The visual gamut and syntactic abstraction

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

Crowning, rotating, and emanating hierophanies with elevatio aspect in wayside shrines

My aim in this paper is to investigate the variants of directionality implied in visual hieratic texts as religious markers in the sacrosphere, which are substantially expressed in the form of a wayside shrine/cross. The methodological underpinnings for this project rely on the proposed semiotactics (cf. Haładewicz-Grzelak, Małgorzata. 2012. Dynamic modeling of visual texts: A relational model. Semiotica 190(1/4). 211–251): the investigative perspective modeled after phonotactics – a branch of phonology investigating the restrictions on and the possibilities of phoneme combinations in languages (cf. Dziubalska-Kołaczyk, Katarzyna & Daria Zielińska. 2011. Universal phonotactic and morphonotactic preferences in second language acquisition. In Katarzyna Dziubalska-Kołaczyk, Magdalena Wrembel & Małgorzata Kul (eds.), Achievements and perspectives in SLA of speech: New sounds 2010, 53–64. Frankfurt am Main: Peter Lang). The study draws on digital documentation of wayside shrines, crosses, and sacrality markers on houses collected by the author in various European countries (2009–2021), focusing in particular on the material collected in the area of present Slovakia, Ukraine, Austria, Slovenia, and the region of the Beskid Mountains in Poland. It shows how bodily hexis is inscribed into the phenomenology of a wayside shrine through particular types of hierophanic dynamics. The study also focuses on the aspect of headedness and markedness in the nano-structure of a sign, surfacing as directionality in the conceptualization of the religious sphere by particular communities.

La passion du café dans les publicités de Carte Noire : analyse sémiotique du goût et du désir

Résumé L’intérêt pour le café ne date pas d’aujourd’hui, mais les discours promotionnels sur ce breuvage mythique ne cessent de se multiplier depuis l’arrivée d’Internet. Pour mieux comprendre le domaine spécifique des récits gustatifs (verbaux, gestuels ou visuels) qui se construisent autour de la passion pour le café, nous avons privilégié une démarche innovante en sciences du langage, la sémiotique du goût. Le site internet de la marque Carte Noire, en misant sur l’expérience gustative euphorisante et la tautologie du désir, offre un corpus approprié pour cette nouvelle approche (slogans, images, films publicitaires, textes). L’objectif de notre article est double : il consiste, d’une part, à appréhender le processus de construction des significations du récit passionnel en acte, et, d’autre part, à conceptualiser le sensible, l’imaginaire gustatif et l’hédonisme sur lesquels se basent les stratégies discursives publicitaires adjacentes.

Significations et éléments centraux versus périphériques des représentations visuelles

Résumé Cette recherche porte sur le rôle joué par les différents éléments d’une image dans l’interprétation de cette image et dans les émotions qu’elle induit. A partir de l’approche structurale de la théorie des représentations sociales on suppose que certains des éléments d’une image seraient centraux tandis que d’autres seraient périphériques. Pour explorer cette piste on a retouché trois photographies originales afin de supprimer certains des éléments qu’elles montraient. Les photographies originales et les photographies retouchées ont été présentées à trois groupes de participants (n1 = 94, n2 = 97, n3 = 100) qui devaient, pour chaque photographie, produire trois associations verbales puis évaluer le niveau d’activation des émotions ressenties. Les résultats montrent que certains des éléments d’une image en déterminent à la fois le sens et les émotions qu’elle induit, d’autres n’en déterminent que les émotions, d’autres enfin ne déterminent ni la signification, ni les émotions induites. Ces résultats suggèrent que dans le cadre de la théorie des représentations sociales, l’analyse des images en termes d’éléments centraux et périphériques pourrait être très utile pour mieux comprendre comment fonctionnent ces images en tant que systèmes sémiotiques.

Text-image complementarity and genre in English as foreign language textbooks

Relating visual images to textual messages may have great potential in facilitating students’ reading comprehension. The inevitable and important presence of visuals in textbooks obliges language teachers to exploit all semiotic resources to deepen students’ understanding. However, analysis of how images interact with text in textbooks has been rare, and among the efforts it has generally been found that visuals and text often fail to achieve coherence. This study investigates whether and how text and image complement each other ideationally (i.e., the “what”) by six sense relations (e.g., synonymy and hyponymy) and interpersonally (i.e., reader engagement) by the Mood system in ninth-grade English as a Foreign Language (EFL) textbooks to reach intersemiotic complementarity (IC). The results revealed that ideational rather than interpersonal IC is more frequent, where many more Participants (i.e., the nominal groups) than Processes (i.e., the verbal groups) in the texts find their visual complements. Ideational IC is particularly high in Information Reports while Recounts generally mark higher percentages of interpersonal IC. To accomplish ideational IC, repetition is most frequent, followed by hyponymy (i.e., general-specific relation) and collocation (i.e., relations that naturally co-occur). Distinct IC patterns also characterize the different editions of textbooks investigated, which may suggest their different potentials in catering to students of varying proficiencies.

The role of semiotics in the unification of langue and parole: an Agentive Cognitive Construction Grammar approach to English modals

This article introduces Agentive Cognitive Construction Grammar, an emerging field that seeks to connect the linguistic system with speaker-meaning. The stated purpose is thus to tackle a pervasive disconnect in both cognitive linguistics and construction grammar, whereby the linguistic system (langue) and speaker selections (parole) are separated in the belief that language is essentially a mental process associated with the brain, and hence, separated from bodily experience. I contend this view by introducing a triadic model of construction (based on the Peircean sign) in which form and function are inextricably bound up with agency. This is possible because language is tethered to senses of movement and balance that connect experiences with the physical world with the mental. A major insight of the paper is that argument structure constructions partake of both linguistic and non-linguistic signs, which provides speakers with a means to verbalize their thoughts and distribute agency in specific events.

A semiotic analysis of multiple systems of logic: using tagmemic theory to assess the usefulness and limitations of formal logics, and to produce a mathematical lattice model including multiple systems of logic

Tagmemic theory as a semiotic theory can be used to analyze multiple systems of logic and to assess their strengths and weaknesses. This analysis constitutes an application of semiotics and also a contribution to understanding of the nature of logic within the context of human meaning. Each system of logic is best adapted to represent one portion of human rationality. Acknowledging this correlation between systems and their targets helps explain the usefulness of more than one system. Among these systems, the two-valued system of classical logic takes its place. All the systems of logic can be incorporated into a complex mathematical model that has a place for each system and that represents a larger whole in human reasoning. The model can represent why tight formal systems of logic can be applied in some contexts with great success, but in other contexts are not directly applicable. The result suggests that human reasoning is innately richer than any one formal system of logic.

A. J. Greimas in the world: travels, translations, transmissions

This essay adopts a semiotic perspective focused on practices of communication, movement, and translation to examine the global impact of A. J. Greimas (1917–1992) and his oeuvre. The linguist and semiotician’s lecture trips abroad, the number and provenance of international students in his Paris seminar, and the chronology and linguistic geography of translations of his work help describe, gauge, and explain the dissemination and development of his ideas throughout the world. His project has engendered distinctive appropriations and at times productive institutional structures in a number of cultural and linguistic contexts, notably Romance, Anglo-American, Germanic, Russian, Lithuanian, and Chinese. The broader historical relations between France and other lands, and the extent of each society’s use of the French language have conditioned, fostered, or impeded responses to his proposals. The conclusion’s discussion of the relative importance of personal contacts, socio-historical context, and the sociolinguistic and pedagogical status of French for his international reception aims to contribute to general methodological debates in the history of science and ideas and in transnational history.

Analyse sémiotique de l’index de livre: Étude de la construction complexe et unique d’un paratexte

Résumé Le présent article décortique, avec une approche sémiotique, l’index que l’on retrouve à la fin d’un livre (back-of-the-book index en anglais). L’objectif est double: faire ressortir les processus de signification en jeu dans l’index et reconnaître la création sémiotique réalisée par l’analyste documentaire. L’index est un assemblage de signes, soit les vedettes, les localisateurs ainsi que diverses caractéristiques de la représentation spatiale; leur signifiant (mots, nombres) renvoie à leur signifié respectif (concept, localisation). L’index dans sa totalité représente un texte sémiotique, d’un genre spécifique, et dont l’interprétation repose non seulement sur les expressions linguistiques elles-mêmes, mais aussi sur la structure des entrées et sur les liens tissés avec les passages de l’ouvrage indexé. L’index peut paraître une structure objective, proposant une version épurée et stable du contenu d’un document. Or, l’analyse sémiotique proposée ici révélera d’une part la structure malléable de l’index et d’autre part l’interprétation flexible et la subjectivité injectées dans sa construction. Après une description plus approfondie du contexte et de la problématique, nous décrivons d’abord l’aspect formel de l’index, soit les signes impliqués et la manière dont ils sont agencés. Nous abordons ensuite l’aspect interprétatif de l’index, notamment les facteurs qui influencent son interprétation. Ceci nous amène à décrire en détail la structure logique de l’index. Cet exercice un peu scolaire d’un outil qui peut sembler familier permettra de mettre en lumière des jeux de signification normalement passés sous silence.

Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining

Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.