Semiotics Research Papers - Academia.edu (original) (raw)

Complete list and full citation of all publications by Richard L. Lanigan up to February 2016.

The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in... more

The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in how signs are created, how they are articulated with each other to create the meaning in the text, and in what ways the meaning is created in different semantic layers within its system. The study necessitates focusing on the relations of the formative elements in the text which leads us to reach the narrative syntax that makes it possible to observe the underlying structures in different semantic strata of the text. Moreover, the approach helps us to analyze the meaning production process, as well as to observe the ways of the articulation process of meaningful items with each other to create the whole text. The main purpose of this study is to figure out the semantic organization of George Orwell’s Nineteen Eighty-Four narrative within the scope of Greimas's semiotic trajectory.

Jordan, Mandy M. Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices,... more

Jordan, Mandy M. Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices, references, 91 titles. On May 18, 2018, a shooter entered Santa Fe High School, killing eight students and two teachers. Using ethnographic methods, this research examines the role of faith, rituals, language, and symbols in the trauma-affected community during the response, recovery, and resiliency efforts as perceived by the Santa Fe community and those impacted by the tragedy. Qualitative data collected from 100 individuals ages of 17-84 illustrated how historical trauma, community culture, and faith-based organizations impact community resiliency and how illusions of a homogenous view of the community left many feeling shocked, divided, forgotten or muted.

Article based on a presentation given at the Thomas Latinus - Thomas Graecus. Thomas Aquinas and His Reception in Byzantium International Conference held at the Hellenic Library of Athens (Stavros Niarchos Cultural Center) in Dec. 15-16... more

Article based on a presentation given at the Thomas Latinus - Thomas Graecus. Thomas Aquinas and His Reception in Byzantium International Conference held at the Hellenic Library of Athens (Stavros Niarchos Cultural Center) in Dec. 15-16 2017, co-organized by The Hellenic Institute, Royal Holloway, University of London.

The following essay will look at the issue of neologisms and the ‘chains of Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”. The vast amount of neologisms, syllogisms, allusions, which are utilized... more

La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de... more

La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de cette communication est de proposer notre propre analyse, à la fois formelle et narrative, qui permettra de mettre en lumière certaines nouveautés stylistiques caractéristiques de cette période et d’expliquer les déviances formelles apparentes. Ce double-niveau analytique souhaite en effet investir les aspects techniques du discours musical (forme, tonalités, sections, cadences, harmonies, etc.) mais également son niveau expressif, à travers l’utilisation des topiques musicaux. L’étude de la succession de ces unités expressives permettra notamment d’éclaircir et d’expliquer le parcours de l’œuvre, qui se détache de la forme ternaire si chère au compositeur, avec un retour varié des deux thèmes principaux dans un style héroïque au sein de la dernière section, amenant un sentiment apothéotique. Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.

In philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and... more

In philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and representation, and interactive kinds, which respond to being studied in ways that alter the very kinds under study. This is in essence a discussion on ontologies and, I argue, more precisely about ontological levels. The discussion of kinds of kinds can be resolved by using a semiotic approach to ontological levels, building on the key semiotic concept of representation. There are three, and only three, levels of semiosis: non-or proto-semiotic processes without representation, such as physical or causal processes; semiotic processes with representation, such as the processes of life and cognition; and second-order semiotic processes with representation of representation, such as self-awareness and self-reflexive communication. This leads to the distinction between not two, but three kinds of kinds: indifferent, adaptive and reflexive kinds, of which the last two hitherto have not been clearly distinguished.

This book is dedicated to the great John Deely (d. 2017), a dear friend and colleague whose research in the theory and history of semiotics is unsurpassable. His work is a lasting inspiration for generations of students to come, in... more

This book is dedicated to the great John Deely (d. 2017), a dear friend and colleague whose research in the theory and history of semiotics is unsurpassable. His work is a lasting inspiration for generations of students to come, in philosophy, semiotics, and now edusemiotics. The handbook presents edusemiotics as a novel unified conceptual framework at the intersection of educational philosophy and theoretical semiotics
It collects cutting-edge theoretical and empirical research in this emergent field and
addresses the dimension of values and meaning in education and learning. Further,
the contributors explore the practical implications of edusemiotics in diverse global contexts

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... more

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

"Nata per sostituire alla violenza fisica l’efficacia della comunicazione, la retorica è oggi molto conosciuta per le scuole che hanno fatto la sua storia e studiata dal punto di vista della classificazione delle figure, ma svilita nella... more

"Nata per sostituire alla violenza fisica l’efficacia della comunicazione, la retorica è oggi molto conosciuta per le scuole che hanno fatto la sua storia e studiata dal punto di vista della classificazione delle figure, ma svilita nella sua specificità, quella di essere il dominio delle strategie del discorso. Argomentare il visibile è un’antologia che raccoglie i contributi di semiologi, storici dell’arte, filosofi, linguisti, teorici delle culture e si propone di mostrare il volto empirico della disciplina, territorio di contratti e di conflitti tra istanze che manipolano forze e soggetti pensati per essere trasformati: nei saperi, nei comportamenti e nelle passioni.
Tropi e tattiche trasmigrano da un sistema espressivo all’altro: non solo metafora e metonimia, ma anche chiasmo, ossimoro, ellissi, citazione, sono dispositivi rintracciabili tanto nel verbale quanto nel visivo. Può l’esplorazione della loro presenza in pittura – molto meno praticata che in letteratura – costringerci a rivedere la nostra concezione di retorica e di figure?
La prima parte del libro contiene saggi teorici sulle ragioni e sulle modalità dell’argomentazione per immagini. La seconda è un approfondimento su alcune figure alla frontiera tra parola e immagine, finora trascurate. Osservarne i principi di funzionamento serve a comprendere le dinamiche delle culture contemporanee, a nostro avviso più di quanto non facciano le abusate metafora e metonimia. Nella terza sezione, analitica, si indagano, infine, singole opere, generi, cicli, stili e motivi, intrecciandone la significazione con lo strato che riguarda la costruzione dell’interlocutore. Va ristabilito un nesso tra ciò che si apprende del contenuto dell’immagine e le strategie che essa usa per creare complicità, per farsi ricordare, per non passare indifferente."

how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the... more

how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... more

The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.

Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of... more

Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of two lovers at dawn was a well-established trope in European poetry of the medieval and renaissance periods. A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange. In Persian there are also some examples of the "Alba" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning. The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.

What is meaning-making? How do new domains of meanings emerge in the course of child’s development? What is the role of consciousness in this process? What is the difference between making sense of pointing, pantomime and language... more

What is meaning-making? How do new domains of meanings emerge in the course of child’s development? What is the role of consciousness in this process? What is the difference between making sense of pointing, pantomime and language utterances? Are great apes capable of meaning-making? What about dogs? Parrots? Can we – in any way – relate their functioning and behavior to a child’s? Are artificial systems capable of meaning-making?
The above questions motivated the emergence of cognitive semiotics as a discipline devoted to theoretical and empirical studies on meaning-making processes. As a transdisciplinary approach to meaning and meaning-making, cognitive semiotics necessarily draws on different disciplines: starting with philosophy of mind, via semiotics and linguistics, cognitive science(s), neuroanthropology, developmental and evolutionary psychology, comparative studies, and ending with robotics.
The book presents extensively this discipline. It is a very eclectic story: highly abstract problems of philosophy of mind are discussed and, simultaneously, results of very specific experiments on picture recognition are presented. On the one hand, intentional acts involved in semiotic activity are elaborated; on the other, a computational system capable of a limited interpretation of excerpts from Carroll’s Through the Looking-Glass is described. Specifically, the two roads to cognitive semiotics are explored in the book: phenomenological-enactive path developed by the so-called Lund school and author’s own proposal: a functional-cognitivist path.

Resumen El siguiente artículo presenta el examen y la confrontación de dos modelos teórico-metodológicos para el análisis de los productos de los medios de comunicación social cuya atención se concentra especialmente, en la televisión. Se... more

Resumen El siguiente artículo presenta el examen y la confrontación de dos modelos teórico-metodológicos para el análisis de los productos de los medios de comunicación social cuya atención se concentra especialmente, en la televisión. Se trata de dos modelos que pese a provenir ambos de la semiótica, parten de paradigmas antagónicos. La indagación se cierne, entonces, en torno de las propuestas del contrato de lectura de Eliseo Verón (1985a) y la promesa de los géneros de François Jost (1997), con el objetivo de observar la capacidad de sus postulados teóricos para trabajar sobre configuraciones materiales concretas. En esta ocasión, nos referiremos prioritariamente, al informativo, dado que las derivaciones teóricas más relevantes de estos modelos, se perciben en los elementos que ofrece cada uno para comprender el devenir social, especialmente en contextos de crisis social y política. Introducción La sociedad de masas, que cobró protagonismo con el advenimiento del siglo XX, fue mayormente-dicho en términos pragmáticos-performada como tal a mediados de la centuria pasada, con la aparición de la televisión. La conversión de este medio en un elemento constitutivo de la cotidianidad nos advierte sobre la incidencia que el mismo tiene en los procesos de construcción de la realidad social 1. Dado que, frente a la compleja lógica de producción de sentido en el ámbito de la comunicación mass-mediática, y ante la aparición de lo que puede denominarse la sociedad de redes, no debemos perder de vista que las mayorías sociales continúan siendo interpretadas en términos de audiencias. 1 A partir de la visión de Jesús Martín Barbero-que supo conciliar los estudios culturales con el análisis semiótico-podemos afirmar que la cotidianidad familiar resulta un lugar fundamental de mediación en el proceso de recepción televisiva, dado que, en los países latinoamericanos principalmente, la unidad básica de audiencia que tiene la televisión es la familia, por eso es en el marco de su cotidianidad donde se "representa para las mayorías la situación primordial de reconocimiento". Si bien no es el objeto de este trabajo, sobre este punto cabe mencionar el acento que los Estudios de Recepción Televisiva (ERT) otorgan a las audiencias a partir de la capacidad de resemantización que tienen frente al mensaje de los medios.

Du fait que les oeuvres littéraires ne se manifestent pas comme un texte nu et qu'elles sont toujours accompagnées des éléments picturaux ou verbaux, ceux-ci, étant des facteurs supplémentaires au texte principal, pourront évidemment... more

Du fait que les oeuvres littéraires ne se manifestent pas comme un texte nu et qu'elles sont toujours accompagnées des éléments picturaux ou verbaux, ceux-ci, étant des facteurs supplémentaires au texte principal, pourront évidemment influencer la réception du lecteur par rapport au thème principal du texte. Ces éléments-là qui varient selon les époques, éditions, auteurs, public et cultures, sont nommés par Gérard Genette des paratextes auxquels il a consacré une vaste étude dans son oeuvre intitulée Seuils (1987). Etant donné que la « paratextualité » est un sujet récent auquel on n'a pas prêté assez d'attention jusqu'à présent et que les oeuvres d'Éric Emmanuel Schmitt en attestent une forte présence, nous avons décidé de traiter l'une de ces oeuvres dans cet article, en supposant qu'elle puisse illustrer la problématique toujours actuelle du rapport entre la littérature et le paratexte. Nous nous sommes donc intéressés aux péritextes et nous avons essayé de démontrer que dans les oeuvres littéraires, la transmission du sens ne se réduit pas au texte principal mais aussi aux paratextes. En prenant Le sumo qui ne pouvait pas grossir, en tant que notre objet d'études, nous allons aborder comment le paratexte se manifeste dans cette oeuvre et préciser le rôle qu'il peut jouer dans la compréhension et l'interprétation du texte. Mots-clés : oeuvre littéraire, paratexte, péritexte, réception du lecteur, transmission du sens.

This study has been conducted to analyze how Self (Iranians) and the Other (non Iranians) have been represented in the Persian novels written in the last 50 years. The main question of the present research is "how Iranians and... more

This study has been conducted to analyze how Self (Iranians) and the Other (non Iranians) have been represented in the Persian novels written in the last 50 years. The main question of the present research is "how Iranians and non-Iranians are represented in the novels of two different periods of fiction writing in Iran?" By answering this question, it would be possible to show if there is an overlap between the Self/the Other confrontation and culture/nonculture in these Persian novels or not, in other words, if Self has been represented as culture and the Other as non-culture or not. Cultural semiotics and Discourse-Historical Approach (DHA) have developed the framework of this research. In order to achieve the aims of the research, three novels of the greatest ones written in the first 15 years of the last half-century, including Tangsir by S. Chubak (1963), Savushun by S. Daneshvar (1969) and The Neighbors by A. Mahmoud (1973), and three novels written in the last 15 years, including Kiss the Lovely Face of God (2000), My Bird (2002) and the Event (2010), have been selected and studied. These novels are chosen because the Other has a powerful presence in them. The results research show that in Tangsir, Savushun and the Neighbors, when the Other (Non-Iranian) is an aggressor is deemed to be nonculture but when he is beyond the borders of the Self’s country, he is culture. In these novels there is also no reference to represent the Self as culture, therefore there is no overlap between the two mentioned oppositions, Self/Other and culture/non-culture, and Self is not represented as culture and vice versa. In novel written in last 15 years Self is represented as nonculture. Hence there is overlap between the representation of Self/Other and culture/nonculture.

Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.... more

Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.
Through this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.

O estudo dos objetos culturais produzidos na atualidade possibilita, por meio da análise das formas de vida representadas nesses produtos de entretenimento, identificarmos as formas de ser, pensar e agir dos indivíduos, bem como as... more

O estudo dos objetos culturais produzidos na atualidade possibilita, por meio da análise das formas de vida representadas nesses produtos de entretenimento, identificarmos as formas de ser, pensar e agir dos indivíduos, bem como as principais escolhas axiológicas que os orientam e caracterizam. Considerando que as narrativas seriadas norte-americanas são muito difundidas entre os brasileiros, estas se constituem como importante meio de disseminar valores e determinar comportamentos, portanto, é nosso objetivo no presente trabalho analisar o percurso narrativo e as paixões do ator feminino Catelyn Stark, na narrativa seriada Game of Thrones, a fim de identificar as principais formas de vida que lhe são atribuídas. Para tanto, utilizamos em nosso quadro teórico-metodológico a semiótica de base greimasiana.

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember... more

Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value.

According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research... more

According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research about Chopin’s last style is to be situated. I use a combination of classical and narrative analysis to consider these two different but complementary aspects of a musical work. The musical work is divided into significant unities (discretization by segmentation) according to the topics and narratives actors use. By so doing, I want to integrate elements from the musical signification into the structural dimension of the work. However, this distinction allows us to go further and to bring to light the different narrative identities, by the relation and interactions of the discretized unities and their rhythmic states: complex course, simple course, less contrasted course, etc. Thus, these unities become entirely comprehensible by the global observation of the path and enable us to understand the construction and tracking of the work. Then, these elements can be used for the study of the interpretation at the level of the sound object (tempi and dynamics) and for the study of the choices made by performers. It will be asked if these unities are still relevant for the sound object and if they have an impact on the performance.

In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla... more

In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.

Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of... more

Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of the visual semiotics of writing that provide insights for the semiotic study of graphically-embodied language. Griffin was preoccupied with the visual substance of writing. Not only was Griffin a student of myriad styles of letter (including, cholo graffiti, comic book lettering, Jugendstil and Victorian typography), but he was also preoccupied with how writing functions and how letterforms attain meanings. Through an analysis of Griffin's comic book and poster lettering, this paper will discuss aspects of the visual semiotics of alphabetic writing including: the relationship of embodied tokens to alphabetical symbols, the socio-semiotic function of styles of letter, and lettering as aesthetic signification.

La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie... more

La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.

The Oxford Handbook of Language and Sexuality, with a hard-copy publication date of 2025, is the first handbook exclusively devoted to research in language and sexuality. The commissioned chapters included in the Table of Contents,... more

The Oxford Handbook of Language and Sexuality, with a hard-copy publication date of 2025, is the first handbook exclusively devoted to research in language and sexuality. The commissioned chapters included in the Table of Contents, available here, together put forth a broad understanding of sexuality, offering detailed discussions of the place of language in the mutually constituted ideologies, desires, practices, and identities that make up sexual systems. 62 chapters are now available for viewing at Oxford Handbooks Online: https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190212926.001.0001/oxfordhb-9780190212926

Past literature has indicated the need for addressing information security from both the social and technical perspective. However, previous research has lacked in providing any clear direction for how these two perspectives can be... more

Past literature has indicated the need for addressing information security from both the social and technical perspective. However, previous research has lacked in providing any clear direction for how these two perspectives can be brought together in a coherent or holistic manner to analyze information security in an organization. Thus, this paper develops a conceptual framework for identifying, bringing together, and interpreting the deep-rooted social and technical issues that pertain to information systems security. The framework is ...

Вводятся базовые понятия семиотики: понятие коммуникативного акта, понятие знака и понятие знаковой системы. Знак определяется как разновидность цепочки моделей объекта. Подробно рассматривается структура простой знаковой системы -... more

Вводятся базовые понятия семиотики: понятие коммуникативного акта, понятие знака и понятие знаковой системы. Знак определяется как разновидность цепочки моделей объекта. Подробно рассматривается структура простой знаковой системы - шлагбаума, на примере которой показывается, как работают введенные базовые семиотические понятия, в том числе синхроническое и диахроническое описания объекта. Во второй главе ставятся проблемы описания эволюции знаковых систем, намечаются этапы усложнения коммуникативных систем, строится эволюционная теория происхождения языка

The fascination with the study of the human face is constant in the history of humanity. Whilst the face is a visible element of the anatomy and appearance of the human species, it remains a quite enigmatic subject and very difficult to... more

The fascination with the study of the human face is constant in the history of humanity. Whilst the face is a visible element of the anatomy and appearance of the human species, it remains a quite enigmatic subject and very difficult to fathom. From ancient treatises on physiognomy to the introduction of automated face detection (Kosinki 2021) and AI face recognition systems in modern-day “cultures of surveillance” (Gates 2011), the face remains a subject of profound interest that cuts across a fan of disciplines, from evolutionary biology to artificial intelligence.