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CHAPTER 1 CIGARETTES AND HIGH HEELS 1. Jason Hughes, to Smoke: Tobacco Use in the West (Chicago: University of Chicago Press, 2003), p. 19. 2. World Tobacco Market Report, Euromonitor (Chicago, 1996). 3. Margaret Leroy, Some Girls Do: Why Women Do and Don’t Make the First Move (London: Harper Collins, 1997). 4. Jordan Goodman, Tobacco in History: Th e Cultures of Dependence (London: Routledge, 1993). 5. Richard Klein, Cigarettes Are Sublime (Durham, N.C.: Duke University Press, 1993). 6. Michael E. Starr, “Th e Marlboro Man: Cigarette Smoking and Masculinity in America,” Journal of Popular Culture (1984), 17, pp. 45–56. 7. Tara Parker-Pope, Cigarettes: Anatomy of an Industry from Seed to Smoke (New York: New Press, 2001), p. 168. 8. According to the 1995 report of the Center for Tobacco Free Kids, near- ly 35 percent of teenagers are smokers, many of whom started smoking around thirteen years of age. Similar statistics were published in the late 1990s and the fi rst part of the 2000s. Th e CDC (Centers for Disease Control) reported in 2002 that antismoking ads, for example, did little to deter smoking among teens, highlighting the fact that the antismoking media campaigns of governments and concerned citizen groups have lit- tle eff ect—one in three still smoke, which amounts to a percentage that has not changed much since adolescents started smoking en masse in the 1950s. Th e situation is bound to change, however, as the meanings of smoking will change. I have started to notice that teenagers themselves are now fi nding smoking to be less and less attractive socially. 9. Th e original research was published in Cool: Th e Signs and Meanings of Adolescence (Toronto: Press, 1994). In a follow-up project I discovered that not much had changed in virtually two decades after the original project. It would seem that in some matters of human behavior, plus ça change, plus c’est la même chose, as the French expression goes (“Th e more it changes, the more it is the same”). Th ose fi ndings were published in My Son Is an Alien: A Cultural Portrait of Today’s Youth (Lanham, Md.: Rowman & Littlefi eld, 2003). 10. Hughes, Learning to Smoke, p. 121. 220 NOTES

11. Charles Peirce’s main semiotic ideas can be found scattered in C. Hartshorne and P. Weiss, eds., Collected Papers of , Vols. 1–8 (Cambridge, Mass.: Harvard University Press, 1931–58). 12. William Rossi, Th e Sex Lives of the Foot and Shoe (New York: Dutton, 1976). 13. Valerie Steele, Fetish: Fashion, Sex, and Power (Oxford: Oxford University Press, 1996). 14. Erving Goff man, Th e Presentation of Self in Everyday Life (Garden City, Conn.: Doubleday, 1959). 15. In He Says, She Says (New York: G. P. Putnam’s Sons, 1992), Lillian Glass argues that the used in sexual courtship invariably betrays a gendered theatrical slant, diff erentiating the partners. 16. Desmond Morris, Th e Human Zoo (London: Cape, 1969). 17. , Cours de linguistique générale (Paris: Payot, 1916). 18. , Four Ages of Understanding: Th e First Postmodern Survey of Philosophy from Ancient Times to the Turn of the Twentieth Century (Toronto: University of Toronto Press, 2001). 19. , A Th eory of (Bloomington: Indiana University Press, 1976). 20. Susan Sontag, Illness as Metaphor (New York: Farrar, Straus & Giroux, 1978), p. 7. 21. Jacalyn Duffi n, Disease Concepts in History (Toronto: University of Toronto Press, 2005).

CHAPTER 2 WHAT DOES IT MEAN? 1. C. K. Ogden and I. A. Richards, Th e of Meaning (London: Routledge and Kegan Paul, 1923). 2. C. E. Osgood, G. J. Suci, and P. H. Tannenbaum, Th e Measurement of Meaning (Urbana: University of Illinois Press, 1957). 3. Leonard Bloomfi eld, Language (New York: Holt, Rinehart, and Winston, 1933). 4. Th omas A. Sebeok, Signs (Toronto: University of Toronto Press, 1994). 5. See D. Schmandt-Besserat, “Th e Earliest Precursor of Writing,” Scientifi c American 238 (1978), pp. 50–9. 6. David McNeill, Hand and Mind: What Gestures Reveal about Th ought (Chicago: University of Chicago Press, 1992). In his follow-up book, Gesture & Th ought (Chicago: University of Chicago Press, 2005), McNeill argues convincingly that gesturing is not a mere accessory to speech, but rather often a source of speech and thought. 7. Th e interested reader can fi nd an outline of the history of brand naming in my book titled Brands (London: Routledge, 2006). NOTES 221

CHAPTER 3 MAKEUP 1. Desmond Morris, Peter Collett, Peter Marsh, and Marie O’Shaugnessy, Gestures: Th eir Origins and Distributions (London: Cape, 1979). 2. Th e fi ndings of Ekman and his research colleagues can be found in Paul Ekman and Walter Friesen, Unmasking the Face (Englewood Cliff s, N. J.: Prentice-Hall, 1975); Paul Ekman, Telling Lies (New York: Norton, 1985); and Paul Ekman, Emotions Revealed (New York: Holt, 2003). 3. Ekman, Telling Lies. An interesting cultural history of the smile is the one by Angus Trimble, A Brief History of the Smile (New York: Basic Books, 2004). 4. Ken Adler, Th e Lie Detectors (New York: Free Press, 2006). 5. Helen E. Fisher, Anatomy of Love (New York: Norton, 1992), pp. 272–3. 6. Roger Wescott, Sound and Sense (Lake Bluff , Ill.: Jupiter Press, 1980). 7. See the interesting study of hairstyles by Grant McCracken, Big Hair: A Journey into the Transformation of Self (Toronto: Penguin, 1995). 8. Kathy Peiss, Hope in a Jar: Th e Making of America’s Beauty Culture (New York: Metropolitan Books, 1998). In Inventing Beauty (New York: Broadway Books, 2004), Teresa Riordan argues that when it comes to beauty it seems that human ingenuity has been at its most productive, especially in the modern era, with all kinds of inventions, from lipstick dispensers to corsets and Wonderbras. 9. Michel Foucault, Th e History of Sexuality, Vol. 1 (London: Allen Lane, 1976). 10. Andrew Synnott, Th e Body Social: Symbolism, Self and Society (London: Routledge, 1993), p. 22. 11. R. L. Birdwhistell, Introduction to Kinesics (Ann Arbor, Mich.: University of Ann Arbor, 1952). 12. Ibid., p. 70. 13. Teresa Green, Th e Tattoo Encyclopedia (New York: Fireside, 2003), pp. x–xi. In Spiritual Tattoo: A Cultural History of Tattooing, Piercing, Scarifi cation, Branding, and Implants (Berkeley, Calif.: Frog, 2005), John A. Rush sug- gests that tattooing may go even further back in time to 200,000 BCE. 14. L. S. Dubin, Th e History of Beads (New York: Abrams, 1987), p. 134. 15. Keith H. Basso, Western Apache Language and Culture: Essays in (Tucson: University of Arizona Press), pp. 15–24. 16. Marcel Danesi, My Son Is an Alien: A Cultural Portrait of Today’s Youth (Lanham, Md.: Rowman & Littlefi eld, 2003), pp. 56–7. 17. In Striptease: Th e Untold Story of the Girlie Show (New York: Oxford University Press, 2004), Rachel Shteir shows convincingly how the femi- nine form has always made performances such as stripteases central ele- ments in pop culture’s history. 222 NOTES

CHAPTER 4 TELL ME ABOUT YOURSELF 1. See, for example, Noam Chomsky, On Nature and Language (Cambridge: Cambridge University Press, 2002). 2. Charles W. Morris, Foundations of the Th eory of Signs (Chicago: University of Chicago Press, 1938). 3. See, L. S. Vygotsky, Th ought and Language (Cambridge, Mass.: MIT Press, 1962). 4. Julian Jaynes, Th e Origin of Consciousness in the Breakdown of the Bicameral Mind (Toronto: University of Toronto Press, 1975). 5. An in-depth synthesis of this line of work in linguistics, known more tech- nically as cognitive linguistics, can be found in Gary B. Palmer, Toward a Th eory of Cultural Linguistics (Austin: University of Texas Press, 1996). 6. Robert Levine, A Geography of Time: Th e Temporal Misadventures of a Social Psychologist or How Every Culture Keeps Time Just a Little Bit Diff erently (New York: Basic Books, 1997). 7. Ronald W. Langacker has studied this aspect of language in Concept, Image, and Symbol: Th e Cognitive Basis of Grammar (Berlin: Mouton de Gruyter, 1990) and Grammar and Conceptualization (Berlin: Mouton de Gruyter, 1999). 8. Roger W. Brown, Psycholinguistics (New York: Free Press, 1970), pp. 258–73. 9. Th e most in-depth theory of modeling systems in semiotics is the one by Th omas A. Sebeok, Signs: An Introduction to Semiotics (Toronto: University of Toronto Press, 1994). 10. F. M. Müller, Lectures on the Science of Language (London: Longmans, Green, 1861). 11. B. Alpher, “Feminine as the Unmarked Grammatical Gender: Buff alo Girls Are No Fools,” Australian Journal of Linguistics 7 (1987), pp. 169–87. 12. Edward Sapir, Language (New York: Harcourt, Brace, and World, 1921). 13. Brent Berlin and Paul Kay, Basic Color Terms (Berkeley, Calif.: University of California Press, 1969). 14. N. McNeill, “Colour and Colour Terminology,” Journal of Linguistics 8 (1972), pp. 21–33. 15. A detailed treatment of color categories, as well as an up-to-date debate on the relation between color categories and perception, can be found in C. L. Hardin and Luisa Maffi , eds., Color Categories in Th ought and Language (Cambridge: Cambridge University Press, 1997). 16. Leslie Savan, Slam Dunks and No-Brainers: Language in Your Life, the Media, Business, Politics, and, Like, Whatever (New York: Alfred A. Knopf. 2005). In Conversation: A History of a Declining Art (New Haven, NOTES 223

Conn.: Yale University Press, 2006), Stephen Miller also decries the loss of true conversation, which he similarly blames on media infl uence. However, I have a slightly diff erent take on this, namely that conversa- tion is a that changes over time and it does so because the channels we use to converse are changing. Talk online is bound to be diff erent from talk face-to-face. However, the content of conversations has always remained the same from time immemorial. Conversation is about pre- senting the self in daily life with the strategies that are consistent with trends within that very life. 17. Adam Kendon, Gesture: Visible Action as Utterance (Cambridge: Cambridge University Press, 2004), p. 348. 18. David McNeill, Hand and Mind: What Gestures Reveal about Th ought (Chicago: University of Chicago Press, 1992) and Gesture & Th ought (Chicago: University of Chicago Press, 2005). 19. Susan Goldin-Meadow, Hearing Gesture: How Our Hands Help Us Th ink (Cambridge, Mass.: Belknap Press, 2003), p. 194. 20. R. A. Gardner and B. T. Gardner, “Teaching Language to a ,” Science 165 (1969), pp. 664–72. 21. D. Premack and A. J. Premack, Th e Mind of an Ape (New York: Norton, 1983).

CHAPTER 5 KISSES SWEETER THAN WINE 1. Giambattista Vico, Th e New Science, trans. Th omas G. Bergin and Max Fisch, 2nd ed. (Ithaca, N.Y.: Cornell University Press, 1984), par. 821. 2. Ibid., par. 142. 3. Ibid., par. 144. 4. Ibid., par. 1106. 5. Ibid., par. 1106. 6. Ibid., par. 1106. 7. Ibid., par. 1108. 8. I. A. Richards, Th e Philosophy of Rhetoric (Oxford: Oxford University Press, 1936). 9. Solomon Asch, “On the Use of Metaphor in the Description of Persons,” in On Expressive Language, ed. Heinz Werner (Worcester, Mass.: Clark University Press, 1950), pp. 86–94. 10. W. Booth, “Metaphor as Rhetoric: Th e Problem of Evaluation,” in On Metaphor, ed. S. Sacks (Chicago: University of Chicago Press, 1979), p. 47. 11. Ellen Winner and Howard Gardner, “Th e Comprehension of Metaphor in Brain-Damaged Patients,” Brain 100 (1977), pp. 717–29. 224 NOTES

12. Jack M. Barlow, Harold J. Fine, Howard R. Pollio, and Marylin R. Pollio, Th e Poetics of Growth: Figurative Language in Psychology, Psychotherapy, and Education (Hillsdale, N. J.: Lawrence Erlbaum Associates, 1977). 13. George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980). 14. Walter J. Ong, Interfaces of the Word: Studies in the Evolution of Consciousness and Culture (Ithaca, N.Y.: Cornell University Press, 1977), p. 134. 15. George Lakoff , Women, Fire, and Dangerous Th ings: What Categories Reveal about the Mind (Chicago: University of Chicago Press, 1987); Mark Johnson, Th e Body in the Mind: Th e Bodily Basis of Meaning, Imagination and Reason (Chicago: University of Chicago Press, 1987). 16. Lakoff , Women, Fire, and Dangerous Th ings. 17. A panoramic survey of the major fi ndings on metaphor can be found in Raymond W. Gibbs, Th e Poetics of Mind: Figurative Th ought, Language, and Understanding (Cambridge: Cambridge University Press, 1994), and in Marcel Danesi, Poetic Logic: Th e Role of Metaphor in Th ought, Language, and Culture (Madison, Wis.: Atwood Publishing, 2004). 18. Lakoff and Johnson, Metaphors We Live By, pp. 35–40. 19. Linda Hutcheon, Irony’s Edge: Th e Th eory and Politics of Irony (London: Routledge, 1995). 20. Lakoff and Johnson, Metaphors We Live By, p. 49. 21. Alice Deignan, “Metaphors of Desire,” in Language and Desire, ed. Keith Harvey and Celia Shalom (London: Routledge, 1997), p. 41. An in-depth treatment of love metaphors is the one by Zoltán Kövecses, Th e Language of Love: Th e Semantics of Passion in Conversational English (London: Associated University Presses, 1988). 22. Northrop Frye, Th e Great Code: Th e Bible and Literature (Toronto: Academic Press, 1981). 23. K. C. Cole, Sympathetic Vibrations (New York: Bantam, 1984).

CHAPTER 6 NOW, YOU TELL ME ABOUT YOURSELF 1. Nigel Hamilton, Biography: A Brief History (Cambridge, Mass.: Harvard University Press, 2006), p. 2. 2. David Lodge, “Narration with Words,” in Images and Understanding, ed. H. Barlow, C. Blakemore, and M. Weston–Smith (Cambridge: Cambridge University Press, 1990), p. 141. 3. Vladimir J. Propp, Morphology of the Folktale (Austin: University of Texas Press, 1928). NOTES 225

4. Algirdas J. Greimas, On Meaning: Selected Essays in Semiotic Th eory, trans. Paul Perron and Frank Collins (Minneapolis: University of Minnesota Press, 1987). 5. Friedrich M. Müller, Lectures on the Science of Language (London: Longmans, Green, 1861). 6. Claude Lévi-Strauss, La pensée sauvage (Paris: Plon, 1962). 7. Eric Csapo, Th eories of Mythology (Oxford: Blackwell, 2005), p. 220. 8. A good analysis of this is found in David Leeming, Myth: A Biography of Belief (Oxford: Oxford University Press, 2002). 9. Robert A. Segal, Myth: A Very Short Introduction (Oxford: Oxford University Press, 2004), p. 142. 10. , Mythologies (Paris: Seuil, 1957). 11. In Th e Meaning of Sports (New York: PublicAff airs, 2005), Michael Mandelbaum aptly characterizes the reverence for sport as a quasi-reli- gious experience. 12. Claude Lévi-Strauss, Th e Raw and the Cooked (London: Cape, 1964). 13. See, for example, Michael Pollan, Th e ’s Dilemma: A Natural History of Four Meals (New York: Penguin Press, 2006).

CHAPTER 7 AT ARM’S LENGTH 1. Edward T. Hall, “A System for the Notation of Proxemic Behavior,” American Anthropologist 65 (1963), p. 1004. 2. Edward T. Hall, Th e Hidden Dimension (New York: Doubleday, 1966), p. 6. 3. Umberto Eco, Einführung in die Semiotik (München: Fink, 1968), pp. 344–9. 4. Hall, Th e Hidden Dimension, pp. 12–15. 5. See, for instance, Michael Argyle, Bodily (New York: Methuen, 1988). 6. Desmond Morris, Th e Human Zoo (London: Cape, 1969). 7. Helen Colton, Th e Gift of Touch (New York: Putnam, 1983). 8. Robert Ardrey, Th e Territorial Imperative (New York: Atheneum, 1966). 9. Denis Wood, Th e Power of Maps (New York: Guilford Press, 1992), p. 144. In How to Lie with Maps, 2nd ed. (Chicago: University of Chicago Press, 1996), Mark Monmonier shows how easily it is to misinterpret maps in cultural terms. 10. J. B. Harley, Th e New Nature of Maps: Essays in the History of Cartography (Baltimore, Md.: Johns Hopkins University Press, 2001), pp. 36–7. 11. Norman J. W. Th rower, Maps & Civilization (Chicago: University of Chicago Press, 1999), p. 233. 226 NOTES

12. Caroline Humphrey and Piers Vitebsky, Sacred Architecture (London: Duncan Baird, 1997), p. 13.

CHAPTER 8 WHAT A BEAUTIFUL RING! 1. Helen E. Fisher, Anatomy of Love (New York: Norton, 1992), pp. 253–4. 2. In Th e Sacred and the Profane: Th e Nature of Religion (New York: Harper Torchbooks, 1961), Mircea Eliade gives an in-depth analysis of how the sacred versus profane dichotomy undergirds the constitution of cultures generally. 3. See , Rabelais and His World (Bloomington: Indiana University Press, 1993) and Th e Dialogic Imagination: Four Essays (Austin: University of Texas Press 1981). 4. Marshall McLuhan, Th e Mechanical Bride: Folklore of Industrial Man (New York: Vanguard, 1951). 5. Donald A. Norman, Th e Design of Everyday Th ings (New York: Basic Books, 2002), p. xiv. 6. Edward B. Tylor, Primitive Culture (London: Murray, 1871). 7. An in-depth analysis of hypertextuality is the one by George P. Landow, Hypertext 3.0: Critical Th eory and New Media in an Era of Globalization (Baltimore, Md.: Johns Hopkins University Press, 2006).

CHAPTER 9 ART IS INDISTINGUISHABLE FROM LIFE 1. Susanne K. Langer, Problems of Art (New York: Scribner’s, 1957). 2. Greil Marcus, Dead Elvis: A Chronicle of a Cultural Obsession (New York: Anchor Books, 1991).

CHAPTER 10 THERE’S MORE TO PERFUME THAN SMELL 1. Roland Barthes, Mythologies (Paris: Seuil, 1957) and Système de la mode (Paris: Seuil, 1967). 2. Cited in Marcel Danesi, Interpreting Advertisements: A Semiotic Guide (Ottawa: Legas Press, 1995), p. 16. 3. Vance Packard, Th e Hidden Persuaders (New York: McKay, 1957). 4. Brian Wilson Key, Th e Age of Manipulation (New York: Henry Holt, 1989), p. 13. NOTES 227

5. Th is opinion is based primarily on my own experience with advertisers and marketers, as a consultant on the meanings that their ads generate and on the kinds of reactions that subjects have to them. Th is experience has given me a behind-the-scenes look at the whole advertising and mar- keting business. 6. William Leiss, Stephen Kline, Sut Jhally, and Jacqueline Botterill, Social Communication in Advertising: Consumption in the Mediated Marketplace, 3rd ed. (London: Routledge, 2005), p. 286. 7. Andy Warhol was an American painter and fi lmmaker, who was a leader of the pop art movement. He attracted attention in the 1960s with exhibi- tions of pop art objects from daily life, such as his Campbell’s Soup Can (1965). 8. In Television Sitcom (London: British Film Institute, 2005), Brett Mills argues that the sitcom genre in particular has been infl uential in making TV a locus for the debate of moral issues. 9. Jean Baudrillard, Simulations (New York: Semiotexte, 1983). 10. George Kingsley Zipf, Human Behavior and the Principle of Least Eff ort (Boston: Addison-Wesley, 1949). 11. On the history and development of online , see Vincent Mosco, Th e Digital Sublime: Myth, Power, and Cyberspace (Cambridge, Mass.: MIT Press, 2004) and Lorenzo Cantoni and Stefano Tardini, Internet (London: Routledge, 2006). 12. Johan Huizinga, Th e Waning of the Medieval Ages (Garden City, Conn.: Doubleday, 1924), p. 202. 13. Desmond Morris, Th e Human Zoo (London: Cape, 1969). 14. , Th e Selfi sh Gene (Oxford: Oxford University Press, 1976), Th e Blind Watchmaker (Harlow: Longmans, 1987), River Out of Eden: A Darwinian View of Life (New York: Basic, 1995). 15. Stephen Pinker, How the Mind Works (New York: Norton, 1997). 16. E. O. Wilson and M. Harris, “Heredity versus Culture: A Debate,” in Anthropological Realities: Reading in the Science of Culture, ed. J. Guillemin (New Brunswick, N. J.: Transaction Books, 1981), p. 464. INDEX

actant, 117–118 origins, 179 Adler, Ken, 48, 221 performing, 182–185 advertising, 8, 41, 50, 66, 197–202 pop art, 202–203 defi nition, 197 verbal, 192–194 history, 197–199 visual, 188–192 Aeschylus, 19, 129, 182 artifact, 169 aesthetics, 177, 199 Asch, Solomon, 97, 223 alphabet, 80 Augustine, Saint, 16–17 Alpher, B., 222 automobile, 62, 88, 173 Amadeus, 186–187 Anaximander, 146 Babbage, Charles, 173–174 Angelou, Maya, 112 Bach, Johann Sebastien, 25 animals, 6, 14, 18, 24, 27, 30–32, 34, Bacon, Roger, 17 38, 48, 57, 64, 99, 117, 118, 119, Bakhtin, Mikhail, 165, 226 125, 126, 132, 144–145, 164, ballet, 65 171, 188 Barthes, Roland, 18, 128, 132, 195, animal experiments, 90–91 197, 225, 226 animism, 62, 170, 176 Basso, Keith, 62, 221 anorexia nervosa, 199, 228 Baudelaire, Charles, 23 anthropomorphism, 170, 228 Baudrillard, Jean, 208, 227 anthroponym, 39 Beckett, Samuel, 183–184 Antonioni, Michelangelo, 8, 54 bee dance, 31 Apuleius, Lucius, 193, 228 Beethoven, Ludwig van, 34, 180, Arbus, Diane, 54 187 Arden, Elizabeth, 5 Berlin, Brent, 79, 222 archetype, 124–125, 132, 197 biography, 118 Ardrey, Robert, 144, 225 bipedal, 58 Argyle, Michael, 225 Birdwhistell, R. L., 59, 221 Aristophanes, 183 Bloomfi eld, Leonard, 29, 220 Aristotle, 16, 91, 92–96, 99, 116, 119, Blow Up, 8, 54 180–181, 192, 228 Boas, Franz, 73 Aronofsky, Darren, 149–150 body, 4, 6, 7, 13, 16, 20, 47, 57, 62, 67, art, 29, 34–35, 53, 177–181 139, 158 musical, 185–188 communal, 150–151, 154, 165 230 INDEX body—continued coming of age, 6, 14, 49, 160 image, 21, 66 Commedia dell’arte, 183 language, 58–61 computer, 169, 173–176 nude, 162–163 , 26–29 orientation, 142–143 context, 29 Booth, W., 98, 223 cosmetics, 41, 49–52 Boswell, James, 118 courtship display, 4, 6 Botteril. Jacqueline, 221, 227 Cromwell, Oliver, 166–167 Botticelli, Sandro, 53 Csapo, Eric, 123, 225 brain, 14, 55, 70, 98 culture, 14–16, 214–218 brand, 9–10, 40–41, 200 cuneiform, 81 Breathless, 8 Curtiz, Michael, 8 Brown, Dan, 16 cyberlanguage, 210–213 Brown, Roger, 76, 222 cyberspace, 192, 210, 212, 213 buildings, 140, 150, 152–156 da Vinci, Leonardo, 53, 181, 189 Cantoni, Lorenzo, 227 dance, 64–65 carnival, 163–165, 202 Darwin, Charles, 6 Carroll, Lewis, 40 Dawkins, Richard, 215–216, 227 Casablanca, 8 Deely, John, 18, 220 catharsis, 181 Defoe, Daniel, 133, 150 Cervantes, Miguel de, 194 Deignan, Alice, 110, 224 Chomsky, Noam, 70–71, 222 , 25–26, 28 Churchill, Winston, 139 Derrida, Jacques, 19 cigarette (as sign), 2, 9–11 Descartes, René, 59 cinema, 190–192 Digital Galaxy, 210 classifi cation, 24–25, 74 discourse, 69, 83–85, 89, 94, 117, Clever Hans, 31–32 141–142 clock, 74–75, 172–173, 206 rhetorical, 168–169, 197 clothing, 5, 60, 63, 157–163, 166–168 dolls, 62–64 blue jeans, 168 Cabbage Patch, 169–170 business suit, 166–168 drama, 14, 182–185 dress, 157–163, 166–168 dramatis personae, 14 nudity, 162–163 drawing, 35, 88 stripteasing, 162 dress, 5, 157–162 code, 5–7, 23, 43–46, 49–50, 59, 85, Dubin, L. S., 221 129–130, 134, 139–140, 142, Duffi n, Jacalyn, 21, 220 149, 151 Dumas, Alexandre, 166 Cole, K. C., 113, 224 Collett, Peter, 221 e-mail, 210, 212 color, 25, 78–80 Eco, Umberto, 18, 141, 220, 225 Colton, Helen, 144, 225 Ekman, Paul, 47, 221 comedy, 164, 183 Eliade, Mircea, 226 INDEX 231

Eliot, T. S., 217 Gould, Glenn, 25 Eratosthenes, 36–38, 146 grammar, 73, 75, 77 Euripides, 183 narrative, 117 evolutionary psychology, 215, 217, 218 Green, Teresa, 221 eye contact, 57–58 Greimas, Algirdas Julien, 18, 44, 117, eye symbolism, 58–59 118 Griffi th, D. W., 191 facial expressions, 47, 57, 59, 182 grooming, 49–50, 52, 55 fairy tale, 13, 125–128 ground (of a metaphor), 97 fantasia, 73, 95, 96, 106, 120–121, 128, Gutenberg Galaxy, 174, 210 176, 178 fashion, 60, 161, 166–168 hairstyle, 50–53 fashion model, 63 Hall, Edward T., 140–141, 225 Fechner, Gustav Theodor, 96 Hamilton, Nigel, 116, 224 fetish, 13, 66 handshaking, 143 Fine, Harold J., 224 Hardin, C. L., 222 Fisher, Helen, 49, 162, 221, 226 Harley, J. B., 146, 225 food, 132–138 Harris, M., 227 fast food, 135–137 hermeneutics, 177 myth and food, 134–138 hero myth, 123–125 footwear, 12–13 hieroglyph, 81 Forman, Milos, 186 high heels (as signs), 12–13 Foucault, Michel, 221 Hippocrates, 16 Franklin, Benjamin, 111–112 Homo sapiens, ix, 58, 92 Frege, Gottlob, 28 Hughes, Jason, 3, 9, 219 Freud, Sigmund, 188, 124 Huizinga, Johan, 214, 227 Friesen, Wallace, 221 Humphrey, Caroline, 155, 226 Frye, Northrop, 111, 224, 228 Hutcheon, Linda, 224 Hypercard, 175 Gardner, B. T., 90, 223 hyperlink, 174–175 Gardner, Howard, 98, 223 hypertext, 174 Gardner, R. A., 90, 223 gaze, 57 icon, 29, 33–34, 91 gender, 5, 6–7, 20, 50, 52, 57, iconicity, 33–36, 63, 91, 145–146, 158–160 148 geometry, 37–38 ideograph, 81 gesture, 4–7, 34–35, 87–90 image schema, 102–103 Gibbs, Raymond W., 224 index, 29, 32–33 Glass, Lillian, 220 indexicality, 33, 35–36 Goffman, Erving, 13, 220 Internet, 173, 209, 213 Goldin-Meadow, Susan, 89, 223 interpersonal zone, 140–142 Goodman, Jordan, 219 , 175 goths, 60, 161–165 interpretation, 10, 25 232 INDEX intertextuality, 196–197 Lawrence, D. H., 115 irony, 96, 106, 108–109 Leeming, David, 225 legend, 120 Jakobson, Roman, 18 Leiss, William, 221, 227 Jammin’ the Blues, 7 Leroy, Margaret, 4, 219 Jaynes, Julian, 72, 222 Lévi-Strauss, Claude, 119, 123, 132, jazz, 7–8 225 Jhally, Sut, 221, 227 Levine, Robert, 75, 222 Johnson, Mark, 98–99, 102–103, linguistics, 29, 74 105–106, 224 Locke, John, 17 Jung, Carl, 124–125, 132, 215 Lodge, David, 116, 224 logos, 70, 119, 120 Kay, Paul, 79, 222 looking, 56–58 Kendon, Adam, 89, 223 Lorenz, Konrad, 144 Key, Brian Wilson, 199, 226 Lucas, George, 130 kinesics, 59 kissing, 54–56 Machiavelli, Niccolò, 183 Klein, Richard, 5, 219 Madonna, 165–166 Kline, Stephen, 221, 227 Maffi , Luisa, 222 Kövecses, Zoltán, 224 makeup, 47–50 Krauss, Karl, 69 malls, 151–152 Kroc, Raymond A., 135 Mandelbaum, Michael, 225 map, 146–149 Lakoff, George, 98–99, 102–103, Marcus, Greil, 187, 226 105–106, 224 Marsh, Peter, 221 Landow, George, 226 mask, 53, 165, 182, 183 Langacker, Ronald W., 222 McCracken, Grant, 221 Lange, Dorothea, 54 McDonald’s, 135–136 Langer, Susanne, 180, 226 McLuhan, Marshall, 14, 62, 81, 169, language, 10–11, 14, 26, 33, 69 172, 174, 195, 203, 210, 226 color, 78–80 McNeill, David, 34, 89, 223 discourse, 83–85 McNeill, N., 79, 222 gesture, 87–89 meaning, 2–10 learning, 70–73 connotative, 26–29 metaphor, 90–112 denotative, 25–26, 28 profanity, 85 meme, 216 ritual, 83–85 Memento, 189–190 slang, 85–87 Mercator, Gerardus, 147 speech, 70–73 metaphor, 91–114 taboo, 85 Aristotle, 92–94 thought, 73–80 conceptual, 99–103 word magic, 84 cultural models, 104–106 writing, 80–83 everyday life, 111 INDEX 233

Lakoff and Johnson, 98–106 Nolan, Jonathan, 189 myth, 110–111 nominalists, 17 novel, 106 nonverbal, 47, 54–55, 59–62, 141–144 proverb, 112–113 Norman, Donald A., 169, 226 Richards, 96–98 novel, 160–161, 193–194 science, 113–114 novella, 193 Vico, 94–96 nudity, 162–163 metonymy, 106–108 Michelangelo, 163, 180, 189 O’Shaugnessy, Marie, 221 Mili, Gjon, 7 objects, 171–173 Miller, Stephen, 223 Oedipus, 93–94, 108–109 Mills, Brett, 227 Ogden, C. K., 27, 220 Monmonier, Mark, 225 Ong, Walter J., 101, 224 Monteverdi, Claudio, 186 online culture, 210–213 Morris, Charles, 18, 72 onomatopoeia, 10–11 Morris, Desmond, 15, 143, 215, 220, opera, 185–186 221, 222, 225, 227 opposition, 44–45 Mosco, Vincent, 227 binary, 44 Mozart, Wolfgang Amadeus, 180, Ortelius, Abraham, 147 186–187, 188 Osgood, C. E., 220 Müller, Friedrich M., 76, 122–123, 222, 225 Packard, Vance, 199, 226 music, 185–188 Palmer, Gary B., 222 myth, 118–125, 127 Panini, 73 birth and rebirth, 122 pantomime, 182 cosmogonic, 122 paradigmatic, 43 culture hero, 122 Parker-Pope, Tara, 5, 219 eschatological, 122 Peirce, Charles, 11, 17, 34, 35, 214, 220 foundation, 122 Peiss, Kathy, 52, 221 Freud, 124 performing arts, 182–185 hero, 123–125 persona, 14 Jung, 124–125 perspective, 188–189 trickster archetype, 124–125 photography, 53–54, 189–190 Vico, 120–121 pi, 149–150 mythology, 127–132 pictograph, 81 mythos, 119 Pinker, Stephen, 215, 227 Pirandello, Luigi, 208 name, 38–43 Plato, 16, 116, 119, 180–181, 192 narrative, 116–118 poetry, 192–194 neomania, 195 Pollan, Michael, 225 nickname, 40 Pollio, Howard E., 224 Nietzsche, Friedrich, 96 Pollio, Marilyn R., 224 Nolan, Christopher, 189–190 Poor Richard’s Almanac, 112–113 234 INDEX pop art, 202–203 semiology, 17 pop culture, 202–204 , 18, 21, 30, 32, 71 pop language, 86–87 , 215 Porter, Edwin S., 191 semiotic analysis (principles), 20–22 portraiture, 53–54 semiotics, ix, 15–19 post-, 19, 214 science of, 19 , 155 Shaffer, Peter, 186 Premack, A. J., 90, 223 Shakespeare, William, 47, 83, 86, 113, Premack, D., 90, 223 125, 126, 180 profane, 163–166 Shelley, Mary, 161, 176 Propp, Vladimir, 117, 224 Shikibu, Murasaki, 193 proverb, 112–113 Shteir, Rachel, 221 proxemics, 139–145 sign, ix, 9–10 psychology, 139–144 sign language, 88–90 Ptolemy, 146 sign theory, 7–12 punk, 60, 160 signal, 17, 18, 20, 29, 30–32 signifi cation, 10 rap, 81–82 signifi ed, 10 Raphael, 53, 189 signifi er, 10 Ray, Nicholas, 8 slang, 85–87 Rebel without a Cause, 8 Sontag, Susan, 20–21, 220 referent, 10 Sophocles, 94, 108, 182 representamen, 10 sound symbolism, 76 Richards, I. A., 24, 96–97, 220, 223 spatial codes, 151–152 Riddle of the Sphinx, 93–94 spectacle, 165–166 Riordan, Teresa, 221 speech, 70–73 ritual, 83–85 Star Wars, 131–132 Rossi, William, 13, 220 Starr, Michael, 5, 219 Rostand, Edmond, 167 Steele, Valerie, 13, 220 Rubinstein, Helena, 52 structuralism, 19–20 Rush, John A., 221 subtext, 196–197 Suci, G. J., 27, 220 sacred, 163–166 surname, 39–40 Sapir, Edward, 77–78, 222 Swift, Jonathan, 150, 206–207 Saussure, Ferdinand de, 10–11, 17, 44, symbol, 29, 36–38 73, 119, 220 symptom, 16, 17, 20, 29, 30 Savan, Leslie, 86–87, 222 synecdoche, 107 Schmandt-Besserat, D., 220 Synnott, Andrew, 221 Scholastics, 17 syntagmatic, 43 Sebeok, Thomas A., 18, 29, 30, 38, system of everyday life, 13–15 220, 222 Segal, Robert A., 127, 225 taboo, 85 self sign, 53 tactile code, 139 semantic differential, 27–28 Tannenbaum, P. H., 27, 220 INDEX 235

Tardini, Stefano, 227 Walker, Katharine, 157 tattoo, 60 Walker, Madam C. J., 52 technology, 171–173 Warhol, Andy, 202, 213, 227 television, 204–210 watch, 74 territoriality, 144–145 Wescott, Roger, 221 text, 6, 7–8 Whorf, Benjamin Lee, 77 theater, 182–183 Wilde, Oscar, 1, 177 Thrax, Dionysius, 73 Wilson, E. O., 216, 227 Thrower, Norman J. W., 148, 225 Winner, Ellen, 98, 223 Titchener, Edward, B., 44 Wittgenstein, Ludwig, 18 Titian, 53, 56, 189 Wood, Denis, 146, 225 tobacco, 3–4 word magic, 84 topic (of a metaphor), 97 World Wide Web, 174 toponym, 40 writing, 80–83 touch, 142–144 alphabetic, 80 toys, 168–171 cuneiform, 81 tribalism, 14 hieroglyphic, 81 Tylor, Edward Burnett, 170, 226 ideographic, 81 pictographic, 81 vehicle (of a metaphor), 97 spelling, 82–83 Verdi, Giuseppe, 186, 187 syllabic, 81 Vico, Giambattista, 73, 94–96, 106, Wundt, Wilhelm, 44 120, 178, 193, 223 Vitebsky, Piers, 155, 226 Xenophanes, 116 Vygotsky, L. S., 72, 73, 222 Zipf, George Kingsley, 211, 227 Waiting for Godot, 183–184 Zipf’s Law, 212 Waldseemüller, Martin, 147 Zuñi people, 7