Pub Date : 2022-08-25DOI: 10.1080/10350330.2022.2113971
A. Abdel-Raheem
{"title":"Taboo metaphtonymy, gender, and impoliteness: how male and female Arab cartoonists think and draw","authors":"A. Abdel-Raheem","doi":"10.1080/10350330.2022.2113971","DOIUrl":"https://doi.org/10.1080/10350330.2022.2113971","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44984418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.1080/10350330.2022.2113972
Yani Xu, Xiang Yang, Ni Li, Lin Dou
{"title":"The multimodal performance of conversational humor","authors":"Yani Xu, Xiang Yang, Ni Li, Lin Dou","doi":"10.1080/10350330.2022.2113972","DOIUrl":"https://doi.org/10.1080/10350330.2022.2113972","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44168839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.1080/10350330.2022.2113970
Huiqiao Yang
{"title":"Visible signs: an introduction to semiotics in the visual arts (3rd edition)","authors":"Huiqiao Yang","doi":"10.1080/10350330.2022.2113970","DOIUrl":"https://doi.org/10.1080/10350330.2022.2113970","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47501820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-20DOI: 10.1080/10350330.2022.2113969
Xiangtao Du
{"title":"Advances in discourse analysis of translation and interpreting: linking linguistic approaches with socio-cultural interpretation","authors":"Xiangtao Du","doi":"10.1080/10350330.2022.2113969","DOIUrl":"https://doi.org/10.1080/10350330.2022.2113969","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43163910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-18DOI: 10.1080/10350330.2022.2113974
Siyu Chen
{"title":"Key themes and new directions in systemic functional translation studies","authors":"Siyu Chen","doi":"10.1080/10350330.2022.2113974","DOIUrl":"https://doi.org/10.1080/10350330.2022.2113974","url":null,"abstract":"","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45001538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114724
Kellie Gonçalves, Tommaso M. Milani
ABSTRACT The last decades have seen the ideological transformations of graffiti and street art once constructed as criminal acts and associated with urban decay to being acceptable and profitable forms of commercial art. The spaces and places where these art forms are found have long transcended streets to art galleries and corporate advertising billboards and campaigns making them “the most visible forms of global urban culture and urban transgression” (Ferrell 2016, xxx; Bofkin 2014). This special issue on street art/art in the street explores street art's proliferation and complexity in different contexts as it relates to the political economy and neoliberal capitalism raising questions of social class, urban growth, cultural production, and consumerism. The themes investigated include notions of legality and illegality, regimes of visibility and invisibility, semiotic situated acts and art, ephemerality, permanence and mediatization, the political economy of place as well as the changing symbolic and economic value of street art tapping into issues of subcultural status and social class identities. This collection of papers draws on a range of theoretical frameworks and methodological approaches providing readers with interdisciplinary insights into the complex and changing nature of street art to account (and better understand) this social semiotic phenomena.
{"title":"Street art/art in the street – semiotics, politics, economy","authors":"Kellie Gonçalves, Tommaso M. Milani","doi":"10.1080/10350330.2022.2114724","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114724","url":null,"abstract":"ABSTRACT The last decades have seen the ideological transformations of graffiti and street art once constructed as criminal acts and associated with urban decay to being acceptable and profitable forms of commercial art. The spaces and places where these art forms are found have long transcended streets to art galleries and corporate advertising billboards and campaigns making them “the most visible forms of global urban culture and urban transgression” (Ferrell 2016, xxx; Bofkin 2014). This special issue on street art/art in the street explores street art's proliferation and complexity in different contexts as it relates to the political economy and neoliberal capitalism raising questions of social class, urban growth, cultural production, and consumerism. The themes investigated include notions of legality and illegality, regimes of visibility and invisibility, semiotic situated acts and art, ephemerality, permanence and mediatization, the political economy of place as well as the changing symbolic and economic value of street art tapping into issues of subcultural status and social class identities. This collection of papers draws on a range of theoretical frameworks and methodological approaches providing readers with interdisciplinary insights into the complex and changing nature of street art to account (and better understand) this social semiotic phenomena.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46475662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114727
Johan Järlehed
ABSTRACT This paper discusses the dialectics of urban place and its public image, approached via an examination of the public process of proposing, debating, and selecting new monuments for the city of Gothenburg, Sweden. The analysis shows that while the proposed monument to the local foodstuff halv special (a type of hot dog) is generally received in a positive way, the proposal of a monument to falafel is met with criticism. The results suggest that the two artworks represent different classed, gendered, and racialized imaginations of the city and its residents: while the hotdog reproduces a long-standing and dominant Social Democrat understanding of Gothenburg as the home of the white male worker, the falafel suggests an updated and more inclusive idea of the city as multilingual and multicultural.
{"title":"The white worker’s hotdog and the not-so-white worker’s falafel: food-based public art and urban redevelopment in a changing society","authors":"Johan Järlehed","doi":"10.1080/10350330.2022.2114727","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114727","url":null,"abstract":"ABSTRACT This paper discusses the dialectics of urban place and its public image, approached via an examination of the public process of proposing, debating, and selecting new monuments for the city of Gothenburg, Sweden. The analysis shows that while the proposed monument to the local foodstuff halv special (a type of hot dog) is generally received in a positive way, the proposal of a monument to falafel is met with criticism. The results suggest that the two artworks represent different classed, gendered, and racialized imaginations of the city and its residents: while the hotdog reproduces a long-standing and dominant Social Democrat understanding of Gothenburg as the home of the white male worker, the falafel suggests an updated and more inclusive idea of the city as multilingual and multicultural.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44908155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114731
A. Pennycook
ABSTRACT This discussion paper explores street art from the point of view of assemblages: What different elements and artefacts converge to give meaning and politics to art works? How do we understand the interactions of artworks, streets, viewers, politics, and discourse that render a work of art a happening rather than an object? Processes of artification depend on material, contextual and symbolic relations that bring together style, place, artists, viewers, city tours and city ordinances into a semiotic assemblage of art in the street. To arrive at a critical understanding of street art, we need to avoid assumptions about transgression, complicity, gentrification, or commodification, and focus instead on assemblages of art, viewers, and economic, political, and urban interests in specific locations. The question is how different elements – ownership and rights to space, capitalist expansion and appropriation, rebellion, and transgression – become entangled in semiotic assemblages that enable us to see the interactions of street art dynamics.
{"title":"Street art assemblages","authors":"A. Pennycook","doi":"10.1080/10350330.2022.2114731","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114731","url":null,"abstract":"ABSTRACT This discussion paper explores street art from the point of view of assemblages: What different elements and artefacts converge to give meaning and politics to art works? How do we understand the interactions of artworks, streets, viewers, politics, and discourse that render a work of art a happening rather than an object? Processes of artification depend on material, contextual and symbolic relations that bring together style, place, artists, viewers, city tours and city ordinances into a semiotic assemblage of art in the street. To arrive at a critical understanding of street art, we need to avoid assumptions about transgression, complicity, gentrification, or commodification, and focus instead on assemblages of art, viewers, and economic, political, and urban interests in specific locations. The question is how different elements – ownership and rights to space, capitalist expansion and appropriation, rebellion, and transgression – become entangled in semiotic assemblages that enable us to see the interactions of street art dynamics.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48598404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-08DOI: 10.1080/10350330.2022.2114726
Ronald C. Kramer
ABSTRACT This article offers an analysis of semiotic regimes that accompanied the redevelopment of 5Pointz and the ensuing civil lawsuits. Located in Queens, New York, 5Pointz was a building owned by GM Realty, who allowed Jonathan Cohen to curate graffiti works on its exterior and interior walls from 2002 through to 2013. I identify the ideological significance of three semiotic regimes generated by the 5Pointz saga. First, I treat “landed capital” (property development, growth machines) and “cultural commodification” (the art world) as observing systems that were central to constructing the meaning of the 5Pointz closure and litigation. These observational vantage points relied on a dichotomous logic involving desirable and undesirable subjectivity, but located key actors in distinct ways. Second, the legal outcome was often construed as a “major victory for artists.” However, portraying the damages awarded as an unequivocal victory normalizes hegemonic constructions of value wherein the activities of capitalism’s major players are accorded more worth than any other human activity. Finally, I focus on portraying the conflict between graffiti writers and landed capital as a “David and Goliath” battle. Signifying the conflict in such a manner (mis)construes the sovereign state as an impartial actor that adjudicates between competing rights claims.
{"title":"The battle for 5Pointz and signifying regimes: desirable subjects, hierarchies of value, and legitimizing state power","authors":"Ronald C. Kramer","doi":"10.1080/10350330.2022.2114726","DOIUrl":"https://doi.org/10.1080/10350330.2022.2114726","url":null,"abstract":"ABSTRACT This article offers an analysis of semiotic regimes that accompanied the redevelopment of 5Pointz and the ensuing civil lawsuits. Located in Queens, New York, 5Pointz was a building owned by GM Realty, who allowed Jonathan Cohen to curate graffiti works on its exterior and interior walls from 2002 through to 2013. I identify the ideological significance of three semiotic regimes generated by the 5Pointz saga. First, I treat “landed capital” (property development, growth machines) and “cultural commodification” (the art world) as observing systems that were central to constructing the meaning of the 5Pointz closure and litigation. These observational vantage points relied on a dichotomous logic involving desirable and undesirable subjectivity, but located key actors in distinct ways. Second, the legal outcome was often construed as a “major victory for artists.” However, portraying the damages awarded as an unequivocal victory normalizes hegemonic constructions of value wherein the activities of capitalism’s major players are accorded more worth than any other human activity. Finally, I focus on portraying the conflict between graffiti writers and landed capital as a “David and Goliath” battle. Signifying the conflict in such a manner (mis)construes the sovereign state as an impartial actor that adjudicates between competing rights claims.","PeriodicalId":21775,"journal":{"name":"Social Semiotics","volume":null,"pages":null},"PeriodicalIF":2.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45445848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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