scholarly journals Kolmas merkitys toiseen

2016 ◽  
pp. 6-22
Author(s):  
Jukka-Pekka Kilpiö
Keyword(s):  
Roland Barthes ◽  
Moving Image ◽  
Verbal Representation ◽  
The Third ◽  
Medial Complex

The Third Meaning Squared. Kinekphrasis in Contemporary Finnish Poetry In this article I develop the concept of kinekphrasis to designate a particular form of intermediality, speci cally, the verbal representation of cinema or other form of moving image. Kinekphrasis builds upon ekphrasis, the classical rhetorical term that today generally refers to texts about static artworks, such as paintings and statues. Representing the medial complex of cinema, however, sets a distinct sensorial and semiotic challenge to a text and brings about a form of intermediality di erent from the traditional ekphrasis. I exemplify kinekphrasis with a reading of contemporary Finnish poetry, namely, individual poems by Pauliina Haasjoki and V. S. Luoma-aho, and one book-length work, Karri Kokko’s Töllötin (“The Tube”, 2010), the most extensive kinekphrasis in Finnish literature. In addition, I analyze Marko Niemi’s digital, animated version of Töllötin, which uses Kokko’s text and so adds yet another layer to the medial process. In representing lms and television, the texts foreground what Roland Barthes termed “the third meaning” (le troisième sens): all those excessive elements, details, and digressions that cannot be reduced to any narrative or symbolic functions.

scholarly journals Semiotics of Roland Barthes in Symbols Systems of Javanese Wedding Ceremony

2020 ◽  
Vol 3 (2) ◽  
pp. p22
Author(s):  
Mohamad Jazeri ◽  
Susanto Susanto
Keyword(s):  
Data Analysis ◽  
Instrumental Music ◽  
Participant Observation ◽  
Roland Barthes ◽  
Connotative Meaning ◽  
The Third ◽  
Marriage Ceremony ◽  
Depth Interview ◽  
Wedding Ceremony ◽  
Interactive Models

This study is aimed to explain the interpretation of symbols systems in Javanese wedding ceremony. The symbol patterns can be categorized into leaves symbols, vegetable symbols, flowers symbols, food and drinks symbols, Javanese traditional instrumental music (gending-gending), and thread of marriage processions. The data of this study were collected by in-depth interview techniques, participant observation, and documentation. The data were analyzed with the Miles and Huberman interactive models. Data analysis reveals that substantial meanings of the symbols in Javanese wedding ceremony are of advice, prayers, descriptions, parables, and responsibilities. The first, an advice for a bridge/a bridegroom is to have a well foundation, always to love each other, to become a reassuring spouse, to be considerate and think clearly, to have tender heart, and to respect their parents. The second, prayers are delivered in order that the bride and bridegroom have abundant lawful or halal fortune or wealth, have good offsprings, keep away from life barriers. The third, description means that the bridge looks like a beautiful queen and a bridegroom is associated to a handsome and dashing king. The fourth, a parable of marriage is alike to wade the ocean with big waves and storms. The fifth, a responsibility is due to a husband to make a hay or earn money and a wife to manage it then they work together to obtain the goal of marriage. The connotative meaning is flourished to become a myth that marriage ceremony is equipped with standard of symbols that will build the happy and everlasting marriage.

scholarly journals The role of metaphtonymy in verbalizing futurological concepts

2020 ◽  
pp. 251-263
Author(s):  
E. N. Kovyazina ◽  
Keyword(s):  
Hierarchical Structure ◽  
Conceptual Analysis ◽  
Third Wave ◽  
Target Domain ◽  
Source Domain ◽  
Verbal Representation ◽  
The Third ◽  
Dominant Member ◽  
Metaphor And Metonymy

The paper touches upon the problem of metaphtonymy in futurological discourse as well as its role in verbalizing futurological concepts FUTURE SHOCK, THE THIRD WAVE, and SUI-CIDE. The investigation aimed to determine the peculiar features of metaphtonymy and de-fine its role in the verbal representation of futurological concepts. The investigation is based on the novels of a prominent American futurologist A. Toffler “The Future Shock,” “The Third Wave” and a famous American publicist P. Buchanan “Suicide of a Superpower: Will America Survive to 2025?”. The techniques employed include conceptual analysis, metaphor, and metonymy modeling. 75 contexts of metaphtonymy of certain types (“metaphor in me-tonymy,” “metonymy in metaphor,” “metonymy, metaphor in metaphor”, “metaphor, meton-ymy, metaphor in metaphor,” etc.) were identified, and all of them proved to be involved in the verbal representation of the futurological concepts. The analysis showed that all the metaphtonymic unities had a hierarchical structure with one prevailing component and one or several subordinate elements. Moreover, metaphors are more likely than metonymies to act as a dominant member of the hierarchy, their target domain or/and source domain being motiva-tors for other components emerging in a metaphtonymic unity. As for the forms of metaphor and metonymy thinking in metaphtonymies under analysis, we found extended metaphors and metonymic chains and clusters. Metaphors (their target or/and source domains) turned to be most active in verbalizing the futurological concepts. The variants of verbalization are as fol-lows: “future shock as a disease,” “the third wave as evolution design,” “suicide as ethnomasochism,” etc.

Romantic Fungi and Other Useless Things: Arnold, Tieck, Keats

Romanticism ◽  
2020 ◽  
Vol 26 (3) ◽  
pp. 292-302
Author(s):  
Peter Henning
Keyword(s):  
John Keats ◽  
Roland Barthes ◽  
Border Zone ◽  
Matthew Arnold ◽  
Reading And Writing ◽  
Ludwig Tieck ◽  
The Third ◽  
Romantic Poetry

The following study centres on the motif of the mushroom in romantic poetry, discussing the questions of meaning, use, and indeterminacy that it raises. By analyzing the work of Matthew Arnold, Ludwig Tieck, and John Keats, the article outlines a particular field of semiosis, initially sought out in the border zone between natural and artificial. Importantly, however, each of the examples also actualize a disturbance in that field, suggestive of a poetic capacity beyond the dictum of functionality and efficacy. The investigation furthermore documents a fixation with detail, attempting to theorize its allure with the aid of Roland Barthes and his concept of the ‘third meaning’. Connecting the affective ‘sting’ of the detail with the question of poetic non-function, the study ultimately proposes that a concern for the reading and writing body might fill the space of meaning vacated by poets such as Tieck and Keats.

Longing for Depth

2016 ◽  
pp. 480-498
Author(s):  
Rachel Joseph
Keyword(s):  
Roland Barthes ◽  
Symbolic Meaning ◽  
Moving Image ◽  
Still Image ◽  
The Past

This chapter explores the work of Busby Berkeley in relationship to Roland Barthes’ theory of the “punctum.” Cinema’s return to performance through screendance suggest moments of excess within the moving image that gesture toward a dismantling of the screen and reveal a desire for live theater. Barthes theorized that the photographic still image provides, in certain cases, a “punctum,” which he defined as a moment of pricking or wounding that occurs in the viewer beyond the symbolic meaning of the photograph, bringing the past into a performed moment of affective presence. Examination of some of Berkeley’s greatest screened-stage choreographic sequences in films such as Footlight Parade reveals how the bodies within Berkeley musicals both position themselves as excess and create quite literal holes in the screen in which the viewer’s eye is invited to go deeply inward. The cinematic use of the punctum restores this corporeal absence to presence through screendance within the frame of the stage.

Roland Barthes and the Moving Image

October ◽  
1981 ◽  
Vol 18 ◽  
pp. 41 ◽  
Author(s):  
Dana B. Polan
Keyword(s):  
Roland Barthes ◽  
Moving Image

Illness, everyday life and narrative montage: The visual aesthetics of cancer in Sara Bro’s Diary

2011 ◽  
Vol 15 (3) ◽  
pp. 277-297 ◽  
Author(s):  
Nina Henriksen ◽  
Tine Tjørnhøj-Thomsen ◽  
Helle Ploug Hansen
Keyword(s):  
Breast Cancer ◽  
Health Care ◽  
Everyday Life ◽  
Health Care System ◽  
Breast Cancer Survivor ◽  
Roland Barthes ◽  
Visual Aesthetics ◽  
The Third ◽  
The Aesthetic ◽  
Cancer Experience

This article presents a study of Sara Bro’s Diary (2004), a book montage of images and texts recording the experiences of a Danish breast cancer survivor, Sara Bro. It examines two montages of photography and text, drawing on Roland Barthes’ concept of ‘the third meaning’ to explain and discuss the effect of the layered meanings in the montage alongside their multi-medium and self-referential expression. The discussion is centred on the aesthetic practices that are invited by Bro’s book montage. The article considers how the juxtaposition of images and texts are experienced and co-created by the reader. It points to the effect of the aesthetics of disguise and carnival implicit in the visual—verbal montage and argues that these generate a third meaning. This meaning is associated with the breast cancer experience but is not directly discernible in the montage. The article concludes by discussing how Bro’s montage acts as an ideological statement, subverting or ‘poaching on’ the health care system.

Natural signs from Plato to Thomas A. Sebeok

2021 ◽  
Vol 17 (4) ◽  
pp. 551-573
Author(s):  
Winfried Nöth
Keyword(s):  
General Theory ◽  
20Th Century ◽  
Distinctive Feature ◽  
Roland Barthes ◽  
Historical Study ◽  
Augustine Of Hippo ◽  
Conventional Meaning ◽  
The Third ◽  
Natural Signs

Abstract The paper pays tribute to Thomas A. Sebeok with an inquiry into the place of the semiotics of nature within his system of “global semiotics” and of natural signs within his typology of signs, which distinguishes “six species of signs.” It complements Sebeok’s theory of natural signs with a historical study of semiotic definitions of natural signs in four chapters. The first, “Natural signs from Plato to the Scholastics” focuses on Plato’s Cratylus, Aristotle’s “On Interpretation,” Augustine of Hippo, and the Scholastics, in particular Roger Bacon’s distinction between natural and “given” signs. The second, “Natural signs in 20th century analytical and cognitive philosophy,” discusses Rollin’s Natural and conventional meaning as well as the definitions of natural signs proposed by Jerzy Pelc, David S. Clarke, Laird Addis, and in Ruth Garret Millikan’s teleosemiotics. The third, “Structuralist strategies of excluding natural signs from semiotics” discusses how natural signs were excluded from cultural semiotics in the writings of Roland Barthes (Mythologies), Algirdas J. Greimas, and in Umberto Eco’s early semiotic writings. The fourth investigates how C. S. Peirce overcomes the dualism of nature and convention in his general theory of signs founded on evolutionary principles. The paper concludes with reflections on Sebeok’s theory of modeling as the distinctive feature of human semiosis.

scholarly journals Crossing over with the Angel

2005 ◽  
Vol 33 (2) ◽  
pp. 273-295
Author(s):  
Alexander V. Kozin
Keyword(s):  
Structural Analysis ◽  
Old Testament ◽  
Roland Barthes ◽  
Crossing Over ◽  
Face To Face ◽  
The Third ◽  
Analytical Extension ◽  
The Face ◽  
Relationship Of

This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, Rembrandt’s “Jacob’s Struggle with the Angel”, Sir Jacob Epstein’s “Jacob and the Angel”, and Marc Chagall’s “Jacob Wrestling with the Angel”, show the “third meaning” of the passage to be predicated on the foundational relation between naming and facing, pointing to the understanding of “The Struggle” as the face-to-face relationship of love and responsibility grounded in ethics.

The Field of Art

2019 ◽  
pp. 69-96
Author(s):  
Thomas Nail
Keyword(s):  
Feedback Loop ◽  
Moving Image ◽  
The Third ◽  
Emotion Experience ◽  
Continuous Feedback ◽  
Aesthetic Field

This chapter argues that matter flows and folds into affects, affects are conjoined into images, and images are arranged or ordered together in an aesthetic field, or art. This is the third concept of kinesthetics. If flows of matter intersect and folds of affect periodically cycle, then aesthetic fields organize them all in a continuous feedback loop. This chapter provides a theory of how conjoined flows become organized according to distinct patterns or fields of art. The author develops a theory of synesthesia, fluxions, emotion, experience, and knot works. This chapter concludes part I of this book and the kinesthetic exposition of the minimal features of the image and its motion. If the image can truly be said to be in motion today more than ever before, it must at least be capable of flowing, folding, and circulating across a field. Kinesthetics gives the theory of the moving image its own proper concepts.

Punctum Saliens: Barthes, Mourning, Film, Photography

Paragraph ◽  
2012 ◽  
Vol 35 (3) ◽  
pp. 303-319 ◽  
Author(s):  
Neil Badmington
Keyword(s):  
Roland Barthes ◽  
Camera Lucida ◽  
The Third ◽  
Influential Theory

In the light of the publication of Roland Barthes's Mourning Diary (2009), this essay examines how the influential theory of the photographic punctum has cinematic roots which are repressed in Barthes's Camera Lucida (1980). My aim is not to repeat familiar arguments about how Barthes's ‘The Third Meaning’ (1970) anticipates the photographic punctum in a cinematic context; it is, rather, to attend specifically to Mourning Diary as a much closer, more precise precursor which has been visible only since 2009, and which casts new light upon the work of Roland Barthes.

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