A SEMIOTIC ANALYSIS OF FEMINISM THEORIES IN THE MOVIE OF 7 HATI 7 CINTA 7 WANITA DIRECTED BY ROBBY ERTANTO

The movie 7 Hati 7 Cinta 7 Wanita directed by Robby Ertanto that presents a representation of seven women in the Indonesian context through certain signs, concepts, thoughts, and language. This representation can be in the form of a depiction of physical or psychological violence, subordination, workload, power, or women's reproductive rights. The research method used Roland Barthes' semiotic analysis model and constructivist paradigm approach. Barthes' theory represents two ideological signs that he put forward, namely the denotative sign system or the connotative sign system: A denotative sign, which is a more rigorous descriptive system than the connotative sign it has described, is the result of the existing signifier image and the signified concept. for example vegetables and milk are markers and healthy and strong are markers. Whereas A connotative sign is a sign that experiences a shift in its historical meaning due to a change in meaning. It can be influenced by a change in culture or terminology, an event that occurs in a situation, or even just an evolution.The results of this study indicate that in the movie7 Hati 7 Cinta 7 Wanita contains at least three points of findings: (1) aspects of female domestication and gender politics, which encourage women to be placed in traditional positions as housewives, (2) aspects of segregation, namely placing women in a weak position in relation to men, (3) many women experience the reality that places them in subordinate positions.

Laughter as a Semiotic Problem

Purpose. The article is aimed to substantiate the view on the phenomenon of laughter as a subject of semiotic analysis, which leads to the following tasks: to reveal the possibilities of semiotics application in the study of laughter nature; to analyze the phenomenon of laughter as a cultural and natural phenomenon, as a sign and as an attribute; to consider the place of laughter in culture, which is understood as a sign system. Theoretical basis. The semiotic approach proceeds from the fact that human lives in the world of signs, all the surrounding reality can be interpreted as a sign system. The basic concept of semiotics is the concept of a sign. The theoretical basis of the article is understanding the culture as a sign-symbolic system. Laughter is considered as a phenomenon ontologically rooted in human culture. At the same time, laughter is on the edge of culture. The research is based on the work of semiotic authors, cultural researchers, and the researchers of laughter. Originality. The originality lies in the application of the semiotic method to the research of laughter phenomenon, consideration of the dialectics of natural and cultural, signedness and non-signedness, manifested in the phenomenon of laughter. Conclusions. Laughter is considered as a psychophysiological phenomenon (attribute) and as a cultural phenomenon (sign). Laughter acts as an emotional manifestation, a physiological reaction, but socially and culturally mediated. In any case, laughter indicates an emotional or cognitive state of a human. Laughter acts as a process and result of the interpretation of a sign, a reaction to a sign. Laughter is a form and a means of communication. Being a natural phenomenon, in the process of social evolution, laughter acquires signedness, is integrated by culture as a sign system, and, at the same time, maintains a connection with nature. Thus, laughter occupies an ambivalent position between nature and culture. In the phenomenon of laughter, the dual state of human is revealed. In laughter, boundaries are blurred, the unity and opposition of natural and cultural, biological and social, soul and body, thought and feeling, sign and attribute are manifested.

TV Show Dramaturgy as an Analogue of the Audiovisual Syntax

The dramaturgy of a television work as structure-forming for the format basis of a television periodical is examined. The purpose of the study is to explain the fundamental features of a TV program as an integral artistic phenomenon, embodied in many variations based on a single format model. The task is to clarify the problem of the effective functioning of syntactic rules in the absence of basic linguistic units, which is characteristic of the audiovisual language of screen shows, that has been actualized by domestic and Western media researchers. A general thesis is put forward about the polymodality of an audiovisual work as a single text, the unfolding of which occurs according to pre-established schemes that regulate the effect of individual elements on the viewer's perception. The dramatic approach is considered in the discourse of the global iconic turn from the verbal culture to the visual culture, there are multi-branch attempts to identify possible basic units of the new combinatorial sign system. Syntactic constructions, defined as a chain of episodes, show signs of fragmentation, mosaicism, intertextuality, and other criteria of postmodern aesthetics. The dualism of screen attractions as aggressively influencing instruments and verbal narrative, their mutual influence and dramatic significance are emphasized. The concepts of syntactic uniformity, the constancy of the syntactic structure chosen for a given format, without the possibility of breaking it in variations of editions are considered.

“Possible Worlds” and the Meanings of F. Dostoevsky's Providence in the Messianic Receptions of the ХХth Century

The article analyzes the specifics of the receptive impact of the artistic Messianic concept of F. Dostoevsky, which influences providential contexts in the cultural philosophy of the ХХth century. The possibility to identify the features of the artistic embodiment of the Russian Messianic problems in cultural philosophy and literature of the ХХth century determines the relevance of this study. The analysis of the strategy of modeling possible worlds in Dostoevskys work, which referentially determines the development of Russian utopian / dystopian providence, determines the novelty of the study. The concepts of the Christological axiosphere, which reflects Dostoevsky's Messianic concept, determine the most important coordinates of the providential receptive trends of the ХХth century. They are objects of analysis in the article. It is proved that the semiotics of messianic motifs in Russian literature of the XXth century is connected, first of all, with the Abrahamic religious context, which is built into the most complex providential concept of the anthropological Christology of F. Dostoevsky. According to the principles of fractal logic, the writer generates the Abrahamic canon in the key messianic world-modeling metametaphors. Dostoevsky's messianic pretext is referentially manifested in Russian literature of the twentieth century - in the work of Russian Symbolists, who understand the Messiah as a divine-existential personality, in the works of writers of the late XXth century, who interprete the messiah as a collective personality - a substitutionary sacrifice. In our opinion, the chiliastic aspiration of messianic Christology and anthropology is also connected with the influence of Dostoevsky. However, we should talk about the dissipative variability of messianic concepts due to the contextual reference of messianic ideas of eastern origin, in particular, the Zoroastrian, Sufi and Islamic contexts are found. The artistic idea of messianism in Russian literature of the XXth century can also be considered as a semiotic sign system that reveals historiosophical and socio-political meanings, modeling the tendencies of anthropologization and ontologization of the literary process.

Semiotic analysis of the poetry "Morgenlied" by Martin Opitz

A This study aims to examine the sign system in the form of icons, indexes, and symbols and to interpret the meanings and messages as well as moral-religious values contained in the poem "Morgenlied" by Martin Opitz. The method used is a content analysis method with a qualitative approach based on semiotic analysis. This method serves to examine the poem "Morgenlied" by Martin Opitz, especially on the sign system in the form of icons, indexes, and symbols as well as religious moral values contained in the poem. While the data collection technique is a literature study. Based on the semiotic analysis, this poem contains a religious element in the form of a prayer of thanksgiving to God for His mercy and glory.

Semiotika budaya kemaritiman masyarakat Indonesia pada syair lagu

Syair lagu merupakan rangkaian dan tatanan kata indah yang diberi notasi dan dilagukan. Syair lagu memuat simbol-simbol pesan yang hendak disampaikan pencipta kepada pendengarnya. Simbol dalam syair lagu tidak mudah dimengerti dan perlu penafsiran. Pencipta lagu menggunakan simbol verbal pada syair lagu guna mewakili segala hal terkait dengan maksud, harapan, perasaan serta kondisi yang terjadi di lingkungan fisik serta menerjemahkan kehidupan di dunia yang diketahuinya. Untuk memahami sistem tanda yang menggambarkan budaya kemaritiman dalam syair lagu digunakan pendekatan semiotik. Penelitian ini bersifat deskriptif kualitatif, mengkaji bahasa berupa tanda atau simbol dalam syair lagu kemaritiman. Teknik pengumpulan data dengan mendokumentasikan lagu di Museum Musik Indonesia (MMI) di Malang serta eksplorasi di internet. Data berupa aspek kebahasaan yang mengandung sistem tanda budaya kemaritiman dari 14 lagu. Tujuan penelitian mendeskripsikan bentuk penanda dan petanda budaya kemaritiman pada syair lagu dan aspek budaya kemaritiman masyarakat Indonesia. Hasil penelitian ditemukan penanda dan petanda yang menunjukkan budaya kemaritiman pada syair lagu kemaritiman serta empat aspek sistem budaya masyarakat maritim meliputi, sistem mata pencaharian hidup, sistem peralatan hidup dan teknologi, sistem pengetahuan, dan sistem keorganisasian sosial. Lagu-lagu kemaritiman Indonesia merepresentasikan budaya kemaritiman masyarakat pesisir melalui simbol tanda yang ada. Untuk itu, lagu merupakan rekaman budaya masyarakat di masanya. Song verse is a series and arrangement of beautiful words that are noted and performed. The song verse contains symbols of the message that the creator wants to convey to his listener. The symbols in the verse of the song are not easy to understand and need interpretation. The songwriter uses verbal symbols in the song's verse to represent everything related to the intentions, expectations, feelings and conditions that occur in the physical environment and translate life in the world he knows. To understand the sign system that describes maritime culture in song verse, a semiotic approach is used. This research is qualitative descriptive, studying the language in the form of signs or symbols in maritime song verse. Data collection techniques by documenting songs at the Indonesian Music Museum (MMI) in Malang as well as exploration on the internet. Data in the form of language aspects that contain a maritime cultural sign system of 14 songs. The purpose of the study describes the form of markers and signs of maritime culture in song verses and aspects of maritime culture of Indonesian society. The results of the study found markers and signs that show maritime culture in maritime song verses as well as four aspects of the maritime community cultural system including, livelihood system, living equipment system and technology, knowledge system, and social organization system. Indonesian maritime songs represent the maritime culture of coastal communities through the symbol of existing signs. For this reason, the song is a recording of the culture of the people of his time.

The sacred symbolic meaning of ceramics glazed with a yellow background: possibilities of reconstruction (archaeological artifacts from the Kultobe settlement)

Turkistan’s ceramic style development occurred over several centuries and was formed by the Middle Ages. In Kazakh culture the ceramic art was raised up to an original artistic phenomenon. Studies of the production of South Kazakhstan pottery from the archeologic point of view has involved many Kazakh scientists such as: Karl Baipakov, Alexander Podushkin, Yerbolat Smagulov and many others. Their works are the foundation for further cultural and art historical interpretations of Kazakhstani pottery art, and they have contributed to Kazakhstan’s national art history. This article, based on the analysis of specific works representative of South Kazakhstan ceramics and on samples of ceramic production found during the archaeological research on Kultobe settlement (Turkistan, Turkistan region), presents the attempt to reconstruct the sacred and symbolic meaning of ceramics that are glazed with a yellow base. In the article, the authors study two main aspects: the relationship between the artistic language and the sign system (ornament and color), which can be called one of the visual reflections of a large number of languages in traditional culture. In particular, the article discusses folk ideas related to color, shape, and ornamentation of ceramic products and their relationship with ceremonial and ritual life. The materials in this work expand scientific knowledge of the genesis and specificity of traditional Kazakh crafts of South Kazakhstan, where pottery has been partially preserved to this day. The article was prepared within the project of the Ministry of Education and Science of the Republic of Kazakhstan AR09259862 “Research of traditional crafts of modern Kazakhstan: state and search for ways to preserve”.

Intermediality and problems of interpretation of the vocal cycle "The Short Straw" of Francis Poulenc

The purpose of the article is due to the need to study the peculiarities of the interpretation of the artistic texts of the vocal cycle of F. Poulenc on the poem by M. Karem "Straw" in the intermedial space. The methodology is based on an integrated approach using comparative, structural, interdisciplinary methods and narrative analysis to understand the psychological processes that arise when interpreting a vocal cycle, involves the inclusion of the problem of analysis in the space of art history and cultural discourse in an interdisciplinary context. Scientific novelty the scientific novelty lies in the fact that the vocal cycle of F. Poulenc was first investigated as a full-fledged semiotic space, a universal plane of the textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys "figurative" information. Conclusions Analysis of philosophical, musicological, art criticism literature gives grounds to assert that the intermediality of vocal work is closely related to the concepts: "synthesis of arts", "narrative", "ekphrasis", "synesthesia", "suggestion", etc. F. Poulenc to poems by M. Karem “A Short Straw” is a full-fledged semiotic space that corresponds to the universal textual category of intertextuality, which, along with the specific characteristics of its sign system, conveys “figurative” information. The intermediality of vocal work is based on the interaction of artistic codes of various types of arts, as the formation of an integral poly art space in the cultural system. The combination of narrative and intermedial approaches to musical works is increasingly becoming one of the most relevant trends in modern musicology, the further development of the theory and practice of intermediality.

The semantics of the traditional women's headscarf as a source of modern design innovations

The purpose of the article is to reveal the influence of the semantic-symbolic system of traditional women's clothing on the formation and development of trends in a modern design using the example of a scarf. Methodology. Comparative-historical and historical-typological methods have been applied in order to identify the tendency in the development of a headscarf as an element of a woman's costume; the hermeneutic method, which helped to understand and interpret signs and symbols as components of traditional culture; systemic method (for considering the system of symbols of a woman's headscarf as a cultural and artistic phenomenon); the method of art history analysis (according to M. Bakhtin and A. Losev); a method of a functional nature (for identifying the main functions of the elements of a semantically sign system and revealing their significance for expressing aesthetic, sacred and ethical motives), etc. Scientific novelty. The semantics of the headscarf as an element of the female national costume, the peculiarities of the coloristic and compositional solutions of the decorative design of the female headscarf are investigated, the main ornamental motifs and forms are analyzed in the context of their use in modern design; revealed and substantiated the influence of the semantic-symbolic system of the traditional women's headscarf on the development of modern clothing design; the semantisation of the elements of the system of symbols of the traditional women's headscarf has been carried out; the features of the integration of the elements of the ornament of the traditional national headscarf into the designer clothes of the 20th century are characterized; analyzed the problems of meaning and its expression by means of pictorial and colored symbols in a modern woman's headscarf. Conclusions. Preserving the ancient sacred symbolism of the canvas, characteristic of the mythological consciousness, as well as mastering the centuries-old experience of Christian understanding, the headscarf has remained an integral part of the traditional female costume for many centuries. In the design of the 21st-century women's scarf. semiotics of color is actively used, which acts as a symbolic guideline for associations that have developed in history, culture, and philosophy. Floral images are the aesthetic value of the subject environment and are realized in the process of artistic creativity of designers, enriching the aesthetics of human ecological space. At the present stage, the appeal of domestic clothing designers to the ethnic style makes it expedient to deepen the understanding of its semantical sign system. Revealing the peculiarities of the semiotics of the color of a traditional Ukrainian women's headscarf, research and analysis of its symbolism provide a modern designer with an almost unlimited dimension for creativity and contribute to the strengthening of national self-awareness.

Traditional Belarusian wooden calendar from Sluck County

Carved wooden calendars were known to many peoples from the Middle Ages to the beginning of the 20th century. For example, the Scandinavian ones are well enough studied, but about the existence of such calendars among Belarusians wasn’t known for a long time. The Russian Museum of Ethnography has a carved calendar from the Sluck County. Today it is the only such Belarusian artifact. The article presents a description of a carved wooden calendar from the Čudzin Village, Sluck County. A brief overview of other calendars of a similar type is shown. The prerequisites for the formation and distribution of such artifacts on the territory of Belarus were studied. The article discusses the sign system used to designate holidays and working periods, which correlate with the calendar tradition of the region. Based on the data obtained, the authors draw conclusion about the local origin of the calendar.