Visual Semiotics Analysis on Webtoon Sweet Home

Webtoon is one of the mediums in delivering thoughts, point of view and life values with others; one of them is sweet home webtoon. By using visual Semiotic analysis, this study aimed to identify signs used in the Webtoon Sweet Home and to interpret the meanings of the Semiotic signs used in the Webtoon. The data source of this study is the serial comic entitled Sweet Home in the Webtoon which were technically collected using the qualitative method and visual materials in addition to applying the LINE Webtoon. Twenty six data were analyzed using the Visual Semiotic study proposed by Charles Sanders Peirce, including representamen, object and interpretant. Additionally, this study used three steps in interpreting the signs namely, non-verbal communicative legisign, framing techniques and communicative act. The study found that legisign was used on the panels in the Webtoon Sweet Home has general information in which the writer wishes to tell the readers. The legisign represents the meaning of the images portrayed in the Webtoon. Furthermore, the non-verbal communication legisign was identified based on facial expression, body language, posture and gesture. The framing technique concern what image shows, and the communicative act was analyzed based on the verbal sign found the Webtoon Sweet Home.

THE STRUCTURE OF SYMBOLIZING IN THE NOVEL "TESTIMONY OF WARTIME" IN THE LIGHT OF CHARLES SANDERS PIERCE'S THEORY

Symbolizing means the transition from the significance of the phonetic, morphological and syntactic units to the implicated meaning arising from the relations and common knowledge between the interlocutors and the circumstances surrounding them at the moment of the speech. The study seeks to present the symbolizing mechanism presented by Charles Sanders Peirce in the theory of signs, test the value of this mechanism and search for the linguistic structures responsible for symbolizing in the novel "Testimony from Wartime.

Semiotic processes implied in the High Dilution phenomena

Semiotic processes ( or semiosis) refer to those process which are carriers of meaning and are performed through signs. A sign is something that stands for something else, and is the main mediating factor between an object and an interpreter, able to connect them and give rise to significations. The semiotic perspective, according to Charles Sanders Peirce, is basically triadic: all aspects of reality are triadic, comprising the categories of Firstness, Secondness, and Thirdness in a continue and virtually infinite process of semiosis, i.e of various forms of giving rise to meanings that accordingly will generate reactions, actions and transformations. The aim of the present paper is to examine the possible levels of semiosis implied in the high dilution phenomenon, beginning with the process of so called “potency” of substrata (where every potency may be considered a sign for the next one) and arriving to the complex responses of the living bodies to infinitesimal signs.

Reconstructing Pragmatism

The figure of Richard Rorty stands in complex relation to the tradition of American pragmatism. On the one hand, his intellectual creativity, lively prose, and bridge-building fueled the contemporary resurgence of pragmatism. On the other, his polemical claims and selective interpretations function as a negative, fixed pole against which thinkers of all stripes define themselves. Virtually all pragmatists on the contemporary scene, whether classical or “new,” Deweyan, Jamesian, or Peircean, use Rorty as a foil to justify their positions. The resulting divisions and internecine quarrels threaten to thwart and fragment the tradition’s creative potential. More caricatured than understood, the specter of Rorty is blocking the road of inquiry and future development of pragmatism. Reconstructing Pragmatism moves beyond the Rortyan impasse by providing what has been missing for decades: a constructive, nonpolemical account of Rorty’s relation to classical pragmatism. The first book-length treatment of Rorty’s intellectual debt to the early pragmatists, it establishes his selective appropriations not as misunderstandings or distortions but as a sustained, intentional effort to reconstruct their thinking. Featuring chapters devoted to five key pragmatist thinkers—Charles Sanders Peirce, William James, John Dewey, Josiah Royce, and Jane Addams—the book draws on archival sources and the full scope of Rorty’s writings to challenge prevailing misconceptions and caricatures. By illuminating the critical resources, still largely untapped, that Rorty offers for articulating classical pragmatism’s ongoing relevance, the book reveals limitations in received images of the classical pragmatists and opens up new modes of understanding pragmatism and why it matters today.

ANALISIS SEMIOTIK PADA LOGO BARU BADAN KEPENDUDUKAN DAN KELUARGA BERENCANA NASIONAL "SAHABAT KELUARGA" (2020)

BKKBN meluncurkan logo baru pada tahun 2020 untuk menyasar generasi milenial dan zillenial. Penelitian ini bertujuan untuk mengetahui tanda-tanda yang muncul dalam logo baru BKKBN tersebut. Paradigma interpretif digunakan dalam penelitian ini dengan pendekatan kualitatif dan pengumpulan data secara studi dokumentasi dan observasi partisipan atau dengan terjun langsung terlibat di lapangan. Objek penelitian ini adalah logo baru BKKBN. Penelitian ini menggunakan teknik analisis semiotika Charles Sanders Peirce yang membagi tanda atas ikon, indeks, dan simbol. Hasil penelitian menunjukkan bahwa logo baru BKKBN terdiri dari logotype dan logogram yang dikombinasikan, dengan dasar struktur menggunakan bentuk lingkaran. Melalui logo baru BKKBN “Sahabat Keluarga”, pada logotype, jenis huruf yang digunakan adalah San Serif yang cenderung tidak formal untuk meraih publik barunya yaitu generasi millenial dan zillenial. Logogram yang terdapat pada logo baru BKKBN terdiri dari angka 8, hati, kupu-kupu, lingkaran, dan bentuk menyilang di tengah hati. Warna yang digunakan pada huruf adalah warna hitam solid dan gradasi dari warna biru kobalt menjadi biru navy pada logogram. Melalui logo tersebut BKKBN mencitrakan dirinya sebagai lembaga yang menjadi sahabat, merangkul, mendukung, menopang, berdiri sejajar, tidak instruksional lagi dan menjadi kepercayaan masyarakat untuk mendapatkan masa depan keluarga yang lebih baik.

Notas sobre o científico na arquitetura filosófica de Peirce

O artigo objetiva problematizar a função do científico à luz da arquitetura filosófica de Charles Sanders Peirce. Para tanto, recupera conceitos centrais na obra do autor, como o falibilismo e a autocorreção, na tentativa de demonstrar o quanto a ciência está mais comprometida com a superação do erro do que com a afirmação de quaisquer verdades finais. A produção de crenças e a estruturação de hábitos de conduta são consideradas criticamente a partir dos quatro métodos descritos pelo autor: a tenacidade, a autoridade, o a priori e o científico. Cada método tem sua efetividade pragmática e sua perspectiva epistemológica. O confronto entre tais epistemologias traça, no artigo, o mapa a partir do qual diferentes estudos da comunicação se desenvolvem.

Wolfhart Pannenberg’s Semiotic Doctrine of the Church: A Peircean Corrective

This paper aims to explore and critique Wolfhart Pannenberg’s use of semiotic concepts in his understanding and explanation of the church. He defines the church as “the fellowship of individual believers,” and a “sign of the future fellowship of humanity under God’s reign,” i. e. the future Kingdom of God. As he continues to articulate his doctrine of the church, Pannenberg employs semiotic concepts to articulate this notion of the church as a sign of the Kingdom of God. In this paper, I aim to explore Pannenberg’s use of semiotic concepts as they concern his understanding of the church and provide critique and a new way forward of understanding the church as a sign of the Kingdom of God. Though Pannenberg is right to employ semiotic concepts and terminology to expound upon and clarify this concept, he is wrong in the semiotic model of the sign and approach he chooses to employ. In what follows, I first summarize and explicate Pannenberg’s semiotic understanding of the church, and then I provide a critique and corrective of his semiotic preferences with the semiotic work of American philosopher Charles Sanders Peirce.

Charles Sanders Peirce

Charles Sanders Peirce (b. 1839–d. 1914) was a polymath who contributed many insights to diverse sciences, from cartography to photometry, from mathematics to metaphysics, and from linguistics to psychology. His fields of philosophical interest cover logic, ontology, epistemology, ethics, aesthetics, metaphysics, history, and the philosophy of religion. Today, he is recognized as the founder of the philosophy of pragmatism. Besides being a scientist, logician, and philosopher, Peirce is the patron of modern semiotics, which is the core of his philosophical system. Logic conceived as semiotics, and semiosis, defined as the agency of the sign, are key concepts of his philosophical architecture. The sign, in turn, is a synonym of thought, mind, and continuity. Semiotics, according to Peirce, is founded on phenomenology, whose three universal categories are at the root of his philosophical system. Logic or semiotics is not isolated but coordinated within two other normative sciences, ethics and aesthetics, which guide human ideals. The interconnections between these three branches of philosophy are essential to Peirce’s evolutionary pragmatism. Peirce’s insistence on the principle of continuity as well as evolutionism tout court lies in the two cornerstones of his metaphysics, synechism, the doctrine of continuity, and its complementary opposite, tychism, the doctrine of absolute chance. In the philosophy of science, his corresponding doctrine is the one of fallibilism, which postulates that our knowledge is never absolute but always swims in a continuum of uncertainty and indeterminacy. Fortunately, the times when Peirce’s originality was considered a symptom of incoherence have passed. Years of competent scholarship testify to the contemporary relevance of his genius.

MAKNA ARTEFAK MASA HINDU-BUDDHA DI KRATON KASEPUHAN CIREBON: TINJAUAN SEMIOTIKA PEIRCE

The research conducted in this paper focuses on answering the problem of the meaning of the artifacts of the Classical period found in the Kasepuhan Cirebon palace. The goal to be achieved in this research is to obtain an explanation of the position of the artifacts of the Classical period for the Kraton Kasepuhan Cirebon. In order to answer this research problem, three research steps were applied in the archaeological method, namely data collection, data analysis, and interpretation. Based on the entire research process that has been carried out, it can be seen that the artifacts of the Classical period that are stored in the Kasepuhan Cirebon palace are meaningful as symbols of the status of the king who occupies the highest power. Artifacts of the Classical period were used to strengthen the legitimacy of the King of Cirebon who had the status of "pandita ratu". Kebudayaan Hindu-Buddha di Indonesia banyak meninggalkan tinggalan kebudayaan di beberapa tempat. Salah satu tempat yang masih menyimpan tinggalan kebudayaan masa Klasik adalah Kraton Kasepuhan Cirebon. Artefak masa Klasik yang disimpan di Kraton Kasepuhan Cirebon antara lain berupa Arca Nandi, Lingga dan Yoni. Penempatan artefak ini dapat dihipotesiskan sebagai “kasus ekstrim”, karena biasanya unsur budaya Klasik yang masih dilanjutkan pada masa Islam sifatnya hanya samar-sama. Kajian ini berfokus dalam menjawab makna dari artefak masa Klasik yang terdapat di Kraton Kasepuhan Cirebon. Masalah ini diharapkan dapat menjelaskan kedudukan artefak-artefak masa Klasik tersebut bagi Kraton Kasepuhan Cirebon. Masalah penelitian ini dilakukan melalui analisis semiotika triadik Charles Sanders Peirce. Berdasarkan kajian yang dilakukan, dapat diketahui bahwa artefak-artefak masa Klasik yang disimpan di Kraton Kasepuhan Cirebon bermakna simbol raja sebagai pemegang kekuatan tertinggi. Artefak masa Klasik digunakan sebagai penguat legitimasi Raja Cirebon yang berstatus “pandita ratu”.

ACASO E CRIAÇÃO ARTÍSTICA: CÉZANNE E A INDETERMINAÇÃO DA VIDA E DO SENTIDO DA OBRA

O objetivo do artigo é apresentar uma possibilidade de análise do processo criativo no âmbito artístico sob o ponto de vista do acaso, tendo como ponto de partida as reflexões de Merleau-Ponty em seu texto intitulado A dúvida de Cézanne. Parto da ideia de que há, nesse texto, um interessante esboço da importância do papel do acaso, tanto na constituição de uma vida quanto na criação de uma obra de arte, levando em conta a íntima conexão entre ambas. Dois pensadores foram escolhidos como auxiliares nessa empreitada: Charles Sanders Peirce, no âmbito da filosofia, e Fayga Ostrower, no campo das artes. Não tenho como objetivo estabelecer paralelismos entre seus projetos, mas explorar, a partir de algumas ressonâncias, outra possibilidade de leitura sobre o sentido da obra e da vida do artista, em um acréscimo à análise merleau-pontiana.