scholarly journals 3. A semiotic model of the nonnarrative picturebook

2021 ◽  
Author(s):  
Smiljana Narančić Kovač
Keyword(s):  
Semiotic Model

Icon(icity) and causality: On the role of indexical semiotic modes in development of Byzantine art

2017 ◽  
pp. 711-726
Author(s):  
Todor Mitrovic
Keyword(s):  
Integrated Approach ◽  
Late Antique ◽  
Cultural Patterns ◽  
Byzantine Art ◽  
Semiotic Model ◽  
Iconic Images ◽  
Specific Object ◽  
Byzantine Church ◽  
Definition Of ◽  
Indexical Sign

Determined by its biblical origins, the birth of specifically Christian visual culture had to be given through overcoming the inevitable resistance of early church towards images. In order to find its stable place on late antique cultural scene, early byzantine art, thus, had to rely on support of religious and cultural patterns remote of magisterial artistic trends. Among those, contemporary theory recognizes as especially important: 1) cult of relics and 2) sealing practices. Crossing the possibility of theoretical definition of unique semiotic model standing behind those two cultural- religious practices with the fact that after iconoclasm byzantine art will be systematically distanced from both of them, this research attempts to explore the relation between iconophile theory and byzantine artistic production from a yet unexplored interpretative position. Hypothesis that category of indexical sign, as it is proposed by contemporary semiotics (based on Peircean legacy), can be used for extraction of this unique semiotic model is used here as a specific methodological tool for re-approach to both - 1) the pre-iconoclastic need for accentuating the indexical aspects of iconic images and 2) the mystery of post-iconoclastic radical distancing towards such a semiotic need. On the basis of such an integrated approach it is possible not only to search for more precise explanation of co-relations between artistic practices and contemporaneous (iconophile) theory, but to explain curious historical delay in application of this theoretic knowledge in artistic and liturgical realms, together with a late outburst of iconoclastic behaviour provoked by this very delay. Namely, one of the most prominent incarnations of pre-iconoclastic need for ?indexicalisation? of iconic medium, the mysterious Mandylion from Edessa, had very curious role in historical development of post-iconoclastic plastic arts in Byzantium. This specific object was miraculously and undividedly uniting both key indexical aspects of pre-iconoclastic cognitive settings in one icon - causally connected with the archetypehimself. However, exactly this kind of synthetic, relic-seal-image status turned out to be the specific semiotic stumbling stone in the process of application of iconophile theory in liturgical arts. This is why in XI century byzantine church decided to refrain Mandylion from public life for good and lock it in court chapel, under the protection of the emperor himself. As one of the most curious theological decisions of medieval Christianity, this extraordinary semiotic conversion was, actually, the final step in application of the most advanced achievements of the late iconophile theory, which was, at the same time, the first step in development of artistic system relaxed from the pressure of need for legalistic, causal validation of pictorial language.

Den Stoff durch die Form vertilgen. Das res / verba-Problem in Friedrich Schillers Briefen über die ästhetische Erziehung des Menschen

Rhetorik ◽  
2014 ◽  
Vol 33 (1) ◽  
Author(s):  
Varun F. Ort
Keyword(s):  
Human Perception ◽  
Aesthetic Education ◽  
Classical Rhetoric ◽  
Written Communication ◽  
Semiotic Model ◽  
The Senses ◽  
Print Cultures

AbstractIn acknowledgement of both the intellectual aspirations and the poetical style of Friedrich Schiller’s Aesthetic Education, the following article will re-interpret a passage in the 22nd letter that can be designated as a ›Poetics in nuce‹. Initially, it will be pointed out that Schiller’s theory of human perception as well as his semiotic model focus on the problem of commerce between matter and mind or sign and meaning. Subsequently, it will be shown that the terms Form and Stoff establish a connection between anthropology and poetics by shaping both theories according to the model of metabolism, which is a common metaphor employed to describe the res / verba relation in classical rhetoric. Consequently, I will demonstrate that the epistemological discourse in the letters 24 to 27, in stressing the senses of sight and hearing, leads to a theory of aesthetic communication that integrates rhetorical techniques of creating appearance (»Schein«) by adapting these strategies to the requirements of written communication in print cultures.

“Good” Evidence: A Critical Lens on Representations of Development and the Developing World

2021 ◽  
Author(s):  
Lisa Jean Ferguson
Keyword(s):  
Developing World ◽  
Good Evidence ◽  
Self Determination ◽  
Ethical Framework ◽  
Canadian Society ◽  
Alternative Representation ◽  
Semiotic Model ◽  
Charity Fundraising ◽  
Visual Racism

The ethics of conventional representations of the developing world in charity fundraising and photojournalism have been increasingly questioned. Van Leeuwen‘s (2000) social semiotic model of analysis of visual racism, applied to a famine image, reveals strategies for symbolically representing otherness that perpetuate a naturalized "Western rescuer/developing world victim" narrative. Respondent interviews demonstrate that such "poverty porn" produces viewer apathy, while an alternative representation depicting self-determination evokes a charitable response. Elliott‘s (2003) ethical framework is used to judge the harm of conventional representations. The results, while tentative, suggest worth in expanding the study in light of implications for represented persons, the viewer, and Canadian society. In the meantime, image producers and distributors must become visually literate to avoid using harmful images.

National Historical Myth as an Element of the Baltic States’ Strategic Cultures: Examining Postage Stamps

Istoriya ◽  
2021 ◽  
Vol 12 (7 (105)) ◽  
pp. 0
Author(s):  
Vladislav Vorotnikov
Keyword(s):  
The State ◽  
Historical Narrative ◽  
Baltic States ◽  
Political Class ◽  
Semiotic Model ◽  
Contemporary Politics ◽  
Postage Stamps ◽  
Relative Proximity ◽  
The One ◽  
The Baltic

The article examines the structure of national historical mythology of the Baltic states (Estonia, Latvia, Lithuania) with an emphasis on the foreign policy dimension based on the analysis of their issues of the postage stamps. Since issuing of the postage stamps is a product of consensus between the state and civil society, their topics and images presented on them, on the one hand, may be considered as a part of the semiotic model of the state image, thus reflecting its stance on processes, events, phenomena or personalities of the past and the present and, accordingly, shaping, transforming or supporting a certain nation-forming mythology or state ideology; on the other hand, they reflect mass perceptions of the dominant national historical narrative, and often the priorities of contemporary politics. Due to the specifics of the Baltic states’ history and the dominant values and ideology of their political class, the mainstream historical narrative is inevitably turned outward, that makes the analysis of its main elements extremely operational in the study of their strategic cultures. The article proposes the author's attitude to categorizing and highlighting the main chronological and thematic elements of the arrays of postage stamps of Latvia, Lithuania and Estonia from 1990 to 2020. On the basis of discourse and selective iconographic analysis, the key elements of national historical narratives and their coherence with the foreign political positioning and strategies of the Baltic states are identified and analyzed. A comparative analysis of the three country cases allows us to pinpoint their relative proximity as well as some specific features.

scholarly journals Psycho-semiotic model of thinking. Combining Klein and Peirce theory of symbol for more comprehensive model of mind

2019 ◽  
Vol 10 (1) ◽  
pp. 51-67
Author(s):  
Marta Iwaszuk
Keyword(s):  
Object Relations ◽  
Object Representation ◽  
Object Relation ◽  
Melanie Klein ◽  
Sign Theory ◽  
Semiotic Model ◽  
Proposed Model ◽  
Individual Potential ◽  
Semiotic Perspective ◽  
Definition Of

Thesis: Aim of the paper is to present Melanie Klein and Charles S. Peirce concept of symbol in order to combine them into scheme that presents conscious and unconscious aspect of thinking through symbolic signs (signs based on convention). Presented concepts: Paper presents concept of symbol in psychoanalytical and semiotic perspective. Psychoanalytical view is based on interpretation of symbol according to object relation paradigm proposed by Klein. There are two reasons for selecting her theory for the model: it is most closely bound with interdependency between communication and thinking plus her concept of proper symbol fulfills definition of symbolic sign in Peirce theory, due to deployment of matter of absence in substitution process. Peirce theory however is selected to present semiotic perspective not only for its good linkage to Klein’s “proper symbol” but also for its accurate understating of object representation in quasi- mind through Representamen and as a result recognition of symbol embedment in code through unlimited semiosis. Chosen concepts are consolidated into psycho-semiotic model of thinking which recognizes symbol to be co-created by unique internal world of unconscious phantasy with simultaneous employment of semiotic devices oriented to external, group order perspective. Results and conclusions: Proposed psycho-semiotic model of thinking enhances psychoanalytic view, based on drive for object, by recognizing communication means required for meaningful relation and with that for thinking itself. As a result conceptualizing thinking processes is enriched with semiotic discoveries such as mechanics and structure of Representamen and Interpretant, along with indispensable code rules, with unlimited semiosis at its core. In turn psychoanalytical view adds to semiotic perspective sensitivity to individual potential and constrains when code is in use and with that raises precision of exploration in the field. Contribution to the field: Proposed model enriches theory of thinking based on object relations with semiotic sign theory, which being focused on communication serves as a frame for establishing object relations and their conceptualization. In turn employing psychoanalytic perspective into semiotic field brings back code theory to actual code usage, and by that expands it to various unconscious forces, which ultimately determine Interpretant

scholarly journals A semiotic approach to language ideologies: Modelling the changing Icelandic languagescape

2020 ◽  
Vol 48 (2-4) ◽  
pp. 271-296
Author(s):  
Stephen Pax Leonard
Keyword(s):  
Language Policy ◽  
Language Ideologies ◽  
Speech Community ◽  
Policy Makers ◽  
E Coli ◽  
Semiotic Model ◽  
Semiotic Approach ◽  
Ethnographic Data ◽  
Linguistic Purism

Attempts have been made to examine how speakers frame linguistic varieties by employing social semiotic models. Using ethnographic data collected over many years, this article applies such a model to Iceland, once described as the ‘e-coli of linguistics’ – its size, historical isolation and relative linguistic homogeneity create conditions akin to a sociolinguistic laboratory. This semiotic model of language ideologies problematizes the prevailing discourse of linguistic purism at a time of sociolinguistic upheaval. The analysis shows how an essentializing scheme at the heart of Icelandic language policy ensured that linguistic “anomalies” such as “dative disease” and “genitive phobia” indexed essential differences. “Impure” language was indicative of un-Icelandicness. Once monolingual (indeed monodialectal), the Icelandic speech community is increasingly characterized by innovative linguistic transgressions which thus far have not been instrumentalized by language policy makers. It is shown how a semiotic model can help us analyse the function of language ideologies more generally.

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

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