phenomenology relies on the concepts of self-evidence and self- givenness. This provides him with the conceptual leverage needed to distinguish between truth and untruth. In our intentional acts phenomena manifest themselves to us in various degrees of completion or fulfillment. To speak of the partial fulfillment of an intentional act presupposes the idea of genuine fulfillment: the point at which the intentional object appears to consciousness with a type of indubitable certainty. Thus the object on the horizon, upon closer viewing, reveals itself to be a person, rather than a scarecrow or a tree. Or, to take an example that Husserl himself uses in Ideas: the inkpot on the desk is really my inkpot, the inkpot I was meaning or intending; it is neither some other object nor a different inkpot. Although this might seem like a rudimentary or trivial insight, it was Husserl’s virtue to have stressed the basic yet irrefragable character of our conscious awareness of the pre-predicative identity of objects; [quote from Findlay] that the intentional experience of objects is proper to consciousness in ways that are verifiable and phenomenologically meaningful. Husserl relies on insights and claims that are publicly accessible and intersubjectively verifiable. Although we do not have immediate access to other minds (see the fifth of Husserl’s Cartesian Meditations), we are nevertheless able to constructively engage in a thought experiment in order to determine their agreement or disagreement. The attainment of valid philosophical insight depends, in a certain measure, on “empathy” (einfühlen): our ability to conjecture or intuit whether or not other persons will find themselves in accord with our judgments and assertions. As Husserl observes in a salient passage from “The Origin of Geometry”: “objectivity” arises “in an understandable fashion as soon as we take into consideration the function of empathy and fellow

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mankind as a community of empathy and of language . . . The production [of idealities] can reproduce their likenesses from person to person, and in the chain of the understanding of these repetitions what is self-evident turns up as the same in the consciousness of the other.” Conversely, in Heidegger’s more primordial approach, truth and error are reciprocally imbricated – to the point where, at times, they become mutually indistinguishable. In Heidegger’s way of thinking, the indefeasible proximity of truth and error is indicative of a greater profundity. It is an element that challenges the superficiality of philosophy qua “representation” or “judgment” – theoria as centered on providing “rational accounts”: logoi or eidei. The propinquity of truth and error emerges most clearly in Heidegger’s discussion of truth as an entwinement of “concealment” and “unconcealment” (Verborgenheit and Unverborgenheit) in the “Origin of the Work of Art” and related works.

司文会浙江工商大学外国语学院符号学视角下罗兰•巴尔特的文学思想及其发展路径研究 Abstract: Roland Barthes’s literary thought mainly consists of the “writing” view, the “narration” view, the “text” view and the “author” view. The early “writing” view and “narration” view are typically structural literary studies and the later “text” view and “author” view post- structural ones. The formation of Barthes’s literary thought is closely linked to his linguistic and semiological studies. Besides that, the development and break-through of this thought are also the natural developments of his semiological thought from the inter-sign study to the intra-sign one. Key words: Barthes, literary thought, development way, semiology

ZHANG Zhiting L’Ecole de Paris :sa création, son développemnt et ses traductions en Chine Résulé de l’article: L”article est composé de 4 parties La première est consacrée à la présentation de l’environnement de la création de l’Ecole de Paris et ses acquis de recherches préliminaires ; la deuxième partie à la contribution théorique en grande envergure de A.G.Greimas dès son adhésion en 1966 ; la troisième partie à la présentation du développement et de l’ouverture de cette école depuis le début des année 90 de 20e siècle et surtout dans ses différnts domaines dont les passions, la tension, etc ; la quatrième partie à la traduction des ouvrages de cette école et l’utilisation de ses théories dans l’analyse littéraire et culturelle.

Wei WANG, research associate of Institute of Philosophy CASS [email protected] The living speech or the sign of silence Abstract: Through his genealogical and anthropological approaches, Jean-Jacques Rousseau brings to light a form of “language” between the origin and the history, and its conditions of possibility. Such language is radically different not only from any natural one based on the classical logic and predicative judgement, but also from the artificial one embedded in some pre-established harmony, a quasi- language wherein any a priori, natural or conventional hinge of sign and meaning, signifier and signified is broken. This rousseauist conjecture of the linguistic sign is essentially connected to melody and musicality. The three of them are in fact the one, which constitutes a singing language, or a “living speech”, composed of expressive signs instead of the exacti! tude. The sign as such is no longer a pole arbitrarily allocated in the close and transparent signification. It is instead a system of relations derived from its own homologous necessity and concrete logic, a “good ambiguity” inscribed on the series of qualities immanent in the sensible, which is impossible to be catched or transcribed by any linear discourse or propositional statement. Nevertheless, the relations of subject-self, subjet-others, nature-culture, past-future are precisely re-catched and become intelligible within such silent signs. By developing this latent sign and its functioning relations, Rousseau tries to recover its efficacy in his theory and

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wiring practice, giving the musicality and the expressivity back to language and philosophy, re-integrating our culture into nature.

Xiao-yu Liu Fujiang Normal University [email protected] On Cassirer's philosophy of symbolic forms Abstract: The creation of Cassirer's cultural philosophy Launched a holistic critique of traditional philosophy，Is the way of cultural philosophy，to answer the problem of Kant's philosophy.,build up a new philosophy. This philosophy take the symbolic function as the core concept, furthermore he taked People's cultural creative activities and the expression of meaning as the highest philosophy of existence. On this basis, Cassirer transformed way of thinking and questioning approach of the modern rationalistic philosophy .thus he achieved the philosophical shift from rational criticism to cultural criticism.

Zdzisław Wąsik Philological School of Higher Education in Wrocław Adam Mickiewicz University in Poznań [email protected],pl [email protected] [email protected] Appreciating the Heritage of Karl Bühler’s Sematology for the Functionalist Conception of Linguistic Signs and Their Referents Abstract: The focus of this lecture will be concentrated on the epistemological assessment of Karl Bühler’s (1879–1963) contribution to the functionalism in linguistic semiotics with special attention to applicative developments of the concepts of sign and its referent. The term sematology will be drawn from the usage of Achim Eschbach in his editor’s note to the English translation of Bühler’s Sprachtheorie (1990 [1934]). However, bearing in mind the etymology of sēma ‘meaning, sign, signal, token’ and sēmat ‘sign’ in Greek, the name sematology will be referred not only to the signs which serve the expression of thought or reasoning or to the science of indicating the meaning in the thought by linguistic signs but also to the observed and concluded objects of any extra-semiotic reality to which any semiotic objects refer.

Giorgio Borrelli Università degli Studi di Bari “Aldo Moro” [email protected] Is materialistic semiotics a sociological method? Some research hypotheses on Ferruccio Rossi-Landi’s work Abstract: Is dialogue between semiotics and sociology possible? On the side of sociology Actor- Network-Theory (ANT) represents such a possibility. Reworking some categories from Greimas’ semiotics, ANT delineates a sociology of human-non human (that is, artefact and animal) relationships. In particular, Greimas' semiotics provides the methodological framework for analysis of several social contexts – integrating other sociological methods, like participant observation. From such a perspective, ANT considers the relations between humans and technical objects as the result of a process in which humans de-scribe the instructions (commands and utilization programs) in-scribed (by a human designer) in artefacts. Technical objects (every kind of human artefact) contain a narrative program (a script, a text) that can be translated into an action program through which humans orient their actions and relations. Substantially, human-artefact relationships constitute a fundamental modality in the articulation of the social.

Anneli Mihkelev Tallinn University [email protected] Historical Narratives and Semiosis in Contemporary (Estonian) Culture Abstract: Historical narratives play a great role in our cultural memory and art, and also in our identity. The main question is how does semiosis work in historical narratives and contemporary culture? This paper focuses on two literary works from Estonian and Finnish literature. Sofi Oksanen is a Finnish writer (b. 1977) who has Estonian roots, and her novel Purge (2008) has been very successful internationally, it is translated into many languages (more than 20), it has been on staged in Estonian and Finnish drama theatres and also in New York and London, and as opera in Helsinki. Purge represents

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historical events in Estonia after World War II. The protagonists of the novel are two women of different generations, and the author represents their tragic life-stories and at the same time interprets historical motifs which exist in our cultural memory. It is paradoxical that the novel, play and opera are very popular in many countries, but the reception has been hesitant in Estonia. This paper analyses why the historical narrative can give contradictory meanings although historical facts would be fixed in our memories and also in the textbooks. Another important question is how historical facts and Oksanen’s fictions are mixed, and what does it mean for different readers? Anton Hansen-Tammsaare (1878 – 1940) was an Estonian great epic talent and playwright. His play Judith (1921) interprets the apocryphal story of Judith from the Old Testament in a new way and connected Judith story with the story of Salome and the modernist discourse from the beginning of the 20th century. It means that Tammsaare’s Judith has different meaning than it was in original text in the apocryphal story. And it is also significant that every director gives his /her interpretation to that apocryphal narrative and Tammsaare’s play. The apocryphal story of Judith in the Old Testament is not actually an historical narrative, and it does not belong also to the Biblical canon. It is the text which exists on the border in Juri Lotman sense, and it means that text has a great potential for different interpretations and meanings. Although it is not historical story, it still contains historical motives from I century BC, and it is also very significant that the text is connected with the Old Testament although it is not canonical text. Plays on the borders make both the old apocryphal story and Tammsaare’s play meaningful also in contemporary time.

Angelo Di Caterino [email protected] Beyond the wall: theoretical rhymes between Lotman and Greimas Abstract: In 1964, Jurij M. Lotman started the Tartu school in Moscow, along with famed muscovite scholars such as Vjač Vs. Ivanov, Vladimir Nikolaevič Toporov and Boris A. Uspenskij. Less than a year later, in 1965, Algirdas J. Greimas was appointed as a new director at the École des hautes études en sciences sociales (EHESS) in Paris. In this capacity, he created the Groupe de Recherches Sémio-Linguistiques, with the help of Roland Barthes, Claude Lévi-Strauss and Gerarde Génette among others. Is it possible to find commonalities between the Paris and the Moscow groups, arguably the two most important semiotics schools in Europe? Traditionally, though probably unfairly, the literature tends to separate the two traditions, which nevertheless share common theoretical foundations that date back to the very origins of semiotics as a discipline. Both schools (have) adopted Saussure’s new linguistic theories as their own, and coupled it with Russian formalism, as developed by the Prague linguistic circle, and the works of Claude Lévi-Strauss, Vladimir Propp and Louis Trolle Hjelmslev, which are foundational for contemporary semiotics. Though separated by the iron curtain that at the time ran across Europe, Greimas and Lotman knew about their respective schools, so much so that their books often alluded to the work that was being carried out on the other side of the continent. Under this light, a possible venue for the integration of these two traditions is the analysis of translating dynamics. Lotman saw translation as the generating principle for the creation of meaning. Single sign systems cannot exist in isolation, as they are inextricably linked to a perspective based on dialogue and translation. The same translation- based approach can be found in some of Greimas’ lesser known works, with a particularly significant excerpt in the Dictionaire Raissonné de La Théorie du Language: “La traductibilité apparaît comme une des propriétés fondamentales des systèmes sémiotiques et comme le fondement même de la démarche sémantique. […] Parler di sens, c’est à la fois traduire et produire de la signification” (Greimas; Courtés, 1979:398). Thus, an interesting direction for future research in semiotics could look towards the integration into one paradigm of two, apparently irreconcilable, perspectives so as to follow Saussure’s idea that “[l]a sémiologie

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étudie la vie des signes au sein de la vie sociale.” (Saussure, 1916).

Paul Bouissac (University of Toronto, Victoria College) [email protected] Semiotics and Society Can Semiotics Contribute to Solve Social Ills Abstract：As the discipline which studies signs and communication, semiotics is mainly concerned with social behavior. However, the models and theories which have been proposed so far mostly remain at a high level of abstraction and are usually used for the purpose of description and interpretation. Socio-semiotics is the only branch of research which has developed a pragmatic dimension through methodologies such as discourse analysis. But only recently has the latter ventured beyond the confines of written texts to tackle multimodal semiotic processes relevant to social issues. While speculating on signs and communication is a legitimate (and necessary) philosophical endeavour, the agenda of semiotics cannot remain disconnected from real life issues. The acquisition of knowledge is ultimately motivated by its capacity to solve actual problems. Currently semiotics is long on discourse but short on applications. This paper attempts to explore some paths toward applications that may help remediate social ills such as ethnic discrimination, the ruining of the planet’s ecology, or the exploitation of children. The latter will be the focus of a possible semiotic strategy aimed at preventing crimes. It will be shown that semiotics must connect with the knowledge accrued in other domains of scientific inquiry if it is to contribute significantly to social and ethical progress.

Inna Semetsky [email protected] The language of images: improving communication between “Self” and “Other” via silent discourse. Abstract: The paper will draw from Gilles Deleuze’s philosophical notions of transversal communication, a- signifying semiotics, and – most notably – silent discourse. Deleuse asserted that even esoteric or non-verbal “languages” possess structural characteristics that can be retrieved, read and interpreted. His a-signifying semiotics partakes of Peirce’s tri-relative nature of the genuine signs due to the logical necessity of the inclusion of the “third” element, an interpretant. As an example of such an esoteric, silent language of images the paper will introduce Tarot pictures the meanings of which are derived in the unfolding process of reading and interpretation. Tarot has been in existence at the “low” level of culture since first documented in the French Court ledger as dating back to 1392. Yet, the semiotic significance of the Tarot images and their relation to real (both actual and potential) human experiences has not been sufficiently explored. It is the Tarot silent messages that, when interpreted and articulated, can establish a long sought-after connection between such binary opposites such as “Self” and “Other”, consciousnesses and the unconscious, subject and object, between nature and culture, matter and mind, overcoming the ghosts of Cartesian dualism that continue to haunt us. According to Thomas Sebeok it is the constitution of messages that forms a subject-matter of semiotics. The messages “spoken” by the unconscious in the form of “silent discourse” embodied in the images and symbols of Tarot pictures provide a much-needed complement to the verbal communication at the conscious level. The ultimate goal of communication (that, according to Igor Kluykanov’s ground-breaking study undergoes development through the evolutionary stagings) is to traverse the schism between “Self” and “Other” at the deepest level that bypasses the expressions of the conscious mind, the Cartesian Cogito; but enables the participants to share “messages” that hide in the unconscious. Such function of the “included third” is achieved via Tarot that establishes a semiotic bridge via the transversal connection between the apparently incommensurable “Self” and “Other”. Historically, the relationship between word and image has been culturally and ideologically troubled culminating in the primacy of the “linguistic turn” of analytic philosophy while the “semiotic turn” remains long overdue

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especially considering that we live during the times of cultural conflicts, the clash of values and the resulting necessity to understand the “Other” at both personal and collective levels. Such a conflict of values has its semiotic representation in the symbolism of the Major Arcanum “The Tower” which has an uncanny resemblance with the image of the destroyed Twin Towers on 9/11. However the Arcanum that immediately follows “The Tower” in the sequence of Tarot pictures is “The Star” as a symbol of stripping off the outlived habits and recovering the deep connection with “semiosphere” (Lotman, Hoffmeyer) or “signosphere” (Deely). Understanding the semiotic structure and function of Tarot during the interpretive, hermeneutic, process allows for establishing a long-lost ‘Self-Other” relation as our present ethical responsibility. Interestingly, as the Western esoteric practice, Tarot parallels the Eastern practice of I Ching (The Chinese Book of Changes).

Jude Chua Soo Meng Nanyang Technological University [email protected] The View Finder: The Camera as Significal Pedagogue Abstract： This paper is intended as an exploratory (natural law theory) contribution to the recently retrieved trend in semiotics to relate sign-studies with ethics and values, i.e., ‘semio-ethics’/’significs’, and to suggest how the ‘semio-ethic’ or ‘significal’ consciousness may be educationally enhanced. In “Designing the camera” I wrote about ways to shape the camera or photography qua sign for semio- ethical purposes. Such semio-ethical shaping I called “significal Design”, and is a research method which translates ideas into senses and meanings which are insightful-in-relation-to-what truly matters. Significal Designing presupposes the possession of certain viewpoints and normative judgments. These judgments are to be developed inferentially, but their first principles, which are the first principles of practical reason or the ‘natural law’, are self-evident. Nonetheless, the grasping of such self-evident first principles of practical reason could in fact be facilitated, rather paradoxically, by the camera itself. In other words, one does not simply Design significally the camera; one could actually discover that viewpoint needed for designing the camera significally when using the camera. This suggests that the camera is a very interesting technology: it is a tool which designs itself significally. Pick it up, use it, and it leads you to adopt the evaluative viewpoint for conceptualizing everything you can see through its lenses, thus opening you to the normative prescription of the self-evident practical principles of natural law identifying what is good and ought to be sought and done. For it constantly invites the free choice to discern what to include within its view, and thus habituates for the disposition to avert to practical reasoning, and such an invitation to choose dismantles the tendency to rely only on theoretical deliberations of means to given ends. Victoria Welby spoke of significs not only as a theory of signs, but also as a kind of (moral) educational theory, since she believed that the understanding of signs-in-relation-to-values raised our critical and ethical consciousness. In which case, the camera is a pedagogical tool just as it enhances significal formation. But not only that: the camera is a self-automating pedagogical tool; through using it, one is helped to discover the significant point of view. It is almost as if it automatically unpacks significs, or the semio-ethical consciousness. Since natural law theory, I have argued, amongst others, is a kind of significal theory, then the camera may well turn out to be the natural law theorist’s choice pedagogical, educational-technology that prepares one for, or augments one’s significal theorizing. Amongst cameras, though, perhaps it is the old film (rather than digital) camera which best affords such significal formation – precisely because it amplifies the cost of each shot, and hence encourages more careful and more serious deliberative evaluation of what is worth capturing.

44. Semiotics in Taiwan: cross-cultural literature and arts.

台湾符号学：文化、文学、艺术比较研究 (34)

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蔡秀枝 (Hsiu-chih Tsai) [email protected] The Signs of Silence and Resistance in Strawman Abstract: The Taiwanese film “Strawman” (1987), as its title suggests, aims at comparing the maimed national identity and the sense of helplessness of the colonized Taiwanese people to the situation of a straw-man. Signs of silent protests and resistance are to be seen from characters’ verbal expressions and conducts. Although not allowed to have any independent act, to keep and protect their own property, or to express any political interests of their own, the farmers in “Strawman” show their tacit and resistance in dealing with the Japanese colonizers. Just like the silent straw-man standing silently on the farm, they obtain their power from the land. In the film, the possible cultural power of the landscape and the political domination that works on it are vividly represented through the hardship and indignity of the Taiwanese farmers and their families in the late period of the Pacific War while Taiwan was still under Japanese colonization. The land the Taiwanese people live and work on becomes the carrier and barrier of all signs: the poor farmers’ dreams, wishes and fantasy. The relationship between the filmic representation of the trivia events happened to Taiwanese farmers and the irrepressible power of life and humanity emerging from beneath the exploit and domination of Japanese empirical colonization will thus under the film director’s calculation become a series of detours of sign processes that not just represent the tangos of life and death but the tangles of the colonizer and the colonized. The tactic to occasionally make use of the situation and the cultural power drawn from the geographic landscape to strengthen their optimistic perspective help the farmers create a possibility to outwit the colonizers. This is the very power embedded within the landscape that the colonized farmers could only count on and identify with.

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杨淑兰(Shu-lan Yang) [email protected] Mad Wanderer’s Walking Tactics: on the Dialectical Borderland between the Past and the Present Abstract: Contemporary London writer, Iain Sinclair’s London Orbital: a Walk around M25 is an ambitious literary endeavor that comprises Sinclair’s numerous and repetitive perambulations along the entire M25 motorway circumscribing Greater London. Sinclair’s long march as well as his writing project are heroically launched with a clear intention to wind back the clock of time with a counterclockwise hike around the 117-mile long circuit. As his journey both started and ended at the much ridiculed, “monstrous” Millennium Dome in Greenwich, a signifier of gaudy hallucination of the political ideology underlying the urban development and planning, it marks an altering discourse against the progressivist and mindlessly optimistic celebration of the new millennium. Revising the notion of urban walker, the frequently employed Benjamin term, flaneur, Sinclair claims himself to be a ‘fugueur’, a mad traveler driven by the lunacy of city life, fleeing away from his original living place to different places with the hope of recovery or redemption. In this sense, the walking tours launched by him along the M25 motorway signify not only a remapping of London from its desolate marginal lands, but also a possibly redemptive pilgrimage that points toward a social and political critique of the present London and its problems. This paper is to examine Sinclair’s perambulation around the motorway by pointing out that while wandering among the slighted material ruin/trash, or the forsaken signifier and the forgotten signified generated by the modern civilization, Sinclair has gone beyond geographical explorations to invoke the back stories, the hidden “truth”, lurking behind the urban constructions deserted on the fringe of the metropolis. Out of the anxiety to see these empty or meaning-exhausted material signs of modernity that are going to be mindlessly de-contextualized and manipulated by commercialism or simply forgotten by the world, Sinclair aims to dismantle the dominant London syntax by proffering his own. Brushing off the layered dust of histories of these marginalized places and challenging the present spatial constructions imbued with capitalist logic, Sinclair presents the reader various examples of Walter Benjamin’s dialectical images. The juxtaposition of the past and present images/signs grasped by Sinclair along his walking tours, though tinged with the author’s subjective understanding, attempts to shatter the trance-like urban life of the public symbolized by the meaningless orbiting around the monotonous motorway, questioning the linear, “irreversible” notions of historical evolution epitomized by the Millennium Dome, and awakening people with the historical consciousness that might lead to the dawn of revolution and salvation.

朱玺叡(Julien Chu) [email protected] Metaphor and Metonymy: Three Mirrorlike Narratives in The Bonesetter’s Daughter Abstract: Amy Tan has always been a controversial American born Chinese writer. Most of her books deal with mother-daughter relationships and their Chinese milieu. As a consequence, this thesis focuses on these salient features of her novel, The Bonesetter’s Daughter, attempting to loosen their entangled relationship and to analyze it by means of semiotic approach—Roman Jakobson’s “The Metaphoric and Metonymic Poles,” which is derived from his research on aphasia and has a profound influence on general linguistics. Jakobson’s dichotomy between the metaphoric and metonymic poles is both a heuristic device and an illuminated tool, a tool which enables the analyst not only to dissect and categorize the structural and functional elements of language but also to deeply explore the signifieds that hide in the contexture. Evolved from Saussurean “Syntagmatic and Associative Relations,” Jakobson’s “Metaphoric and Metonymic Poles” is applied in this thesis to illustrate the characters’ relationships as a figurative language in literature. As Jakobson delves the metaphoric and metonymic poles in linguistics, could it be possible that this poles and its parallels it creates can be found in the narrative structure? In The Bonesetter’s Daughter, aphasia is a ubiquitous signifier throughout the book. Being a Chinese-American

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writer, Tan, who sarcastically cannot fully understand or properly articulate Chinese which should have been in her bone, is also a victim of aphasia. All of the three main characters, Precious Auntie, LuLing, and Ruth, are all victims of aphasia as well. Although these three narratives are intertwined together, they are parallel to one another, the three parallels caught between mirrors reflecting one another: Precious Auntie to LuLing, LuLing to Ruth, and Precious Auntie to Ruth as well. The thesis deals with how the mystery pertaining to Precious Auntie is solved by continually shifting the relationship between metonymy and metaphor, how their aphasia impacts their lives and what meaning the symptom brings about throughout the narrative, and what parallelism or equivalence this aphasia creates along the story. Keywords: Jakobson, metaphor, metonymy, aphasia, Amy Tan, bonesetter

Richard Rong-bin Chen A Proppian-Greimasian Semiotic Reading of Literary Taipei: The Case of Bai Xianyong’s Crystal Boys Abstract: Inheriting the thirty-one functions from Vladimir Propp’s Morphology of the Folktale (1928), A.-J. Greimas not only established his own model of “narrative schema” in Structural Semantics (1966), but also took one step forward to bring out the concept of “spatial programming,” a valuable method for the discussion of the semiotics of space, or, in Greimas’ own terminology, topological semiotics. This study aims at applying the above- mentioned Proppian-Greimasian approach to Bai Xianyong’s Crystal Boys (Niezi, 1983), his only book-length novel, which is a story about how a community of gay men in Taipei survived personal hardships and social confrontations, and lived in the city as social outcasts. As a result, we can see that the various places in Taipei’s urban space can be read from a semiotic perspective, and once the various characters’ narrative schemata are identified, we can categorize the places into heterotopic, paratopic, and utopic spaces. This analysis of Crystal Boys also shows the possibility that, in any given work of fiction, the same kind of places can be different types of semiotic spaces, since different characters, as Greimasian subject-actants, might take on various actions in the same place. This study also emphasizes the cosmopolitan aspect of Crystal Boys, and tries to explicate New York’s and Tokyo’s narrative functions in terms of topological semiotics. Keywords: Vladimir Propp, A.-J. Greimas, Bai Xianyong, narrative schema, spatial programming, topological semiotics.

45. Semiotics in Chongqing: Culture and Cognition

重庆市符号学研究：文化和认知研究（35）

Abstracts To Be Submitted

46. New trends in Latin-American semiotics 拉美符号学新趋势(55)

Lucrecia Escudero Chauvel (Université de Lille III - France) LATIN AMERICAN SEMIOTICAS: FROM THEORY TO PRACTICE Abstract：The development of globalized society foreshadows a new stage of technological changes that require new perspectives in theoretical and methodological approaches from semiotics and social sciences. This workshop proposed by the Latin

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American Journal of Semiotics, deSignis, seeks to explore the ways in which semiotics has developed in Latin America. deSignis is an international journal on semiotics, communication and culture. It is the official organ of the American Federation of Semiotics (FELS) and specializes in the study and research of processes of production of meaning in contemporary societies, from interdisciplinary and multicultural approaches. It brings together leading researchers from semiotics from Latin American, contributing to the dissemination of new theoretical models and methodologies for analysis of mass media and various cultural events of our time. The publication brings research to the forefront of knowledge on relevant issues such as new technologies and various forms of cultural interaction in Latin America.

SEMIÓTICA LATINOAMERICANA: DE LA PRÁCTICA A LA TEORÍA El desarrollo de la sociedad globalizada prefigura un nuevo escenario de transformaciones tecnológicas que demandan a la semiótica y a las ciencias sociales, nuevas miradas y enfoques teórico-metodológicos. Este workshop propuesto por la revista latinoamericana de semiótica deSignis trata de explorar las vías en las que se ha desarrollado la semiótica en América Latina. La revista deSignis es una publicación internacional de semiótica, comunicación y cultura, órgano oficial de la Federación Latinoamericana de Semiótica (FELS) especializada en el estudio e investigación de procesos de producción de sentido en las sociedades contemporáneas, bajo una perspectiva interdisciplinaria y multicultural. Reúne en su seno a los principales investigadores de la semiótica iberoamericana contribuyendo con su actividad científica a la difusión de nuevos modelos teóricos y metodologías de análisis de los medios y manifestaciones culturales de nuestro tiempo. La publicación da cabida a investigaciones a la vanguardia del conocimiento en temas de relevancia como las nuevas tecnologías y formas de interacción cultural en el ámbito latino.

Rosa Maria Ravera (UNR - UBA - Argentina) THEORETICAL PARADIGMS IN LATIN AMERICA There is a widely questioned conviction in relation to the aesthetic, the artwork: the mimetic or referential relationship, the image 'referred to' which refers to the idea that a work of art itself is justified without deriving its legitimacy from the represented value. It is the problem of 'representation' as it is known to contemporary criticism. Art has proven to be a sign, has become independent of the validating reference to its internal structure, formal and meaningful. It draws from a basic premise: meaning emerges from the structuring signifier, available without a priori rules, define in principle through color systems, values and meanings that obtain historical validity, changeable and diverse in different areas of EXPERIENCE, such as the Latin American experience. After 'The Open Work' by Umberto Eco, a suitable paradigm to elucidate the emergence of creative practices in Latin America opens up. PARADIGMAS TEÓRICOS EN AMÉRICA LATINA Existe sin duda alguna una convicción en relación a lo estético, a la obra de arte, la opción mimética, o sea la relación referencial, la imagen ‘referida a’, que ha sido cuestionada en forma generalizada. Pero ha ganado la certeza de que una obra de arte se justifica por sí misma sin derivar su legitimidad del valor de lo representado. Está aquí el problema de la ‘representación’ y de su conocida crítica contemporánea. El arte ha revelado ser signo, se ha independizado del referente validándose por su estructuración interna, formal y significativa. Se delinea un postulado de base: el sentido emerge de la estructuración de un significante disponible, sin reglas a priori, definible en principio por sistemas de colores, de valores y de significados que obtienen validez histórica, cambiante y heterogénea en distintos ámbitos de la experiencia histórica y latinoamericana. Después de ‘Obra abierta’ de Umberto Eco, se abre un paradigma apto para dilucidar la emergencia de prácticas creativas latinoamericanas.

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Elizabeth Parra (Presidenta Asociación Chilena de Semiótica - Chile) CONTOURS OF SEMIOTICS IN CHILE This paper present a map of the production conditions of discipline in Chile to assess and compare with other countries the heterogeneity of the corpus of studies with a semiotic character ranging from textual statement to the new languages of digital communication as well as the institutions that have legitimized. CONTORNOS DE LA SEMIÓTICA EN CHILE El objetivo de la ponencia es presentar una cartografía de las condiciones de producción de la disciplina en Chile que permitan evaluar y comparar con otros países la heterogeneidad de los corpus de estudios con un carácter semiótico que van desde la enunciación textual hasta los nuevos lenguajes de la comunicación digitalizada como también las instituciones que la han legitimado.

Teresa Velázquez (Universidad Autónoma de Barcelona-Spain) NEW TRENDS IN LATIN AMERICAN SEMIOTICS The new series of deSignis publication represents the contribution of Latin American Semiotics renewal of the discipline from the social, political, cultural and ideological. The contributions contained in the collection account for this perspective. Topics covered in this second period are closely related to issues of concern to contemporary society in a globalized world, from the standpoint of economic and globalized, from the perspective of culture. Semiotics as a disciplinary field that deals with the study of signs, languages, discourses, their production and interpretation cannot be excluded from both the literature that responds to this situation.

NUEVAS TENDENCIAS EN LA SEMIÓTICA LATINOAMERICANOS La nueva serie de la publicación deSignis representa el aporte de la Semiótica latinoamericana a la renovación de la disciplina desde la perspectiva social, política, cultural e ideológica. Las contribuciones contenidas en la colección dan cuenta de esta perspectiva. Los temas tratados en esta segunda época están estrechamente relacionados con aspectos que interesan a la sociedad contemporánea en un mundo globalizado, desde el punto de vista económico y, mundializado, desde la perspectiva de la cultura. La Semiótica como ámbito disciplinar que se encarga del estudio de los signos, lenguajes, discursos, su producción e interpretación no puede quedar al margen de la reflexión teórica que dé respuesta a esta situación.

Eliseo Colón (University of Puerto Rico, School of Communication) SOCIAL SEMIOTICS AND THE FIELD OF LATIN AMERICAN CRITICAL THINKING: REFLECTIONS ON THE ROLE OF THE SEMIOTIC INTELLECTUAL The problems arising from critical thinking in Latin America cut across the region’s social and cultural dilemmas as contemporary phenomena. The ways and means of approach represent diverse cultural experiences of the region. In this presentation I want to reflect on Critical Thinking as a proposal of what social semiotics can contribute to the socio-cultural and epistemological field intellectual, particularly from the experiences of the Latin American Semiotics Federation. The presentation outlines some epistemological concepts that define Critical Thinking in the Latin American region, quickly outlining the theoretical heterogeneity some of the debates. It aims to place social semiotics, from the perspective of deSignis, as a cultural and intellectual project to advance new theoretical proposals for Critical Thinking in Latin America.

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LA SEMIÓTICA SOCIAL Y PENSAMIENTO CRÍTICO LATINOAMERICANO: REFLEXIÓN EN TORNO AL PAPEL DEL INTELECTUAL DE LA SEMIÓTICA Los problemas planteados desde el pensamiento crítico en América Latina atraviesan los dilemas sociales y culturales de la región en tanto que fenómenos contemporáneos. Las formas y maneras de abordaje representan lo diverso de las experiencias socioculturales de la región. Esta presentación reflexiona en torno a la semiótica social como una propuesta de lo que puede aportar al Pensamiento Crítico latinoamericano. Se esbozan algunas ideas centrales de aquellas propuestas epistemológicas que definimos bajo la categoría Pensamiento Crítico, perfilando rápidamente algunos de los debates que se han dado a partir de la heterogeneidad teórica de la región. Colocamos al intelectual de la semiótica, especialmente a quienes nos vinculamos al proyecto deSignis, para adelantar nuevas propuestas y derroteros teóricos del Pensamiento Crítico en América Latina.

Jose Enrique Finol (Vice President of the International Association of Semiotics) FOUNDATION, LIMITS AND PROPOSALS FOR ANTHROPO-SEMIOTIC IN LATIN AMERICA The meaning-of Semiotics nature forces us to work continuously at the boundaries of scientific disciplines that also deal with the phenomena we study. One of the disciplines with which semiotics has had an ongoing relationship, privileged, also for its venerable tradition and development is anthropology. Some anthropologists, Levi-Strauss in the lead, have contributed to the definition of semiotics that deals with cultural phenomena. Latin America has made an effort in recent decades and has produced significant contributions in several of the scenarios of traditional anthropological study (ritual, myth, body, magic, kinship, etc.). From that experience this paper proposes the foundations, theoretical and methodological of a Anthropo-Semiotic.

FUNDAMENTOS, PROPUESTAS Y LÍMITES PARA UNA ANTROPO-SEMIÓTICA EN AMÉRICA LATINA La naturaleza significacional de la Semiótica nos obliga a trabajar continuamente en los límites de otras disciplinas científicas que también se ocupan de los fenómenos que estudiamos. Una de las disciplinas con las que la Semiótica ha tenido una relación continua, privilegiada, además, por su venerable tradición y desarrollo, es la Antropología. Algunos antropólogos, con Lévi-Strauss a la cabeza, han contribuido a la definición de una Semiótica que se ocupe de los fenómenos culturales. Desde América Latina se ha hecho un esfuerzo en las últimas décadas y se han producido contribuciones importantes en varios de los escenarios de estudio tradicionalmente antropológicos (rito, mito, cuerpo, magia, parentesco, etc.). Desde esa experiencia se propone aquí formular algunos de los fundamentos y orientaciones teóricas y metodológicas que una Antropo-Semiótica debería desarrollar.

Alfredo Tenoch Cid Jurado (President of the Latin American Federation of Semiotics) FUNDAMENTOS, PROPUESTAS Y LÍMITES DE UNA SEMIO-ANTROPOLOGÍA VISUAL EN AMÉRICA LATINA Los nexos existentes entre semiótica y antropología han desarrollado en las últimas décadas un estudio conjunto y necesario por la imagen en su forma de texto visual. El primer indicio de la relación emerge como vocación anunciada de la antropología estructural para constituir en la actualidad un campo de estudio. Precisamente, el desarrollo en las últimas décadas ha permitido la labor conjunta estableciendo como resultado, bases en grado de desarrollar modelos teórico-metodológicos capaces de dirigir el trabajo de interpretación de las imágenes en su calidad de registros del hecho antropológico. El paso observado va del mecanismo de registro a la generación de modelos de interpretación en grado de perfilar los límites epistemológicos sobre la estructura de una “mirada

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semio-antropológica”- Gracias al avance alcanzado se han podido robustecer las prácticas semióticas en intersección con la antropología en América Latina: Argentina, Venezuela, Perú, México por citar alguna de ellas. FOUNDATIONS AND LIMITS FOR A PROPOSAL OF A SEMIOTIC VISUAL ANTHROPOLOGY IN LATIN AMERICA The links between semiotics and anthropology have developed in recent decades and required a joint study by the image in its visual text. The first indication of the relationship emerges as a vocation structural anthropology announced today to form a field of study. Indeed, the development in recent decades has led to joint work setting as a result, bases capable of theoretical and methodological develop models capable of directing the work of interpretation of the images in your records as anthropological fact. The observed step is the registration mechanism to generate performance models capable of shaping the epistemological limits on the structure of a “semio-anthropological gaze” - Thanks to the advance has been possible to strengthen the semiotic practices intersect with anthropology in Latin America: Argentina, Venezuela,

47. Greimas and Semiotics in Lithuania 格雷马斯符号学在立陶宛 (70) Eero Tarasti University of Helsinki Greimas after Greimas: the place of his thinking in the global semiotics Abstract：Greimas’s whole scientific output and his development from linguistics and Roman philology via structural semantics into a general semiotic philosophy, method and school, is now clearly visible and evident. Some encyclopedias of semiotics still try to consider him rather only a ‘lexicographist’ or representative of narrative discourse studies. However, what he himself called ‘the third semiotic revolution’ i.e. the invention of modalities, made his approach closer to philosophy, and elevated it into a universally valid methodology. His semiotics constituted one of the most systematic and rigorous constructions of the semiotic thought of the 20th century. Nevertheless, it still lives as one of the strongest classical schools of semiotics, and all over the world. In the existential semiotics I keep valid some of his basic concepts, such as isotopies, semiotic square (albeit transformed rather into what I call a ‘Z’ model), and metamodalities, i.e. modalities in the transcendental state. The idea of generation of a text as a kind of organic growth from some kind of deeper level ontological being may seem to be less pertinent, neither in Greimas nor in Heidegger. However, in the side of Claude Lévi-Strauss, he represents one of those inexhaustible sources and foundations for semiotics of future, or what I have called simply ‘neosemiotics’.

Dalia Satkauskytė Vilnius University, A. J. Greimas Center of Semiotics and Literary Theory Text, Context and History in Algirdas Julius Greimas’s Works Abstract：There is an opinion that semiotics, including that of Algirdas Julien Greimas, by contrasting system and process, totally ignores and even neglects the context and historical aspects of the discourse as well as social dimension of it. This attitude is strong enough in popular reception of semiotics as well as in the works of the most famous sociologists and literary researchers. The paper presents two approaches toward context in two trends of semiotics (those of J. Lotman and A. J. Greimas) and discusses the problematic status of so called immanent analysis. It tries to reveal the ways of incorporating the context by presenting the research trajectory of A. J. Greimas, including his works written in Lithuanian.

Ramunas Motiekaitis Vilnius University, Center of Oriental Studies Lithuanian Academy of Music and Theater Twentieth century philosophical concepts of Japan and the West: a view from Greimassian perspective Abstract：In this presentation, I would like to show how the aspects of homogeneity in philosophical myths

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(texts) can be explained on the basis of Greimassian semiotics. In narratology of Greimas fundamental and discursive syntaxes are considered as an abstract principle underlying all kinds of discourses. Since philosophy always speaks about human’s relationship with the cosmological surrounding, in philosophical texts we can always find fundamental actants (subject and object) and fundamental modalities (conjunction and disjunction). “Totality” and “belongingness” are the key XX century philosophical concepts I would like to discuss. As distinct from logocentrism manifested as substantializations of the “world of ideas”, god or mind, which was characteristic of previous Western paradigms, totality could be defined as the coexistence of ontological opposites and opposite modalities. Heidegger, Merleau-Ponty and Nishida often illustrated it by identifying fundamental polarities, such as being and nothing, seer and seen, truth and illusion, etc. Accordingly, totality could be schematically presented as an all-encompassing middle of the semiotic square. Thus, to my mind, semiotics of Greimas can be invoked as a methodology for investigating and comparing philosophical texts.

Romaldas Misiukevičius Vytautas Magnum University Presentation of an exhibition “Algirdas Greimas’ childhood” Abstract：Exhibition presents first decade of Algirdas Julien Greimas (1917-1992). The main aim of an exhibition is to reveal genesis of an intellectual and esthetic traces in biography of Greimas. The exhibition particulary presents the environment and main factors of childhood which had most impact to the future life of a researcher. Exhibition consists of 17 stands with documentary material and descriptions in Lithuanian and French. There is also information about main historical aspects of Lithuania and its culture. Some stands are dedicated to Greimas‘ life in Tula (Russia), Kunigiškiai and Kupiškis (Lithuania) where Greimas‘ parents had lived and where Algirdas Julien Greimas had studied. Exhibition was prepared by prof. Karolis Rimtautas Kašponis under suggestion of prof. Eero Tarasti and already was exposed in Paris, Moscow, Helsinki, Vilnius and Kaunas during semiotical congresses and conferences.

Loreta Mačianskaitė Institute of Lithuanian Literature and Folklore Greimas as Lithuanian: tradition did not came to the end Abstract：Algirdas Julien Greimas, a world- known scientist who wrote most of his research work in French, was very famous in the Lithuanian culture analysis area. His first article was “Cervantes and His Don Quixote” published in an almanac Varpai,1943 (Bells) in Lithuanian where he suggested how Lithuanians standing at the pivotal crossroads might understand paradoxical nature of their fate. In the articles that Greimas wrote later when he had already left Lithuania, he reflected many phenomena of the culture and mentality changes in the second half of the 20th century and exposed numerous national myths and stereotypes. Writing the articles devoted to literature, Greimas revealed the deeper structure of the textual meanings and understanding of art as looking for the answers to the essential questions of the human existence. In the 80s, Greimas visited Vilnius University, and his semiotic theories consolidated the opposition against ideologically engaged critics of literature. The methods of literature analysis offered by Greimas have been widely used in the work of literaturologists combining different methodologies so far. Investigations of Lithuanian mythology by Greimas are widely spread all over the world, however, his essays written focusing on the urgent problems of culture and public life are terra incognita outside Lithuania. For the Lithuanian consciousness, especially important remain essays by Greimas published from 1991 to 1992 in the column “Baltos lankos” (White plains) of the weekly “Literatūra ir menas” (Literature and Art) and his “Pro memoria to the President of the Republic of Lithuania Vytautas Landsbergis (concerning the project for Lithuania)”.

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In 1992, Greimas Centre was established at Vilnius University, where researches and co-workers develop the tradition of Greimas‘semiotics school attempting to use the possibilities that exist in it, and still have not been realized.

Darius Kučinskas Kaunas University of Technology Greimas and Semiotics in Lithuania Abstract： Paper will present a short overview of semiotical tradition in Lithuania. It starts with the name of Algirdas Julien Greimas, and even earlyer, when semiotics was not recognized as a separate field of research in Lithuania. Here we should mention linguistic and ethnology research of Lithuanian traditional stories, legends, research of Lithuanian language in turn of XIX-XX centuries and even creative heritage of composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911). The second stage of semiotics of Lithuania is related with “independent” development of semiotical mind in Lithuanian Universities. Here we recognize two branches – semiotics of Lithuanian literature and Lithuanian music. Semiotics of literature is developed in Vilnius University where Center of Algirdas Julien Greimas is founded. And semiotics of music is cultivated by researchers with music background – musicologies of Lithuanian Music Academy in Vilnius and Kaunas University of Technology. Paper will present the main Lithuanian researchers, publications and discuss the main features of Lithuanian semiotical research.

Karolis Rimtautas Kašponis Lithuanian Academy of Music and Theatre, retired Lithuanian Scientific Society, Chair of the group „Interdisciplinary Musicology” The mathematical statistical method of comparative research of melodics (the factors of common traits and function of differences on the basis of Lithuanian music) Abstract：This paper will present a new method of melody analysis where comparative and mathematical statistical methods has been applyed. Differencies and identity of melody intervals, frequencies of intonation direction, intensity of metric function were defined using the criterion of reliability. This method was tested with Lithuanian folk and professional music as well as with other European musical cultures. After the research was done the following main conclusions have been formulated: The specific peculiarities of melodies are revealed in the order of its elements (behaviour, i. e. frequency, intensity, dispersion). This method may be applied also for the melodies of any chosen music, bacause the combination of mathematical statistical and comparative research methods (using criterion ) has revealed and comparatively proved these factors of common traits and the functions of differences which cannot be ascertained in any other way. Presumptions have been made for the use of computers for further research, and thus increase the effectiveness of the investigation.

Rūta Brūzgienė Mykolas Romeris University Semiotics and textual musicality in the aspect of rhetoric Abstract：Comparative studies of the correlations of literature and music became especially intensive in the second half of the 20th century, after fundamental works of C. S. Brown and his school’s representative, when there emerged new aspects of the correlation of both arts, their study spectrum was widened, there formed some new theoretical concepts and research methodologies. One of them, W. Wolf’s intermediality conception, besides other theories, is evoked by A. J. Greimas’ semiotics as well. Wolf’s conception is constantly intensively developed, innovative methodological approaches are formed, looking for more detailed and specific ways of literary musicality an analysis. Textual musicality is one of the most important foundations for increasing the persuasion in the art of rhetoric, but this aspect is little analyzed yet.

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Therefore, after briefly discussing general literary and musical comparative aspects in Wolf’s conception, after reviewing the studies of the correlation of both arts in Lithuania, the paper will more widely discuss the projections of the study of the analogues of music forms in the text and search for methodological innovation approaches, relevant to the art of rhetoric. For reaching this aim, not only the works of the representatives of the concept of intermediality of Wolf are briefly discussed (W. Bernhard, M. Priest, etc.), some concepts of Algirdas Julius Greimas (e.g., narrativity, passion semiotics, etc.), postulates developed by E. Tarasti and the representatives of his school of musical semiotics (isotopy, conception of existential semiotics, modality, etc.), but also the concept of ontological music forms are evoked (V. Karbusicky), traditional analysis of musical works (H. Riemann), theory of functional analysis (V. Bobrovsky), works of the representatives of the Lithuanian musicality school (G. Daunoravičiene, I. Jankauskiene, J. Gustaite), modern rhetoric studies (R. Koženiauskienė, A. Smulen, M. Daniel, etc.). The study of the possibilities of text’s rhetoric persuasions, using the concepts of semiotics and musicology, is innovative and especially relevant for modern artistic and social discourse.

Ronald Schleifer University of Oklahoma Practical Semiotics in Medicine Abstract: Recently I completed, with my colleague, Jerry Vannatta, MD, a book-length study, The Chief Concern of Medicine: The Integration of the Medical Humanities and Narrative Knowledge into Medical Practices. The book (which will not appear before the conference) outlines how medical students and physicians can develop practical interviewing and diagnostic skills – skills in what Aristotle calls phronesis or “practical reasoning” – by pursuing what we call “schema-based medicine,” which is parallel to “evidence-based medicine” that is widely practiced in the United States and Western Europe. The schemas we set forth are semiotic schemas: schemas of narrative based upon Greimas’s actantial narratology; schemas of diagnosis based upon Peirce’s logic of abduction; schemas of behavior based upon Aristotle’s virtue ethics. Aristotle described phronesis as the most important skill of an accomplished physician, one that can only come through “experience.” In this short talk, I will present a discussion of the functioning of “practical” semiotics in relation to psychological and humanistic schemas of experience, arguing at that semiotics itself, in important ways, offers the systematic, schematic description of “experience,” which thus can be understood as mediated rather than immediate and therefore susceptible to systematic analysis and understanding.

48. Visual Representation of the Body and East Asian Modernity (71) Jeesoon Hong (Sogang University, South Korea) The Gendered Codes of the New Woman: Visual Rhetoric of the Female Body in Modern East Asia Women have often been used as an abstract image which symbolises social ideals or anxiety. As a number of feminist scholars have pointed out, such abundance of women’s images paradoxically reflects the absence of women in the public sphere and the fact that women did not obtain a concrete or stable status in society. The concept of ‘the new woman’ and various cultural phenomena surrounding it appeared in popular culture, art and literature in late 19th and early 20th century and composed a global modernity. The globally shared concept indicated a mass group of modern women who started to appear in public spaces and internalised social responses to the women. The visual image of the ‘new woman’ was a semiotic site where the yearning for liberation and the desire for constraints confronted each other. In East Asia, the word, 新女性 (xin nüxing, shin yusung, shin josei) was introduced by reformists and became to be commonly used in the beginning of the 20th century. This paper will analyse and compare the visual signs and codes of the bodily images that were widely circulated in modern China, Korea and Japan. In the region, compared with the (gender neutral) counterpart, the ‘new youth’ 新青年 (xin qingnian, shin chungnyun, shin

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seinen) which was defined mainly by energy and intellectuality, the new woman’s social perception heavily depended on her fashion and hair styles. This paper will examine the visual images in advertisements, popular magazines, films and visual arts in early twentieth century East Asia to read the coded and signified messages. In particular, this paper will focus on the portraits of women by the representative new women painters, Pan Yuliang (1899-1977), Na Hyesok (1896-1948) and Uemura Shōen (1875-1949). All the three women led scandalous lives and their representations of the female body, including their own bodies, provides an interesting comparison with the social perception of the new woman and the female body.

Sungdo Kim (Korea University, South Korea) Jiyoung Shin (Korea University, South Korea) Some Fundamentals of Visual Archive and Cultural Map for the Corporal Language in the Modern Era of East Asia: Database Construction Based on Visual Informatics and Visual Culture Studies Abstract：The primary objective of this research is to construct a visual archive of the corporal language in the modern era of East Asia and to create its cultural map. To accomplish this goal, we execute the following three specific steps: 1) establish significant fields of influence such as performing art, visual art and other image-based art, where the corporal language of East Asia manifests its key features, and then collect original visual resources through various media including paintings, photographs, films, illustration, and sculpture; 2) build a database systemized by form, structure, history, meaning, and practical application, utilizing integrated methodology based on humanities which applies visual informatics and visual culture studies. Thus, we ultimately aim to participate in exploring cultural anthropological identities of ‘embodied modernity’ in the modern East Asia. As a new paradigm is greatly needed in order to recognize the academic potential of a visual archive and its application by collecting fundamental materials of humanities beyond the conventional method of knowledge production where it is primarily based on written texts. Therefore, we propose a process where we provide concrete and vivid resources of visual language in combination to its original strength of narrative content, and thus surpassing written and spoken language. Indeed, it is critically opportune to comprehend the modernity of East Asia upon the corporal language while related academic interest and research has recently made diverse progress in numerous fields. In conclusion, this study attempts to grasp the relationship between modernity and corporality in East Asia. The corporal language especially includes body, face, and gesture, under the tradition of individual culture and the dynamics of social interaction, so that it reflects inherent characteristics of each particular time and space. Our research, therefore, intends to present a foundation which empirically accumulates multiple corporal languages and comparatively builds a cultural map throughout those regions of China, Japan, and Korea, as they have shared specific experiences of modernization and its dynamics. Furthermore, by supplying source references of corporal language representation as related to the media industry, we would like to contribute to comprehensive management of visual informatics and its applications.

Jeong-Min Shim, Korea University, South Korea Changes of Social Perception on Dance and Dancers in the Early 20th Century of Korea: in case of Seung- Hee Choi’s Shinmuyong Abstract：While it is a general understanding that the modern history of Korea has begun with the open door of the country in 1876, Korean modern dance is considered to be started from the Seoul performance by Baku Ishii in 1926. Ishii, the famous Japanese pioneer of modern dance, brought huge impact on the Korean community, including Seung-Hee Choi and Taek-Won Cho, who ended up following Ishii to Japan to study under him. Korean modern dance is represented as Shinmuyong, which is originally derived from “Neur Tanz” or “New Dance” against the ballet dance in the West and was imported into Korea as its Japanese translation is. Thus,

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Japanese New Dance, standing for “a movement that refreshes and modernizes traditional dance”, has widely influenced the Korean dancers. Among them, Seung-Hee Choi (1911~1969) was a leading artist who began to study the Western modern dance in earnest and applied its style to the Korean tradition for the first time. As a rare case of highly-educated intellectual dander in those days and international figure beyond the East Asia, she contributed to enhancing the social perceptions on the dance art, and encouraged self-esteem of the Korean people during the Japanese colonial era. Choi, born to upper-class family, had to endure the conventional prejudice against professional dancers usually from the low class and eventually became an female icon of the age as one of the most successful personalities from the field of art. Korean dancers of Shinmuyong, following Choi, started to be disciplined at an institute and presented a performance at public stage. Instead of being an apprentice and a performer for private houses or restaurants, Shinmuyong dancers established a way of commercial performance in the modern Korea. This paper aims to present how Shinmuyong has changed social perception on dance and dancers in the modern period of Korea during the early 20th century. Shinmuyong, typically represented by Choi’s modern dance, enthusiastically embraced the modern Western style and then advanced towards individual artistic creation. Choi, therefore, is one of the most outstanding pioneers who embodied contemporary modernization of art and artist in Korea.

Part H: Law and Semiotics 法律与符号学

49. Judicial Discourse and Semiotics 司法话语与符号学（36 ） Yuan Chuanyou & Chen Dongmei Guangdong University of Foreign Studies, Guangzhou, China Multimodality in New Media Legal Publicity Discourse Abstract: This paper is a multimodal analysis of the legal publicity discourse (LPD) in new media. It aims to answer the following questions: Why legal publicity and its discourse? What are the problems with the conventional LPD? Why new media? Why multimodality? Legal publicity is an important department of law, complementary with legislation, judiciary, and the law enforcement, administered by the Ministry of Justice in China. It shoulders the task of popularizing and disseminating the laws to the general public, promoting legal justice and enhancing the conception of rule of law. Legal publicity discourse (LPD) is part and parcel of legal discourse, and falls within the research scope of forensic linguistics or more broadly, the study of language and law. LPD is the carrier of legal publicity mainly by means of but not limited to leaflets, pamphlets, posters, and bulletin boards (i.e. paper media) and by modes of speech and written language (monomodal), occasionally accompanied or complemented with some sketched pictures and colored fonts. This conventional LPD is problematic in that it is monomedia and monomodal, overly relying on the medium of paper and the modes of verbal language, albeit with some embellishments of cartoons and sketches making it ostensibly and palpably multimodal. It is not just boring and unstimulating, more importantly, it has a disturbing effect in that some spectators choose to pay no heed to it, and others blame themselves for not being able to understand the discourse and meaning it endeavors to construe. In general, such LPD is ineffective. Then, how can such legal information be presented more effectively? With the development of technology, new media such as blogs and microblogs (weibo) are increasingly drawing

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attention of not just individual legal practitioners but also institutions of law enforcement, for instance, public security organs (the police) in popularizing legal information. Various modes and modalities, apart from speech and language, are being deployed in their LPD. This paper examines a series of newly produced animated cartoons (appearing in Xiamen police weibo) about Anti-fraud (or Fraud Alert) propagation aiming to expose fraudulent tricks and deception, a sub-genre of LPD. It analyzes the merits (and demerits) of deploying visual modes and a focused language for voicing warnings in comparison with the old fashioned LPD carried by leaflet and posters. The overall objective is to prove that new media multimodal LPD is far more effective than the conventional LPD through the research methods of questionnaire, interview, field investigation, and laboratory experiments. This research is a pilot study of a broader National Social Science Project entitled Multimodality in New Media Legal Publicity Discourse with the Project Code 12BYY041.

Pedro Diaz [email protected] It is a legal impossibility that an object/symbolic entity that police departments create actually exist. Law enforcement creates an entity that tests the boundaries of semiotics. Since semiotics is easier to define by what is not rather than what is. Semiotics links linguistic and non-linguistic information to offer plausible conclusions that place the interpretation of language in a social context also known as semiosphereor for this purpose – a chat room. The recursive nature of computers allows for interesting questions regarding the believability of law enforcement’s created entity.

Janet AINSWORTH Seattle University School of Law, USA [email protected] Knowledge, Power and Identity: The Semiotics of Expertise in American Courtroom Discourse Abstract: Expert witnesses who are engaged by attorneys frequently find their experiences as a witness in court to be confusing, frustrating, and upsetting. Important qualifications to their conclusions are ignored and the background context necessary to a proper understanding of their work is omitted by the lawyer presenting their evidence. On cross-examination, matters get worse. Opposing counsel may insinuate that their methodology is suspect, their credentials in the field inadequate, and their conclusions unsound. This paper will suggest that the legal rules and lawyering norms governing the admission of expert testimony in American courts unnecessarily create many of these problems. These rules and norms operate both on a macro-structural and a micro-structural level to generate discursive regimes for the construction and contestation of “expertise.” On a macro-structural level, the question of admissibility of expert testimony is governed by rules that are deeply problematic with respect to expertise grounded in social science. The current framework for the admission of expert testimony in American courts is based on the existence within a field of testable or falsifiable propositions, its error rate, and the degree to which research within the field has been subjected to peer review--in short, a narrowly positivist view of scientific expertise. However, disciplinary methodologies, goals, and assessment of results about what counts as valid knowledge differ considerably for different scholarly enterprises. The one-size- fits-all straitjacket of the current test for admissibility has resulted in the exclusion of much valuable expert linguistic evidence. On a micro-structural level, legal doctrines and practices governing the ways in which expert witnesses are deemed qualified to testify in individual cases also create problems in the reception of social science knowledge domains. Discourse analysts have long appreciated that the asymmetrical discursive dynamics of the witness examination process itself place uncomfortable pragmatic constraints on witnesses in their interchanges with questioning attorneys. These pragmatic and discursive constraints are amplified in the context of the examination of expert witnesses. This courtroom discourse can be profitably analyzed using Erving Goffman’s “face-work”

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framework for considering interpersonal communicative interaction. Unlike in other discursive contexts in which aggressive face-threatening occurs, the expert witness is both unable to engage in face reparative work, unable to change the subject to a less face-threatening topic area, and unable even to engage in meta-commentary on the face-threats and face-aggravation that she is subjected to. What this analysis suggests is that the American adversarial legal system is hamstrung by artificial barriers to the admission of valuable social science knowledge. In addition, its norms and practices in the admission of testimony create a discursive setting in which the construction of what counts as “true” expertise and contestation over its ultimate significance are governed by “law” rather than by the knowledge domains of the expert witness, limiting the usefulness of expert evidence in the resolution of disputes, and creating a real risk of miscarriages of justice because such evidence is inadequately integrated into legal decision-making.

Ning YE Zhejiang Police College, China [email protected] Genre Manipulation in Police Interrogation：A socio-semiotic perspective Abstract: The reality of discursive practices indicates that the boundaries between genres often blur, and the mixing and appropriation of generic resources abound. The genre mixing and appropriation in police interrogation produces a set of complex and powerful communicative actions, which embodies unbalanced power relation between police and suspects. This study focuses on the construction and reconstruction of identities of the two parties involved in police interrogation with mixed communicative purposes in the process. By taking a socio-semiotic approach, it explores the dynamic identity construction and examines the power and control in legal settings.

Li-ping ZHANG Nanjing University of Science and Technology [email protected] Multimodal Warnings as Appraisal Resources in Dispute Mediation Abstract: In the past decades, linguistic warnings have received academic attention and generated a lot of research on the nature, linguistic form and function of warnings as a speech act, leaving other modes of warnings untouched upon. Modern technology has greatly facilitated the collection and transcription of multimodal discourse data. This paper reports on a study of dispute mediation talk on television. The study analyzes multimodal warnings embedded in conflictual environments where mediators employ various semiotic resources (van Leeuwen 2005) to mediate the negotiation between conflicting parties. Specifically, this study addresses the following issues: 1. Configurations of multimodal warnings On a microscopic level, how do social actors, mediators in this case, utilize multiply modes of warnings, say, via the layout of furniture in the negotiation settings, posture, gestures etc. to express their evaluation of the conflictual talk? On a macro-level, how do mediators use visual shapes of various kinds in the negotiation setting to indicate their appraisal of the on-going conflict? 2. Affordance of multimodal warnings in context How do mediators employ multimodal warnings as appraisal resources (Martin & Rose 2003) to evaluate and mediate the linguistic contributions of each party in the fluid context of the negotiation talk? Methodologically, this paper mainly adopts the multimodal interactional approach (Norris 2004) to warnings in mediated discourse. The significance of the paper lies in that multimodal warnings embedded in a fluid talk may reflect the complexity and contingency of multimodality in everyday life.

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Yi-cun JIANG Shandong Institute of Business and Technology [email protected] The Logic of Legal Narrative: Greimassian Semiotic Analysis of a Case Report Abstract: The paper works on tracing the latest development in the application of narrative semiotics in legal discourse description. On the one hand, the author attempts to apply the narrative semiotic method to the analysis of a case report which is so far a virgin soil and deserves the try. On the other hand, the author also analyzes the various theories and seeks whether these various methods can compensate narrative semiotics in analyzing the legal discourse. Recent years witness the rapid development of forensic linguistics and the linguistic study of legal discourses. Legal discourses have already caught many scholars’ attention. Some of the researchers pay their attention on the rules and regulations that govern people’s social actions; others show their great interests in the interactions and conversations on the courtroom and attempt to induce some effective techniques for legal practice. Furthermore, the linguistic study in the legal context has attracted the attention of many linguists and jurists. And their studies in this field can not be separated from the first place but can compensate each other. Greimas’ insightful paper The Semiotic Analysis of Legal Discourse kicked off the application of narrative semiotics to the study of legal discourses. He attempted to reduce any text to a simple shared structure on the basis of the logic of narrative. There are all together 3 parts in this paper and their organization is as follows. Part one is an introduction. The research field, the main method adopted in the analysis, the subject chosen to be analyzed, features of the method and the purpose of the thesis are all explained here. The paper is an attempt to analyze the legal discourse and the method adopted here is narrative semiotics, the subject to be analyzed is a well selected case report. The aim of the paper is to reveal the logic of legal narrative and to have a profound interpretation of the legal micro-universe. Part two is an application of the narrative semiotic method to the analysis of a case report. In this part the case report will be analyzed on three semiotic levels put forward by Greimas. In the discursive level, the figurative component、the grammatical features and the enunciative component are examined in detail. In the narrative level, the case report is put into the actantial narrative schema and the canonical narrative schema. In the deep level the values and the axiology of the case report are presented in the form of the semiotic squares. Part three raises some problems existing in the current theory and provides ways for improving it. Part four is the conclusion. In this part the author summaries the main content of the study, strengthens the significance of narrative semiotics in the analysis of legal narrative and views the possible trend of development in this field.

Ji-xian PANG， Zhejiang University, China [email protected]@zju.edu.cn Identity Construction in Police Interrogations Abstract: Throughout a police interrogation, the identities of police interrogators and suspects do not fix as questioners and answerers, but are dynamic with the changing communicative purposes in an interrogation process. At the opening and closing stages, the institutional identity of interrogators is salient where they act as spokespeople with suspects as recipients. At the stage of information collecting, interrogators attempt to construct an interrogation pattern where they act as recipients and suspects speakers, with an aim to show the voluntary nature of the suspect’s confession. Open questions enable interrogators to give suspects the identity as narrators (of the criminal fact). However, with conflicts between different communicative purposes, the ideal pattern of interrogation is often undermined, resulting in the shifting identities of the two parties. This paper argues that the police’s keen awareness of their identity construction in the interrogation will facilitate the achievement of their interrogative purposes.

50. Legal Translation, Transplant and Semiotics

法律文本翻译、移植与符号学（37）

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Chiang Yatsen [email protected] The Logic of Legal Narrative －Greimassian Semiotic Analysis of a Case Report Abstract: The paper works on tracing the latest development in the application of narrative semiotics in legal discourse description. On the one hand, the author attempts to apply the narrative semiotic method to the analysis of a case report which is so far a virgin soil and deserves the try. On the other hand, the author also analyzes the various theories and seeks whether these various methods can compensate narrative semiotics in analyzing the legal discourse. Recent years witness the rapid development of forensic linguistics and the linguistic study of legal discourses. Legal discourses have already caught many scholars’ attention. Some of the researchers pay their attention on the rules and regulations that govern people’s social actions; others show their great interests in the interactions and conversations on the courtroom and attempt to induce some effective techniques for legal practice. Furthermore, the linguistic study in the legal context has attracted the attention of many linguists and jurists. And their studies in this field can not be separated from the first place but can compensate each other. Greimas’ insightful paper The Semiotic Analysis of Legal Discourse kicked off the application of narrative semiotics to the study of legal discourses. He attempted to reduce any text to a simple shared structure on the basis of the logic of narrative. There are all together 3 parts in this paper and their organization is as follows. Part one is an introduction. The research field, the main method adopted in the analysis, the subject chosen to be analyzed, features of the method and the purpose of the thesis are all explained here. The paper is an attempt to analyze the legal discourse and the method adopted here is narrative semiotics, the subject to be analyzed is a well selected case report. The aim of the paper is to reveal the logic of legal narrative and to have a profound interpretation of the legal micro-universe. Part two is an application of the narrative semiotic method to the analysis of a case report. In this part the case report will be analyzed on three semiotic levels put forward by Greimas. In the discursive level, the figurative component、the grammatical features and the enunciative component are examined in detail. In the narrative level, the case report is put into the actantial narrative schema and the canonical narrative schema. In the deep level the values and the axiology of the case report are presented in the form of the semiotic squares. Part three raises some problems existing in the current theory and provides ways for improving it. Part four is the conclusion. In this part the author summaries the main content of the study, strengthens the significance of narrative semiotics in the analysis of legal narrative and views the possible trend of development in this field.

Sophie and Yang Zhuo The Polytechnic University of Hong Kong, East China University of Political Science and Law [email protected] The Origin and Formation of Super-Signs in the Translation of Elements of International Law: a case study of “Right/Quan/Quanli” CFP-Law and Semiotics Strand Abstract: Translated by W.A.P Martin from Henry Wheaton’s Elements of International Law(1855), Wanguogongfa (1864) played a crucial role in ushering late-Qing China into the community of western international legal system. However, apart from abundant research from legal and historical perspectives, discussion based on text analysis with Sign Theory is still needed. Drawing upon the idea of Super-Signs raised by Lydia Liu, the Paper attempts to provide an account of signification, representation, and reference of the concept “Right” in western common law system, and to explore how its meaning was reconstructed by codes and conventions in Chinese legal context, thus depicting the origin and formation of the Super-Signs “Right/Quan/Quanli” across languages and cultural boundaries. First, in the purposive sampling, 4 chapters from the Wanguogongfa were chosen. Then, the Author surveys the coupled pairs of “Right” in Chinese and categorizes them into groups labeled with different strategies, such as noun phrases, modalization or zero-replacement. After summarizing rules of shift, Logic of reciprocity is applied to testify the findings by screening out and analyzing the equivalent of “Quan/Quanli “, reversely, in the ST. Hence, the Authors presents retrospection on how the translator, in the mode of metonymic thinking, added up the

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“general public” to the beneficiary sector together with “interest”, represented by character “Li”, into the word “Quan” in Chinese, which used to mean “power” only. The research is a semiotic analysis of a legal text that deals, instead of themes and general meaning, with the way in which meaning is produced. The first of such kind to dismiss misunderstanding concerning translation of the term “right”, it also facilitates application of Semiotics in legal translation studies.

Huang Chunfang Southwest University of Political Science and Law [email protected] The Translation of C-E Legal Documents: A Perspective of Semiotics Abstract:The sign in Saussure’s semiotics consists of two opposing elements: signifier (or sound-image，standing for an object), and signified, which refers to an already existing idea or thought. In Peirce’s semiotics, signs have a triadic structure, consisting of the sign(symbol), the object(referent), and the interpretant(reference). Peirce’s thought influenced most of that century semioticians, including Morris. Signs are the stuff through which messages are communicated across. Semiosis is the process by which communication occurs, and this intellectual process makes communication possible. According to C.Morris, this process involved three (or four) factors, the sign vehicle, the designation, and the interpretant. The interpreter may be included as the fourth factor. He thinks semiotics has three subordinate branches of syntactics, semantics, and pragmatics, dealing respectively with the syntactical, semantical, and the pragmatical dimensions of semiosis. Syntactical dimension studies the formal relation of signs to one another; semantical dimension studies the relation of signs to the objects to which the signs are applicable; pragmatic dimension studies the relation of signs to interpreters. The meaning of a sign is the integration of syntactical meaning, semantic meaning and pragmatic meaning. The primary nature of legislation is to regulate man’s social behaviour by means of words in one or two ways: it commands or empowers. Thus the law sets up two kinds of ‘legal illocutionary act’. One is illocutionary acts which impose an obligation to act or not to act. The other is discretionary illocutionary acts which confer a power that may or may not be exercised. The binding force of legislative text is attached to a linguistic formulation. And the authority of the legislative text is reinforced and given continuity by an assumption that their words are ‘continually speaking’. According to Jakobson’s tranlative-interpretative processes, there are three possibilities of translating verbal signs: 1) intralingual translation or rewording which refers to the interpretation of verbal signs by means of other signs of the same language; 2) interlingual translation which refers to the interpretation of verbal signs by means of some other language; 3) intersemiotic translation or transmutation which refers to the interpretation of verbal signs by means of signs of nonverbal sign systems. (Jakobson, 1971, pp. 260-266) The translation of C-E legal documents is the interlingual translation. A legal document is a term used to describe a broad range of documents that grant a right or affirm a contractual relationship. Translating is a semiosic process. We must understand the semiotic system of the source language, analyze its syntactical, semantic and pragmatic dimension of this semiosis and decode (a process of signifying) the meaings in the source language. When we translate English legal doccuments into Chinese. We should understand not only the referents, but also the references, understanding the intergrating meaning of signs. By doing so, we can do proper rendition so as to manifest the original meaning in the target language. This paper will illustrate this idea by giving some examples of the translation of legal documents, esp. the litigation legal documents, such as indictment, complaint, answer and motion etc.

Anne WAGNER Université du Littoral Côte d'Opale, France [email protected] Variations in Legal Discourse in the Translation Transfer Abstract: The written legal discourse is not

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uniform and fluctuates according to time and space. Each legal text is constructed with discrete cultural parts around a central structure. When it comes to translate it into another language, we not only have to consider the “pure” technical translation but also the transfer of one culture to another. The paper will explore these themes and implications for meaning from Canadian Law to French Law.

Chun-fang HUANG Southwest University of Political Science and Law [email protected] The Translation of C-E Legal Documents: A Perspective of Semiotics Abstract: The sign in Saussure’s semiotics consists of two opposing elements: signifier (or sound-image，standing for an object), and signified, which refers to an already existing idea or thought. In Peirce’s semiotics, signs have a triadic structure, consisting of the sign (symbol), the object (referent), and the interpretant (reference). Peirce’s thought influenced most of that century semioticians, including Morris. Signs are the stuff through which messages are communicated across. Semiosis is the process by which communication occurs, and this intellectual process makes communication possible. According to C. Morris, this process involved three (or four) factors, the sign vehicle, the designation, and the interpretant. The interpreter may be included as the fourth factor. He thinks semiotics has three subordinate branches of syntax, semantics, and pragmatics, dealing respectively with the syntactic, semantic, and the pragmatic dimensions of semiosis. Syntactical dimension studies the formal relation of signs to one another; semantic dimension studies the relation of signs to the objects to which the signs are applicable; pragmatic dimension studies the relation of signs to interpreters. The meaning of a sign is the integration of syntactical meaning, semantic meaning and pragmatic meaning. The primary nature of legislation is to regulate man’s social behaviour by means of words in one or two ways: it commands or empowers. Thus the law sets up two kinds of ‘legal illocutionary act’. One is illocutionary acts which impose an obligation to act or not to act. The other is discretionary illocutionary acts which confer a power that may or may not be exercised. The binding force of legislative text is attached to a linguistic formulation. And the authority of the legislative text is reinforced and given continuity by an assumption that their words are ‘continually speaking’. According to Jakobson’s translative-interpretative processes, there are three possibilities of translating verbal signs: 1) intralingual translation or rewording which refers to the interpretation of verbal signs by means of other signs of the same language; 2) interlingual translation which refers to the interpretation of verbal signs by means of some other language; 3) intersemiotic translation or transmutation which refers to the interpretation of verbal signs by means of signs of nonverbal sign systems. (Jakobson, 1971, pp. 260-266) The translation of C-E legal documents is the interlingual translation. A legal document is a term used to describe a broad range of documents that grant a right or affirm a contractual relationship. Translating is a semiosic process. We must understand the semiotic system of the source language, analyze its syntactical, semantic and pragmatic dimension of this semiosis and decode (a process of signifying) the meanings in the source language. When we translate English legal documents into Chinese, we should understand not only the referents, but also the references, understanding the integrating meaning of signs. By doing so, we can do proper rendition so as to manifest the original meaning in the target language. This paper will illustrate this idea by giving some examples of the translation of legal documents, esp. the litigation legal documents, such as indictment, complaint, answer and motion etc.

Li-jin SHA China University of Political Science and Law [email protected] Power and Control in Legal Translation --- A case study of Criminal Procedure Law of the PRC Abstract: Power and control has been a perennial theme of exploration in the studies for social philosophers and

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sociolinguists, who take such language as the “primary medium of social control and power” (Fairclough 1989: 3). This is nowhere truer than in legal setting (Coulthard and Johnson 2007: 37). The attention to power, control and language in legal settings can be noticed in many works, but the interrelationship between power, control and translation in legal settings is a relatively unchartered domain. To fill in such a lacuna, this paper uses case studies to provide an account of how power and control dominate in the process of legal transplantation and translation. As China is an independent sovereign state and our own inner power balance, during the law transferring, we shall understand the legal texts in its special legal systems and see if it would fit with our social reality and make proper adjustment or explanation if necessary. Throughout this process, the translator’s legal intellectual equipment and subjectivity would be emphasized. Translators can choose the exact style or expression as he or she chooses on the rounds of conveying the substance of the original text. This study shows that the influence of power, i.e., the social, cultural and economic forces on translation as well as legal translation, is indispensable. Due to the specialty of legal texts which often reflects the will of certain group or class, legal translators shall make their own choice while translating and make their work fit the net composed of the various powers of the circumstances they are in. Sophie Zhuo YANG The Hong Kong Polytechnic University & East China University of Political Science and Law [email protected] The Origin and Formation of Super-Signs in the Translation of Elements of International Law: a case study of “Right/Quan/Quanli” Abstract: Translated by W.A.P Martin from Henry Wheaton’s Elements of International Law(1855), Wanguogongfa (1864) played a crucial role in ushering late-Qing China into the community of western international legal system. However, apart from abundant research from legal and historical perspectives, discussion based on text analysis with Sign Theory is still needed. Drawing upon the idea of Super-Signs raised by Lydia Liu, the Paper attempts to provide an account of signification, representation, and reference of the concept “Right” in western common law system, and to explore how its meaning was reconstructed by codes and conventions in Chinese legal context, thus depicting the origin and formation of the Super-Signs “Right/Quan/Quanli” across languages and cultural boundaries. First, in the purposive sampling, 4 chapters from the Wanguogongfa were chosen. Then, the Author surveys the coupled pairs of “Right” in Chinese and categorizes them into groups labeled with different strategies, such as noun phrases, modalization or zero-replacement. After summarizing rules of shift, Logic of reciprocity is applied to testify the findings by screening out and analyzing the equivalent of “Quan/Quanli “, reversely, in the ST. Hence, the Authors presents retrospection on how the translator, in the mode of metonymic thinking, added up the “general public” to the beneficiary sector together with “interest”, represented by character “Li”, into the word “Quan” in Chinese, which used to mean “power” only. The research is a semiotic analysis of a legal text that deals, instead of themes and general meaning, with the way in which meaning is produced. The first of such kind to dismiss misunderstanding concerning translation of the term “right”, it also facilitates application of Semiotics in legal translation studies.

Francesca QUATTRI & Chu-ren HUANG The Hong Kong Polytechnic University, [email protected]; [email protected] Theoretical Applications of Visual Semiotics and Computational Models in Court Interpreting Abstract: There is no unified note-taking system in consecutive interpreting. Our current studies focus on the search for a standardized notation system or at least a standardized framework for the knowledge representation during the interpreting act. There are reasons to believe that fixed parameters in the consecutive action might significantly improve the quality of the outcome or target text. Because consecutive interpreting is so randomly conceived,

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each composing element can be broadly discussed: one could focus i. a. on the size of the symbols, their disposition on a suitable framework or the amount of symbols versus words or abbreviations used for the notation. We believe that consecutive interpreting theory can borrow a lot from both visual semiotics and machine learning.

Le CHENG & Jian LI City University of Hong Kong, Hong Kong Meaning as a Corpus-based Reconstruction: Translating ying and xu into English as a discursive reflection Abstract: In the study of the language of the law, modality finds its place in contract, legislation (Coode 1852; Ilbert 1901; Coates 1983; Trosborg 1991, 1997; Wang 1999; Liu 2003), cross-examination (Wang 2003), and court judgments (Xie 2001; Li 2005); however, few addressing pragmatic and social factors involved in the interpretation of modality in legal settings from a semiotic perspective have been formulated. This paper seeks to shed some light on some conspicuous issues within a semiotic approach to the understanding and then translation of deontic modality in legal settings based on corpora, four corpora of approximately 250,000 words each. The four corpora consist of randomly-selected Chinese legislation in the four jurisdictions of China: Hong Kong, Macau, Taiwan and Mainland China. Many discussions on deontic modality strictly relate deontic modality to the concept of right (usually termed as permission) and obligation. It seems not unusual for many scholarships to assume or claim that it is obvious that whenever one ying (“ought to”)/xu (“shall/must”) (not) do something, especially in legal settings, one has a duty (not) to do it. In this corpus-based study, I try to argue, just like those advocating pragmatics, that whenever the words ying and xu (or its disyllabic forms yinggai/yingdang and bixu ) are used, the linguistic context must be resorted to in order to determine what concept this occurrence of ying and xu express. I would also like to argue that the common association of ying and xu with duty in legal settings is prototypical, and that is closely related to the meaning distribution of ying and xu in legislation; and even for the apparently same linguistic context, different discourse communities (Hong Kong, Macau, Taiwan and the Mainland are herein taken as different discourse communities because they may use the same sign differently, though the same language Chinese is shared among them) may have different understandings on the same signs ying and xu, as Walton (1991:367) rightly holds, “...the meanings that are ascribed to modal verbs multiply arbitrarily as more and more context is added, and any reference grammar aimed at recording these meanings will come to resemble a lexicon and still fail to cover them all”. The findings of the paper should not be understood just as a descriptive analysis. The underlying rationale for this study is to argue the understandings of different discourse sub-communities should be seriously taken into account in translation due to the diversity in different jurisdictions.

51. Legal Terminology, Interpretatin and Semiotics

法律术语、阐释与符号学（40） King-kui Sin City University of Hong Kong, Hong Kong [email protected] Can there be Truth in Interpretation? A critique of Ronald Dworkin’s Responsibility Theory of Legal Interpretation Abstract: On October 26 2009 Ronald Dworkin delivered the inaugural Frederic R. and Molly S. Kellogg Biennial Lecture on Jurisprudence in the Coolidge Auditorium of the Library of Congress entitled “Is there truth in interpretation? Law, literature and history”. That lecture can be considered a summary of his long- held “right answer” position on legal interpretation. He refutes the skeptical view that there is no right

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interpretation, arguing that skepticism is incoherent in itself. He rejects the intentionalist position that the truth of an interpretation consists in its correspondence with the psychological state of the lawmaker, arguing that the intention of the lawmaker is irrelevant to what the law says. He distinguishes the various types of interpretation, such as sociological, historical, literary, religious, and psychoanalytic interpretation, stressing that legal interpretation is only one type of interpretation. He then classifies interpretations into three main categories, namely, collaborative, explanatory, and conceptual interpretation, noting that legal interpretation, like literary interpretation, belongs to collaborative interpretation. Finally, he puts forwards what he calls “the responsibility theory of interpretation” as a general theory of interpretation, maintaining that interpretation is essentially a collective activity, and that all those engaged in its practice must take “serving justice” as their common goal. This paper examines the arguments Dworkin puts forward in the lecture, with a view to clarifying some of the deeply entrenched misconceptions about the notion of interpretation.

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Sol Azuelos-Atias University of Haifa, Isereal [email protected] The Purposive Method of Legal Interpretation in Practice Abstract: I discuss the Israeli’s unique way of statutory interpretation according to which the court should interpret statutes in light of the purpose behind their legislation. After a brief survey of the Israeli legal system, I discuss the place of interpretation in legal philosophy in general and in the legal philosophy of Aharon Barak – the most influential figure in Israeli current jurisprudence – in particular. Finally, I present the judicial criteria for application of the purposive method of legal interpretation and elucidate how this method is applied in Israeli courtrooms by means of an example of the judicial interpretation of section 13(5) of the Defamation Law presented in the Fuad Chir v. Oded Gil case (Permission of a Civil Appeal 1104-07).

Le Cheng, City University of Hong Kong, Hong Kong [email protected] Legal Terms as Signs A case study of “ordinary residence” in Hong Kong Abstract: This article analyses a landmark case on ordinary residence in Hong Kong - the Evangeline Banao Vallejos case, the ruling was handed down on 30 September 2011 for the applicant - a Philippine domestic helper who has lived in Hong Kong for more than twenty years. The Court claimed to use the common law approach – a “natural and ordinary” approach to the interpretation of “ordinary residence” and declared the unconstitutionality of the restrictions imposed by the Department of Immigration of Hong Kong on the imported foreign domestic helpers in their seeking permanent residency in Hong Kong. One of the key arguments in the Court’s ratio decidendi is that a “natural and ordinary approach” is inherently related to the common law system. This study examines all the reported cases on ordinary residence in the purpose of examining the approaches used therein and surveys the approaches to legal interpretation adopted in the common law jurisdictions via literature review. The findings show that the approaches to legal interpretation are not necessarily constrained by the legal systems rather a mechanism for the courts to solve the case-to-cases disputes, and that the adoption of a specific approach in a particular case is a socio-semiotic rather than a purely jurisprudential operation. Such findings lead us to conjecture up the prospects of the cases alike.

Anita Soboleva National Research University, Russia [email protected] Legal Definitions as a Means to Overcome Polysemy in Legal Discourse Abstract: Concretization of legal rules as a legislative drafting technique is aimed to reconcile two opposite trends: impossibility to foresee all types of cases, which might be regulated with the proposed rule, and necessity to foresee them. The drafters seek to overcome the gap between their intent and possible future interpretations of the rule by the law implementing bodies. As far as most of the words in any language have more then one meaning, the legislators use legal definitions, which, in their view, should restrict the freedom of the interpreter and help the law implementers to apply the law in compliance with the legislative intent or, at least, to avoid interpretations overtly inconsistent with it. The presentation will address such issues as place of the legal definitions in legal discourse, polysemy and homonymy in statutory texts, legal terms as compared to terms in other sciences, requirements imposed on legal terms, role and interpretation of indefinite legal terms. Special attention will be paid to legal terms, which have different definitions in different branches of law, to legal definitions, which have different meaning in law and other sciences, to terms of “general science” (such as ‘assimilation’, ‘operation’, ‘balance’, etc.) and to those words, which can be used in legal texts in their ordinary or terminological meaning (e.g. ‘water’, ‘defender’). A distinction will be drawn between the legal terms in legal theory and legal terms, which found their definitions in statutory texts or regulations. The presentation will reflect the current state of art in the legal terminology research

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and analysis in Russian legal and linguistic theory.

Pedro Duarte Diaz [email protected] Semiotics of Law: Intent and Preparation with in a Semiosis Cycle Abstract: “The battle for survival as a responsible human in the communication era is not to be won where communication begins, but where it ends”. Umberto Eco 1986. When Law enforcement takes it upon itself to ensnare an individual and fails to define full intent and preparation within the semiosis cycle - it becomes a legal impossibility. Inter-net solicitors engage adult detectives who represent symbolic/objects victims – none real victims. The crime itself (Online Solicitation) is considered a crime against property not a crime against persons. Hyper-real object-entities/persons cannot be made real just because law enforcement says so. Why? Because it’s a legal impossibility to make a symbolic character a victim. A victim that didn’t exist before or after the so called suspect engaged law enforcement. It is a legal impossibility that an object/symbolic entity that police departments create actually exist. Law enforcement creates an entity that tests the boundaries of semiotics. Since semiotics is easier to define by what is not rather than what is. Semiotics links linguistic and non-linguistic information to offer plausible conclusions that place the interpretation of language in a social context also known as semi sphere or for this purpose – a chat room. The recursive nature of computers allows for interesting questions regarding the believability of law enforcement’s created entity. A referential fallacy exists! The fact that simply because an object exists, doesn’t necessarily follow that the object/symbol really exists. The entity created by law enforcement is an effort by them to deceive another party through a computational medium i.e., a chat room. The hyper-real diorama law enforcement and the second party (suspect) create only exists in a hyper-real world, therefore, a legal impossibility to show that criminal solicitation, online solicitation or that any crime occurred, It is impossible to determine the thoughts of an individual across a computational medium. Proving intent and preparation is difficult to do unless the second party (suspect) removes himself from that hyper-real medium, leaves the computer, the house and travels to a predetermined location in which case intent and preparation could be said to occur. Even so, leaving many questions unanswered. Typically, intent and preparation is difficult to prove yet law enforcement agencies continue to push the envelope when it comes to prosecution. Law enforcement agencies go to some effort to create the elements of intent and preparation. Because the juries fail to understand the complexities of computational semiotics, Juries are unable to discern the facts of such cases – they lack the ability to understand the semiosis cycle within a digitalized environment. Juries fail to understand computational semiotics therefore, unable to make clear, true and correct determinations thus putting to question 1. How can a true bill be concluded 2. How a sentence can be handed down. Hence, legal-sufficiency is in question! The question that must be fully understood by juries is where exactly does law enforcement’s object/entity exist, in the mind of law enforcement, the chat room, The servers, across the cyber medium?

Niels van Dijk and Katja de Vries, Vrije Universiteit Brussel (VUB), Brussels [email protected] Legal Semiotics in Practice. From Greimas and Hart to Latour. Abstract: The semiotic approach to law proposed by Greimas and Landowski (1976/1990) studies statutory law in action: namely as an act of enunciation through which the syntagmatic transformation (contract, performance, ordeal) takes place. Another crucial aspect of the Greimasian approach is generation (of meaning) through the paradigmatic semiotic square. However, following Latour, one could critique the Greimasian approach on several levels. First of all because it only focuses

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on the legal text or discourse. In the seminal article of 1976 the whole analysis only looks at the text of one particular French law on Companies and Groups of Companies. This brackets out a whole world of other actants - court rooms, documents, lawyers, litigants, etc. While sticking to the maxim that there is no context or referent outside the text, the inclusion of these heterogeneous networks transforms classical semiotics into “material semiotics” (Law 2009). Textuality is broadened to include a wider range of actants. What Latour keeps from Greimasian semiotics are the notions of act of enunciation, actant, and mediation, but he rejects the distinction between the actual parole and the virtual langue, and consequently also the distinction between the “deep level” of signification, the “thematic level” and the “level of manifestation”. Instead he adopts a horizontal approach which does not aim at unearthing a deep structure, but stays at the surface. We argue that these Latourian extensions and changes create a more empirical way of approaching law and create a semiotics oriented on ‘practices’. This seems to align Latour with what is called ‘the practice turn in contemporary thought” (Schatzki et al. 2001). On this view, law is approached from the point of view of practices, as something we do. If we leave aside naturalistic assumptions on ‘Law’ with a capital ‘L’ and take the parsimonious outlook that the practice of law does not have an immutable essence but only exists in its repetitive use, this raises the question how the empirical researcher is to approach legal practice. What exactly is studied, in which way should it be approached? We will first treat Hart’s general “practice theory” of law. Notwithstanding the sociological aspirations which can be read between the lines, the writings of Hart can hardly be called an empirical or sociological study of legal practice. Such an approach has been undertaken by Latour in an ethnographic study of the French Conseil d’Etat, documented in his book The Making of Law. Here he “tries, through the device of ethnography, to capture a philosophical question [...] that would be inaccessible philosophically [...]: the essence of law. Knowing an essence does not lie in a definition but in a practice, a situated, material practice that ties a whole range of heterogeneous phenomena in a specific way.” (Latour 2010, p. x). Latour calls this specific way law’s “regime of enunciation” or “mode of existence”, which he opposes to what he calls the ‘Institution of Law’. In the paper we analyze the following semiotic characterizations that Latour gives of law: transfer of value objects, acts of attachment and the connotative key of sense. These three aspects constitute the specific legal regime of enunciation. This regime is what gives a particular gathering or ‘network’ of actants its legal sense. Although Latour’s understanding of law as a ‘regime of enunciation’ takes some insights from semiotics, he also critiques the Greimasian school (particularly the work of Bastide) for only having studied one regime of enunciation - fiction - and to have applied this to other regimes of enunciation such as law, science or politics (Latour (2012) distinguishes fourteen regimes) which have very different characteristics. It is interesting to note that MacCormick (1992) leveled a similar criticism against Jackson’s (1991) semiotic analysis of law in terms of the syntagmatic triad of contract, performance and recognition However, the argument can also be reversed as both Latour and MacCormick point out that the terminology of semiotic analysis itself has a rather “legalistic” ring. At the same time we argue that the model of the regime of enunciation that Latour extracts from the ethnographical study of a legal institution is itself based on modes of thought that have themselves already incorporated essential proto-legal features, concepts and figures. When this thinking is turned back on law in order to study its characteristics, it will have become essentially recognitive of itself. It seems that in thinking about law the presupposition of a legal totality is required, which cannot be obtained. What does it mean for a way of thinking – a legal thinking – to have to presuppose an impossibility? The challenge for empirical legal thinking becomes to understand in which ways law is intertwined in practice beyond itself and in which it is already caught up with itself.

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Titiriga Remus, School of Law, INHA University, South Korea [email protected] The 'Metodenstreit' and its aftermath in Germany: A semiotic analysis Abstract: The paper unveils one of the most interesting pages in the history of legal methods. By the end of XIXth century a great methodological debate (Methodestreit), over the role of judge, emerged in Germany. The ancient conceptual methodology (Begriffsjurisprudentz) which has dominated unchallenged for at least 30 years came under siege from new methodological schools like ‘Free law’ school and the ‘School of Objective interpretation’. However the most effective methodological challenger was the Doctrine of interests (Interessenjurisprudenz) which emerged at the University of Tubingen under the leadership of von Heck. The Interessenjurisprudenz reached all areas of law and by early '20 prevailed in Germany as dominant methodological movement. Afterwards the Doctrines of interests spread to Switzerland and remain still today the choice technique of Swiss judge. After the Second World War its achievements will be surpassed In Germany by the more sophisticated trend of Wertungsjurisprudenz (Doctrine of evaluations). The paper will analyze from a multidimensional semiotic perspective (syntactical, semantic and pragmatic) the meaning of that historical debate and its importance for the evolution of interpretative methods.

Late received abstracts

Prof. SeungKuk BAIK, Master. Hyeji LEE A Research on the Storytelling Strategy of Cultural Branding Abstract: Recently in consulting area, people tend to accept and unite two different marketing methodologies. One is quantitative marketing methodology which suggests the strategy based on market data, the other is called qualitative marketing methodology which analyze and diagnose consumer thoroughly. The unity of those two methodologies mean the possibility of exploration of economical methodology that proposes abstract figure of data analysis and the creative marketing strategy that of in the level of consumer's aspect at the same time. In this stream of study, it is being mentioned on the importance of applied humanities. Especially the emerging branches of applied humanities are as follows: aesthetic marketing that establishes product and brand identity, emotional marketing that moves consumers' mind, and cultural branding that sets communication strategy up by the medium of culture. The purpose of this research is to analyse utility of storytelling in the process of consumers to recognize brands in the level of cultural branding. It has its aim at application of the cultural semiotics and methodology into a concept of cultural branding which is derived from 'How Brands Become Icons' by Douglas Holt, the marketing specialist, in particular. Holt mentioned about the importance of cultural branding strategy on the basis of storytelling but he doesn't give any specific concept and methodology from his book. He just simply emphasizes the importance of storytelling strategy to establish brand myth by analyzing commercials. Thus, cultural branding theory concept and methodology will be suggested in the perspective of cultural semiotics in this paper. The research attempts to take a theoretical approach of cultural branding through following interdisciplinary concepts that affects on consumers realm of cognition: symbolization capability, cultural context, cultural code, cultural archetype, cultural myth, storytelling setting.

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Prof. Ji Seon PARK Master. Ruri LE Semiotic Analysis of Place Branding Strategy of Retail Spaces Abstract: This research aims to analyze with semiotic methodologies how companies materialize their identity through retail spaces and communicate with consumers. Retail space is a medium that not only companies make the sale of their products but also communicate directly with consumers, so it reveals one company's value the most. Especially image branding strategy is more important for cosmetics companies than any others' because consumers tend to buy the brand images when they choose to purchase the cosmetics. This study suggests three cosmetics brands- Kiehl's, Aveda and L'occitane- that have same concept of 'Nature' but differentiated feature in space display. Particularly with the three suggested examples, we will look through these companies' specialized branding strategy with semiosis of space by comparing and analyzing. As Douglas Holt mentioned in his article 'What is iconic brand?', 'iconic brand' is the most perfect brand that helps consumers to realize their ideal and fulfill the desires by reducing the cultural contradictory gap which occurs between society and the ideology of an era. This research deals with semiotic analysis of how cosmetics brands reveal their brands' identity, philosophy and ideology via retail spaces and become an 'iconic brand' by classifying as three levels of Greimas's generative trajectory of signification model: (1) the deep semio-narrative structure; (2) the surface semio-narrative structures; (3) discursive structures.

Translation, Encounter and Global Semiotics Round Table nos. 27

11th World Congress of the International Association for Semiotic Studies, Nanjing, China (5–9 October 2012)

Susan Petrilli and Augusto Ponzio Translation, Encounter among Peoples and Global Semiotics

Part 1: Susan Petrilli

The question of translation concerns the relation among texts in different languages, interlingual translation. A particularly interesting issue from this point of view is the question of the relation established between the original text and the target translation, or “translatant”. These texts are similar and yet different. The paradox of translation is that the text must remain the same, while becoming other insofar as it is reorganized into the expressive modalities of another language. The translation is simultaneously identical and different, the same/other. This relation among texts is also reflected in the relation between author and translator. But translational processes cannot be reduced to interlingual translation alone. The question of translation is far broader. Every time there is a sign process there is translation. Translation concerns the relation among signs, which are intersign and transign relations, and extend in the direction of both intralingual and intersemiotic translative processes. To extend the notion of translation to the point that translation and semiosis converge means to look at the relation among signs from a special angle. This relation viewed in terms of translative processes is dominated by similarity. The question of translation is connected with the typology of signs, where the sign that prevails is the iconic as

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distinguished from the indexical and the symbolic. But to posit that translation and semiosis coincide also means to view translation from the point of view of global semiotics and its role in the great semiotic web that is our biosphere.

Part 2: Augusto Ponzio

As intersign and transign activity, the question of translation is also the question of the relation among different fields of knowledge and experience, among different disciplines, different cultures and ideologies, among different philosophies and worldviews. From this point of view, the question of translation is connected to the question of dialogue, otherness and responsibility, therefore to the proposal of a new form of humanism, that is, the humanism of otherness. Translation is inherent in all communication, understanding and interpretive processes, in language and culture at large. From a global semiotic perspective, if we accept the axiom posited by Thomas A. Sebeok that life and semiosis converge, then translation is the condition for signs to flourish, the condition for life throughout the entire biosphere, the global semiosphere. With specific reference to the anthroposemiosphere and to the theme of our conference “Global Semiotics: Bridging Different Civilizations,” encounter and dialogue among cultures and civilizations is only possible thanks to ongoing translational processes.

Bionotes

Prof. Susan Petrilli Department of Lettere, Lingue, Arti, Italianistica, Culture comparate (Humanities, Languages, Arts, Italian Studies, Comparative Cultural Studies) The University of Bari “Aldo Moro” Faculty of Foreing Languages and Literatures Via Garruba 6 Bari 70122, Italy [email protected] http://www.susanpetrilli.com

Susan Petrilli (b. Adelaide, South Australia, 3 November 1954) is Professor of Philosophy and Theory of Languages at the University of Bari, Department of Lettere, Lingue e Arti, Italianistica e Culture comparate. She teaches Semiotics, Translation theory and Media Studies. She is member of the PhD program in Theory of Language and Science of Signs, and now of the Doctoral School in Human Sciences. She has contributed as curator and translator to the diffusion in Italy and internationally of the work of Mikhail Bakhtin, Giorgio Fano, Charles Morris, Augusto Ponzio, Ferruccio Rossi-Landi, Thomas Szasz, Thomas Sebeok, Giovanni Vailati, Victoria Welby. She has also translated a collection of Australian Aboriginal dreamtimes stories from English into Italian, published in Athanor. Mondo (1995). Her principal research areas include philosophy of language, semiotics, general linguistics, communication theory, translation theory, theory of literature, theory of ideology, theory of the subject. She has published numerous monographs, essay and articles in international reviews and miscellanies, and translated and edited many other volumes. Her monographs include: Significs, semiotica, significazione (1988, Preface by T.A.

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Sebeok), Materia segnica e interpretazione. Figure e prospettive (1995), Che cosa significa significare? Itinerari nello studio dei segni (1996), Su Victoria Welby. Significs e filosofia del linguaggio (1998), Teoria dei segni e del linguaggio (1998), Percorsi della semiotica (2005), and most recently Sign Crossroads in Global Perspective. Essays by Susan Petrilli, 7th SSA Sebeok Fellow. The American Journal of Semiotics, Volume 24.4 (2008). Her forthcoming volumes scheduled for publication in 2009 include: Signifying and Understanding. Reading the Works of Victoria Welby and the Significs Movement (2009), Sign Crossroads in Global Perspective. Semiotics and Responsibilities (2010), Expression and Interpretation in Language (2012). Monographs in collaboration include: La ricerca semiotica (1993), Basi. Significare, inventare, dialogare (1998), Signs of Research on Signs, Semiotische Berichte (1998), Fuori campo. II segni del corpo tra rappresentazione ed eccedenza (1999), Philosophy of Language, Art and Answerability in Mikhail Bakhtin (2000), Il sentire della comunicazione globale (2000), Thomas Sebeok and the Signs of Life (2001), L'io semiotico (2001), I segni e la vita. La semiotica globale di Thomas A. Sebeok (2002), Views in Literary Semiotics (2003), Semioetica (2003), Semiotics Unbounded. Interpretive Routes through the Open Network of Signs (2005), Reasoning with Levinas (2005), The Semiotic Animal (2005), La raffigurazione letteraria (2006), Tesi per il futuro anteriore della semiotica. Il programma di ricerca della Scuola di Bari-Lecce (2006); Fundamentos da Filosofia da linguagem, (2007), Semiotics Today. From Global Semiotics to Semioethics (2007), Lineamenti di semiotica e di filosofia del linguaggio (2008). More recent collective volumes edited, with introduction, include: three international issues of the series Athanor dedicated to theory and practice of translation, La traduzione (1999), Tra segni (2000), Lo stesso altro (2001), another entitled Nero (2003), followed by Lavoro immateriale (2003-2004), and most recently White Matters (2007); for the international journal of Semiotica the volume, Signs and Light. Illuminating Paths in the Semiotic Web, (2001), and subsequently Ideology, Dialogue and Logic in Semioethic Perspective (2004); other collective volumes she has edited include: Translation Translation (2003), Linguaggi (2003), Logica, dialogica, ideologica. I segni tra funzionalità ed eccedenza (2003); and most recently: Comunicazione, interpretazione, traduzione (2007), Tutt’altro. Infunzionalità ed eccedenza come prerogative dell’umano (2008), Approaches to Communication. Trends in Global Communication Studies (2008), Masculinities. Identità maschili e appartenenze culturali (2009). She is advisory editorial board member of the following international journals: Semiotica. Journal of the International Association for Semiotic Studies; TTR, Traduction, Terminologie, Rédaction; Journal of Biosemiotics; Russian Journal of Communication; International Journal for the Semiotics of Law; Signs. International Journal of Semiotics; Athanor. Arte, letteratura, semiotica, filosofia; Chinese Semiotic Studies. An official publication of the International Semiotic Research Institute of nanjing Normal University and the Chinese Semiotic Research Center of the Chinese Association of Linguistic Semiotics; and co-director of the following book series: Nel segno (Bari Laterza); Gli Strumenti, serie gialla (Bari, Graphis); Di-segno-in-segno (Lecce, Manni); Segni-di-segni (Lecce, Pensa). In 2008 she was nominated 7th Thomas A. Sebeok Fellow of the Semiotic Society of America.

Prof. Augusto Ponzio Department of Lettere, Lingue, Arti, Italianistica, Culture comparate (Humanities, Languages, Arts, Italian Studies, Comparative Cultural Studies) The University of Bari “Aldo Moro” Faculty of Foreing Languages and Literatures Via Garruba 6 Bari 70122, Italy

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[email protected] http://www.augustoponzio.com

Bionote

Augusto Ponzio (b. San Pietro Vernotico, Brindisi, Italy, 17 February 1942) is Full professor of Philosophy of language and General Linguistics at the Department of Lettere, Lingue e Arti, Italianistica e Culture comparate, at The University of Bari, Aldo Moro, Italy. In 1980 he founded the Institute of Philosphy of language, which he directed until 1998, when it was transformed into the Department of Linguistic Practices and Text Analysis, which he directed from 1998-2004. He is coordinator of a PhD program in Theory of Language and Science of Signs, which he inaugurated in 1988, and is now member of the Doctoral School in Human Sciences. He has contributed as curator and translator to the spread in Italy and internationally of such authors as work of Peter Hispanus, Mikahil Bakhtin, Emmanuel Levinas, Karl Marx, Ferruccio Rossi-Landi, Adam Schaff and Thomas Sebeok. His principal research areas include philosophy of language, general linguistics, semiotics, communication theory, translation theory, and theory of literature. He has published over eighty monographs, 400 articles in various international reviews and miscellanies, and translated and edited approximately sixty volumes. His major monographs include: linguistique et idéologie sociale (1992), Signs, Dialogue and Ideology (1993), El juego del comunicar. Entre literatura y filosofia (1995), Sujet e alterité. Sur Emmanuel Lévinas (1996), La revolución bajtiniana. El pensamiento de Bajtín y la ideología contemporánea (1998), La coda dell'occhio. Letture del linguaggio letterario (1998), Enunciazione e testo letterario nell’insegnamento dell’italiano come LS (2001), Individuo umano, linguaggio e globalizzazione nella filosofia di Adam Schaff (2002), La differenza nonindifferente (2002), Il linguaggio e le lingue (2002); monographs in collaboration include, Semiotica della musica (1998), Signs of Research on Signs, Semiotische Berichte (1998), Fuori campo. II segni del corpo tra rappresentazione ed eccedenza (1999), Philosophy of Language, Art and Answerability in Mikhail Bakhtin (2000), Il sentire della comunicazione globale (2000), Thomas Sebeok and the Signs of Life (2001), L'io semiotico (2001), I segni e la vita. La semiotica globale di Thomas A. Sebeok (2002), Semioetica (2003), Semiotics Unbounded. Interpretive Routes through the Open Network of Signs (2005), The Semiotic Animal (2005), Fundamentos da Filosofia da linguagem, (2007), Semiotics Today. From Global Semiotics to Semioethics (2007), Lineamenti di semiotica e di filosofia del linguaggio (2008); further monographs by A. Ponzio include: I segni tra globalità e infinità. Per la critica della comunicazione globale (2003), Elogio dell’infunzionale (2004), Semiotica e dialettica (2004), The Dialogic Nature of the Sign (2006), La cifrematica dell’ascolto (2006), Fuori luogo. L’esorbitante nella riproduzione dell’identico (2007), Linguistica generale, scrittura letteraria e traduzione (2007), A mente. Processi cognitivi e formazione linguistica (2007), Linguaggio, lavoro e mercato globale. Rileggendo Rossi-Landi (2008), La dissidenza cifrematica (2008), A mente, 2009, Da dove verso dove. L’altra parola nella comunicazione globale, 2009, L’écoute de l’autre, 2009, Emmanuel Levinas, Globalisation, and Preventive Peace, 2009, Rencontres de paroles, 2010, Enunciazione e testo letteraio nell’insegnamento dell’italiano come LS, 2010, Encontres de palavras. O outro no discurso, 2010, Procurando uma palavra outra, 2010, La filosofia del linguaggio, Bari, Edizioni Laterza, 2011, Interpretazione e scrittura, 2011, In altre parole, 2011.

The complete curriculum and list of publications is available on Augusto Ponzio’s website www.augustoponzio.com

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Grisell Macdonel Existential Semiotic Analysis of the Temporal dimension of Art Music Performance Abstract: Music is composed by spatial, sonic and temporal dimensions that are created by a performer. This paper studies temporality in music performance by analyzing the relationships between the past, the present and the future in music performance. In this paper I apply the existential semiotic theory created by Eero Tarasti (2000) and I present an adaptation of the existential signs theory for the study of art music performance making reference to the case of romantic musical works written for the double bass and its performance. The existential semiotic theory does not concern with a traditional view of signs as given, as if they are already there. Rather as Tarasti (2000:12) explains, the subject is considered as having a key role in semiosis. In this paper also I analyze the performer’s subjectivity which plays a key role in temporality in music performance.

Amir Biglari The time of despair in Victor Hugo's poetry Abstract: In this article, we intend to study the time of despair, considered as a passion, in Victor Hugo's poetry. The approach we will use is semiotics of the school of Paris. We question our corpus with some hypotheses and basic questions: despair is a present which does not pass, an endless, repetitive and slow time. On the other hand, what relation is there between this present of the desperate subject and the past or the future? Is despair the end of a process begun in the past or the beginning of a process which will continue into the future? Moreover, is the time of despair a subjective time, the time of the "non- subject" in terms of J.C. Coquet? Finally we can ask if the only factor time can distinguish this mood of the others. In other words, is the time of despair a singular time, or we need to the other non-temporal factors to distinguish it from nearby moods?

CAI Aimei Fuzhou 350001, Fujian, China A Semiotic Study of Layered Mappings of Mythic Structure ——A Comparison with Lévi Strauss's “Single Myth” Structure Abstract: This article, by means of Data Mining (“DM”) and Knowledge Discover in Database (“KDD”), studies comparatively the Chinese “Yicao (Tobacco) & Bird”myth , which indicate the same structure of Lévi Strauss's “Single Myth” structure. The main parts of the Yicao plant, such as its root, trunk, leaf, calyx， flower，capsule, ovary, stamen, pistil and seed, are composite patterned with myth elements to be inscribed as Bronze ware，Décor，Pictographs and Pictorial Inscriptions on the sacrificial bronze ware of Yin Shang Dynasty. The “Single Myth” structure extends the study of the “Yicao (Tobacco) & Bird” myth beyond the geographic regions of the Shang Dynasty, and the paper analyzes the typical sacrificial vessels of the same period and the ones of different periods, with the “Single Myth” structure being unchanged. The “Single Myth” structure maps the mythic structures into nine layers, namely Message layer, Presentation layer（message formatting, symbolic）, Translation layer, Operation & Maintenance layer, Network layer（Material name and lineage）, Link layer（race location & clan position）, Physical layer（binary Structure）, Transition layer （cloud thinking & cloud processing）, and Ethical layer, which function as Multiple negotiation filter and Discourse communication device. The former standardize information vertically, and the latter enables users to communicate with others based on the layers. This paper makes its study of mythic structure based on the metaphor of the “Single Myth” on the discussion of the Operation & Maintenance layer. Key words ： Data Mining; Knowledge Discover in Database; Myth Thought; Oracle Bone and Bronze Inscriptions; Yicao（乂艸，Tobacco）

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