The Aspects of Semiotics Using Barthes's Theory on a Series of Unfortunate Events Movie Poster
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Understanding Poststructuralism Understanding Movements in Modern Thought Series Editor: Jack Reynolds
understanding poststructuralism Understanding Movements in Modern Thought Series Editor: Jack Reynolds Th is series provides short, accessible and lively introductions to the major schools, movements and traditions in philosophy and the history of ideas since the beginning of the Enlightenment. All books in the series are written for undergraduates meeting the subject for the fi rst time. Published Understanding Existentialism Understanding Virtue Ethics Jack Reynolds Stan van Hooft Understanding Poststructuralism James Williams Forthcoming titles include Understanding Empiricism Understanding Hermeneutics Robert Meyers Lawrence Schmidt Understanding Ethics Understanding Naturalism Tim Chappell Jack Ritchie Understanding Feminism Understanding Phenomenology Peta Bowden and Jane Mummery David Cerbone Understanding German Idealism Understanding Rationalism Will Dudley Charlie Heunemann Understanding Hegelianism Understanding Utilitarianism Robert Sinnerbrink Tim Mulgan understanding poststructuralism James Williams For Richard and Olive It is always about who you learn from. © James Williams, 2005 Th is book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. First published in 2005 by Acumen Acumen Publishing Limited 15a Lewins Yard East Street Chesham Bucks HP5 1HQ www.acumenpublishing.co.uk ISBN 1-84465-032-4 (hardcover) ISBN 1-84465-033-2 (paperback) Work on Chapter 3 was supported by British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British -
The Representation of Soil in the Western Art: from Genesis to Pedogenesis
The representation of soil in the Western Art: From genesis to pedogenesis Christian FellerA, Lydie Chapuis-LardyA and Fiorenzo UgoliniB AInstitut de Recherche pour le Développement (IRD), UMR 210 Eco&Sols, SUPAGRO, Bâtiment 12, 2 Place Viala, 34060 Montpellier cedex 1, France. BUniversita Degli Studi, Dipartimento di Scienza del Suolo e Nutrizione della Pianta, Piazzale delle Cascine 16, Firenze, Italy. Abstract This communication is a chronological short history of Western art (mainly paintings) from Prehistory to the contemporary period through the word “Soil”. The conclusion is that the vision of Soil (in a scientific meaning), as an independent work of art, is recent. Key Words Soil, landscape, Western art, paintings. The websites allowing one to see the artworks are designated as [x] in the text; the links are provided in the references list. Soil (capitalized) or soil in Art? It is widely accepted that humans always have considered the natural environment a subject of great interest to art. Early pictorial examples include cave paintings done by Cro-Magnon man during the Upper Palaeolithic, about 30,000-40,000 years ago. However the vision of Soil (in a scientific meaning), as an independent work of art, is recent and still extremely rare in the world of painting. For many years, artists have depicted actual or imaginary landscapes from which the trained eye of a pedologist, agronomist or geographer can recognise a schematic view of what is commonly called soil but not Soil (as a Soil profile). This communication will: (i) show representations of Soil or soil in Western Art from the Palaeolithic to the modern era, and (ii) show some recent artworks where the Soil is considered as the main subject, and has as its goal to present Soil in art from Genesis (the Bible) to Pedogenesis (the scientific approach of the Soil formation, from the Greek word Pedon meaning soil) [1, 2]. -
Representation in Painting and Consciousness
KEITH LEHRER REPRESENTATION IN PAINTING AND CONSCIOUSNESS Representation in the arts is a creative process of reconfiguring a subject, real or imagined, to yield some original content or inten- tional object. The first question about representation is – what is the question about representation? Gombrich (1972), Wollheim (1980), Goodman (1968), Walton (1990), and Lopes (1996), have offered us diverse theories of representation in the visual arts. They all contain interesting ideas and insights, but the diversity of theories suggests that they may be asking and answering different questions. Moreover, that should not surprise us at all, for the painter, as well as other artists have diverse goals, and one of those goals is to change our conception of representation, to modify and challenge the conventions and constraints of representation. Lopes (1996), for example, suggests that the fundamental form of representation is depiction, demotic picturing, that would enable one to recognize and identify the object depicted. We are indebted to Lopes for this important proposal, but demotic picturing may be opposed to artistic representation. The artist may start with the external subject as the stimulus to find some meaning, some feeling or emotion, some insight or idea, and so reconfigure and repattern what he or she has seen into something that has some new internal meaning or content. The stimulus for a painting, a model, for example, need not be depicted or be what the painting is about The content of a painting is one thing, and the model is something else. A painter is sometimes indifferent to producing a demotic picture of the model or subject, which has caused difficulties between famous portrait painters and those they portrayed, when what interests the artist is the reconfiguration or the reinterpretation of the model or subject. -
Sociosemiotics and Metalanguage: the Case of Translanguaging Linguistic Frontiers
Linguistic Frontiers • 3(2) • 57—65 • 2020 DOI: 10.2478/lf-2020-0015 Linguistic Frontiers Sociosemiotics and Metalanguage: The Case of Translanguaging Original Study Anti Randviir Department of Semiotics, University of Tartu, Estonia. Received: July 2020 ; Accepted: September 2020 Abstract: The age of transdiscipinarity has brought along the fading of boundaries between disciplines. This has engaged both the fusion of metalanguages that are used for the description of cultures and sign-proce- sses, and the launch of novel proposals for metalinguistic vocabularies. In the case of the study of culture, communication and sign-processes, it is natural that all such developments are connected with the paradigm of semiotics. At times the relevant metalinguistic and methodological proposals challenge traditional semiotic vocabulary, methods and methodological truths. This has brought along the need to recall the semiotic roots of the study of semiosis and communication, and to review transdisciplinary metalanguage in order to avoid possible misinterpretations or unnecessary repetitions of the established agreements in the paradigm of se- miotics as a possible ground for transdisciplinary study of human interaction and cultural processes. Howe- ver, besides occasional theoretical confusion, the spread of the semiotic methodology and vocabulary across applied scholarship has enriched semiotics in its faculties of field studies. Keywords : sociosemiotics, metalanguage, transdisciplinarity, modality, multimodality, mediality, coding, semiosis, modelling, translanguaging. Contemporary scholarship has, both in the domain of studies were founded. Secondly, it is useful to recall the humanities and social sciences, as also in the so-called proximity of interdisciplinary studies and interdisciplinary hard sciences, passed a fairly clear transition from mono- education as proposed by American pragmatism. -
Definite Article of the English Language 6HQLRU7KHVLV 'HSDUWPHQWRI/LQJXLVWLFV 6ZDUWKPRUH&ROOHJH 'HFHPEHU 1
%HQMDPLQ5*HRUJH the Definite Article of the English Language 6HQLRU7KHVLV 'HSDUWPHQWRI/LQJXLVWLFV 6ZDUWKPRUH&ROOHJH 'HFHPEHU 1. Overview 1.1 Introduction The goal of this paper is to identify a viable analysis of the for use in semantic theories in ∗ the tradition of Montague (1974a,b). I shall argue that the sentiment expressed by Lewis (1983), and developed in more formal detail by von Heusinger (1997), is essentially correct, and that, when an analysis is placed in a suitable formal context, it is capable of accounting for a much greater range of phenomena than Lewis and von Heusinger consider. The basic claim is that the expression “the N” denotes the uniquely most salient N, when such an entity exists. I shall begin by enumerating every credible semantic effect attributed to “the” when used in connection with count nouns that I have encountered in the literature or noticed in the course of personal reflection on the subject. Sometimes several conflicting views on the same basic phenomenon will be condensed into one entry in the interests of compactness, and sometimes well known effects will be omitted altogether on the grounds that they seem not to be semantic at all, but to be of an entirely pragmatic, psychological, or metaphysical nature1. The decision to restrict my attention to count nouns is motivated by a desire to pick out a problem of reasonable size, and to avoid discussion of the difficult but tangential subject of the semantics of mass nouns. ∗ I would like to thank Rebecca Kuipers and David January for giving earlier drafts of this paper far more attentive readings than they were entitled to, J. -
Welby's Influence on Russell's Turn To
WELBY’S INFLUENCE ON RUSSELL’S TURN TO USE? SCOTT METZGER, MCMASTER UNIVERSITY [email protected] “Two really important works on logic are these [Welby’s What is Meaning? and Russell’s Principles of Mathematics]… Yet it is almost grotesque to name them together, so utterly disparate are their characters.” –Charles Sanders Peirce, Review in The Nation, CP 8.171 A BRIEF ACCOUNT OF THE CORE PROBLEM: MY MOTIVATION • Welby and Russell correspond about meaning and denotation in 1905. • Russell dismisses Welby, claiming that she misunderstands the scope of his project. The early Russell was not interested in meaning. • Ahti-Veikko Pietarinen: “In 1908 Russell confessed privately to Jourdain how he had “in the past been very rude to Welby, in refusing to go there” because he found it “quite impossible to be sincere” if he saw her. He no longer wanted “to be a party to” those philosophers encouraging Welby’s work, which in his opinion was “very wrong.”” (157) AND YET… • In his later review of Ogden & Richard’s The Meaning of Meaning, Russell writes that: “When in youth, I learned what was called “philosophy”…no one ever mentioned to me the question of “Meaning.” Later, I became acquainted with Lady Welby’s work on the subject, but failed to take it seriously. […] I have now come to believe that the order of words in time or space is an ineradicable part of much of their significance—in fact, that the reason they can express space time occurrences is that they are space-time occurrences, so that a logic independent of the accidental nature of space- time becomes an idle dream.” (Russell 109) • Also, Misak writes that, in My Philosophical Development, Russell “cites Welby and Schiller as those who sparked his interest in the topic [of meaning], although at the time they had pressed him on the point, he resisted” (Misak 143). -
Visual Semiotics: a Study of Images in Japanese Advertisements
VISUAL SEMIOTICS: A STUDY OF IMAGES IN JAPANESE ADVERTISEMENTS RUMIKO OYAMA THESIS SUBMIITED TO THE UNIVERSITY OF LONDON iN FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY INSTITUTE OF EDUCATION UNIVERSITY OF LONDON NOVEMBER 1998 BIL LONDON U ABSTRACT 14 ACKNOWLEDGEMENTS 15 Chapter 1 INTRODUCTION 16 1.1 THE PURPOSE OF THE RESEARCH 16 1.2 DEVELOPMENT OF RESEARCH INTERESTS 16 1.3 LANGUAGE VERSUS VISUALS AS A SEMIOTIC MODE 20 1.4 THE ASPECT OF VISUAL SEMIOTICS TO BE FOCUSED ON: Lexis versus Syntax 23 1.5 CULTURAL VALUE SYSTEMS IN VISUAL SYNTAX: A challenge to the notion of universality 24 Chapter Ii THEORETICAL FRAMEWORK 26 2.1 INTRODUCTION 26 2.2 LITERATURE SURVEY ON STUDIES OF IMAGES 27 2.2.1 What is an image? 27 2.2.2 Art history/Art theories 29 2.2.3 Sociological approaches to visual images 36 2.2.4 Cultural approaches to visual images 44 2.2.4.1 Visual images as cultural products 45 2.2.4.2 Visual images from linguistic perspectives 50 2.2.5 Semiotic approaches to visual images 54 2.2.5.1 Saussure, Barthes (traditional semiology I semiotics) 54 2.2.5.2 Film semiotics 59 2 2.2.5.3 Social Semiotics 61 2.2.6 Reflection on the literature survey 66 2.3 A THEORY FOR A SEMIOTIC ANALYSIS OF THE VISUAL 71 2.3.1 Visual semiotics and the three metafunctions 72 2.3.1.1 The Ideational melafunction 73 2.3.1.2 The Textual metafunction 75 2.3.1.3 The Interpersonal metafunction 78 2.4 VERBAL TEXT IN VISUAL COMPOSITION: Critical Discourse Analysis 80 23 INTEGRATED APPROACH FOR A MULTI-MODAL ANALYSIS OF VISUAL AND VERBAL TEXTUAL OBJECTS -
Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation Victoria Mosher University of Central Florida Part of the Women's Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mosher, Victoria, "Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female Representation" (2008). Electronic Theses and Dissertations, 2004-2019. 3605. https://stars.library.ucf.edu/etd/3605 BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION by VICTORIA MOSHER B.A. University of Central Florida, 2003 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2008 ©2008 Victoria Mosher iii ABSTRACT In 1988, Linda Nicholson and Nancy Fraser published an article entitled “Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism,” arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might help feminist theorists overcome these epistemological impediments. -
A Semiotic Perspective on the Denotation and Connotation of Colours in the Quran
International Journal of Applied Linguistics & English Literature E-ISSN: 2200-3452 & P-ISSN: 2200-3592 www.ijalel.aiac.org.au A Semiotic Perspective on the Denotation and Connotation of Colours in the Quran Mona Al-Shraideh1, Ahmad El-Sharif2* 1Post-Graduate Student, Department of English Language and Literature, Al-alBayt University, Jordan 2Associate Professor of Linguistics, Department of English Language and Literature, Al-alBayt University, Jordan Corresponding Author: Ahmad El-Sharif, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history This study investigates the significance and representation of colours in the Quran from the Received: September 11, 2018 perspective of meaning and connotation according to the semiotic models of sign interpretation; Accepted: December 06, 2018 namely, Saussure’s dyadic approach and Peirce’s triadic model. Such approaches are used Published: January 31, 2019 to analyze colours from the perspective of cultural semiotics. The study presents both the Volume: 8 Issue: 1 semantic and cultural semiotics aspects of colour signs in the Quran to demonstrate the various Advance access: December 2018 semiotic meanings and interpretations of the six basic colours (white, black, red, green, yellow, and blue). The study reveals that Arabic colour system agrees with colour universals, especially in terms of their categorization and connotations, and that semiotic analysis makes Conflicts of interest: None an efficient device for analyzing and interpreting the denotations and connotations of colour Funding: None signs in the Quran. Key words: Semiotics, Signs, Denotation, Connotation, Colours, Quran INTRODUCTION or reading, a colour ‘term’ instead of seeing the chromatic Colours affect the behaviour by which we perceive the features of the colour. -
Chapter Ii Review of Related Literature
CHAPTER II REVIEW OF RELATED LITERATURE This chapter covers the discussion of general theory of semiotics, general concept of Roland Barthes’ terms orders of signification that are denotative and connotative meaning and the definition of context and song lyrics in literature and also the preview of the previous studies. A. Definition of Semiotics Beyond the most basic definition as ―the study of signs‖, there is considerable variation among leading semioticians as to what semiotics involves. As Chandler (2002) cited from Eco (1976) that one of the broadest definitions is that of Umberto Eco, who states that ―semiotics is concerned with everything that can be taken as a sign‖. The study is involved by semiotics, not only as ―sign‖ of what we refer to call or say in daily speech, but as anything which ―stands for‖ something else. In the sense of semiotic, the form of words, images, sounds, gestures and objects are taken by the signs. Modern semioticians study the signs not in isolation but as part of ―sign-systems‖ of semiotics (such as a genre or medium or). They study how to make meanings and how to represent the reality. Knowledge to study human life’s sign is called Semiotics. It is acquiescent as the method of the study in the Association for Semiotics Studies’ first conference in 1974. A sign is something which means something else for someone. On the side of etymology, the Greek word 14 15 ―semeion” was taken to make the word of ―Semiotics‖ itself which has a ―sign‖ meaning. A sign thereat means a thing referring other thing. -
A Picture Is Worth a Thousand Words: Consumer Perceptions of Agricultural Images
A Picture is Worth a Thousand Words 47 A Picture is Worth a Thousand Words: Consumer Perceptions of Agricultural Images Joy N. Rumble Christy Chiarelli Avery Culbertson Tracy A. Irani University of Florida Individuals interpret agricultural images differently according to the direct or cultural meanings they associate with the image, as well as the perspective through which they view the image. In addition, perceptions of agricultural images are commonly influenced by stereotypes. As agricultural communicators, it is important to understand the perceptions consumers have about agricultural images. Understanding these perceptions can allow communicators to use images in their communication that will promote favorable perceptions of the industry. To better understand consumers’ perceptions of agricultural images, this study asked consumers about their perceptions using focus group methodology. Four focus groups were completed with a total of 36 participants. The results indicated that elements of semiotics and perception theory were evident in the participants’ discussion. Thus, these theories combined with the results provide valuable information in regard to selecting images for communication that will create favorable responses among consumers. Keywords: semiotics, perception theory, focus groups, qualitative research, images Introduction The 1930 painting, American Gothic, featuring a man and woman dressed in farming apparel and holding a pitchfork, could be how many Americans envision agriculture, more than 80 years after the painting’s completion. While this painting may have some resemblance to the agriculture sector in the early part of the 20th century, it is now an outdated portrait that does not accurately reflect the innovative, technologically advanced industry. In fact, the American agriculture industry has seen rapid advancement from small, diversified, labor-intensive farms of the early 1900s to more innovative and specialized operations of the 21st century (Dimitri, Effland, & Conklin, 2005). -
Derrida's Views on the Truth in Painting
DOI: https://dx.doi.org/10.21659/rupkatha.v2n1.08 Metaphysics and Representation: Derrida’s Views on the Truth in Painting Chung Chin-Yi National University of Singapore Abstract This paper discusses Derrida’s deconstruction of both representational and post- representational thinking, in pointing out that they both assume a realist or representational paradigm as its assumption. It examines Rosemary Hawker’s contention that Derrida’s argument is one fundamentally concerned about the inseparability of idiom and content, and argues that indeed this was an accurate reading; Heidegger and Shapiro’s fallacy as interpreted by Derrida is precisely the trap of metaphysical and representational thinking in assuming that content is separable from form. It also examines Marcellini and Haber’s arguments that Derrida’s arguments are about the failure of the representational paradigm of thinking as there is always a surplus and excess of meaning because each rendering differs from its origin. Finally it finds out that there is no such thing as pure representation as art always renders its object with a difference, or differance. [Keywords: Truth, Heidegger, Shapiro, Representation, Deconstruction, Marcellini ] In The Truth in Painting, Heidegger’s attempt to ‘go beneath or behind the metaphysical determination of truth (Derrida, 1987:30) remains committed to the anthropological project. While Heidegger sought to break away from representation, Heidegger remained humanist and anthropomorphic. Derrida illustrates this through examining the Heidegger-Shapiro correspondence about Van Gogh’s shoes to explore this theme. Derrida contrasts Shapiro, the city dweller, with Heidegger, the champion of peasant ideology, and illustrates the paradox of the controversy- that both contenders share more common ground that they believe – the trap of representational thinking.