{"title":"Deely’s Extension of Peirce’s Thirdness: Pregenerativity","authors":"Donna E. West","doi":"10.5840/AJS201841835","DOIUrl":"https://doi.org/10.5840/AJS201841835","url":null,"abstract":"","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"34 1","pages":"39-64"},"PeriodicalIF":0.1,"publicationDate":"2018-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49429315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shelter on the Mountain of God: Ernst Cassirer and the Religious Institution of Empire","authors":"T. D. Craig","doi":"10.5840/AJS201821634","DOIUrl":"https://doi.org/10.5840/AJS201821634","url":null,"abstract":"","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"33 1","pages":"399-425"},"PeriodicalIF":0.1,"publicationDate":"2018-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cassirer’s Symbolic Forms in Application: New Symbolization of New Thought in the Language of Online Communication","authors":"Yun Xia","doi":"10.5840/AJS201812533","DOIUrl":"https://doi.org/10.5840/AJS201812533","url":null,"abstract":"","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"33 1","pages":"427-444"},"PeriodicalIF":0.1,"publicationDate":"2018-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41886235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epistemological and Symbolic Aspects of Sociological Thinking","authors":"Rolf-Dieter Hepp","doi":"10.5840/AJS20181932","DOIUrl":"https://doi.org/10.5840/AJS20181932","url":null,"abstract":"","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"33 1","pages":"333-356"},"PeriodicalIF":0.1,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47246423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the level of the sign to culture, the practice of semiotic analysis concerns the construction and description of models. Within commercial semiotics, a few of these models (notably Greimas’s semiotic square and Raymond Williams’s concept of residual, dominant, and emergent), have proven particularly useful due to their ability to summarise cultural phenomena in a form readily digested and applied by marketing professionals to their brands. Packaging design is a frequent subject of commercial semiotic enquiry and draws on a wide array of semiotic phenomena ranging from visuals, to textures, and the lived experience of interacting with the package. How can we approach a comprehensive understanding of the potential of packaging design to communicate meaning? In what ways can we say that a package can ‘mean’, and how as semioticians can we help analyze and create novel packaging solutions that further brand meaning? Roman Jakobson’s general model of linguistic communication proposes a diverse array of cross cultural communicative functions for language, but is not currently a key model in the commercial semiotician’s toolkit. This paper proposes that this linguistic model has the potential to be translated into the multisensory realm of general semiotics and applied to packaging design. It will particularly consider how Jakobson’s six communicative functions (emotive, referential, poetic, conative, metalingual, and phatic) are relevant to the numerous non-linguistic sign systems (colour, texture, shape, typography, imagery, material etc.) employed in packaging. In so doing, this paper proposes a system for understanding the meaning potential of packaging design as not only an aesthetic vehicle but also a strategic tool for the cross-cultural development and communication of brand identity.
{"title":"Packing in Meaning: Applying Jakobson’s Model of Communication to Packaging Design","authors":"M. Lemon","doi":"10.5840/AJS201931448","DOIUrl":"https://doi.org/10.5840/AJS201931448","url":null,"abstract":"From the level of the sign to culture, the practice of semiotic analysis concerns the construction and description of models. Within commercial semiotics, a few of these models (notably Greimas’s semiotic square and Raymond Williams’s concept of residual, dominant, and emergent), have proven particularly useful due to their ability to summarise cultural phenomena in a form readily digested and applied by marketing professionals to their brands. Packaging design is a frequent subject of commercial semiotic enquiry and draws on a wide array of semiotic phenomena ranging from visuals, to textures, and the lived experience of interacting with the package. How can we approach a comprehensive understanding of the potential of packaging design to communicate meaning? In what ways can we say that a package can ‘mean’, and how as semioticians can we help analyze and create novel packaging solutions that further brand meaning? Roman Jakobson’s general model of linguistic communication proposes a diverse array of cross cultural communicative functions for language, but is not currently a key model in the commercial semiotician’s toolkit. This paper proposes that this linguistic model has the potential to be translated into the multisensory realm of general semiotics and applied to packaging design. It will particularly consider how Jakobson’s six communicative functions (emotive, referential, poetic, conative, metalingual, and phatic) are relevant to the numerous non-linguistic sign systems (colour, texture, shape, typography, imagery, material etc.) employed in packaging. In so doing, this paper proposes a system for understanding the meaning potential of packaging design as not only an aesthetic vehicle but also a strategic tool for the cross-cultural development and communication of brand identity.","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"34 1","pages":"371-398"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5840/AJS201931448","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71165746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In an era of mobility and ubiquity, Instagram is a relevant communicative landscape for brands and products, allowing for the creation of a specific mood for campaigns and ads in general, merging photos, videos, themes, captions, hashtags and stories with a multilayered web of meanings. This paper outlines how the visual syntax of Instagram and its meaning-making processes goes beyond uniformity by affording the possibility to invest in creative formats, while contemplating visual tropes such as metaforms, visual metonymies and ironic images coming from the participatory culture. It will also present an understanding of the democratic dimensions of amateur photography and a discussion of two academic concepts related to Instagram: Instagrammatics and Instagrammism. Being that applied semiotics involves the study and analysis of visual and verbal languages that express cultural contents, the aim of this essay is to contribute to the understanding of polysemic manifestations, associating its signifiers with the rhetorical and aesthetic potential of visual tropes, ultimately demonstrating overlapping codes that could be relevant for brand management.
{"title":"The Semiotic Layers of Instagram: Visual Tropes and Brand Meaning","authors":"M. Cara","doi":"10.5840/AJS201931146","DOIUrl":"https://doi.org/10.5840/AJS201931146","url":null,"abstract":"In an era of mobility and ubiquity, Instagram is a relevant communicative landscape for brands and products, allowing for the creation of a specific mood for campaigns and ads in general, merging photos, videos, themes, captions, hashtags and stories with a multilayered web of meanings. This paper outlines how the visual syntax of Instagram and its meaning-making processes goes beyond uniformity by affording the possibility to invest in creative formats, while contemplating visual tropes such as metaforms, visual metonymies and ironic images coming from the participatory culture. It will also present an understanding of the democratic dimensions of amateur photography and a discussion of two academic concepts related to Instagram: Instagrammatics and Instagrammism. Being that applied semiotics involves the study and analysis of visual and verbal languages that express cultural contents, the aim of this essay is to contribute to the understanding of polysemic manifestations, associating its signifiers with the rhetorical and aesthetic potential of visual tropes, ultimately demonstrating overlapping codes that could be relevant for brand management.","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"34 1","pages":"331-352"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5840/AJS201931146","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71165597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Branding relies on coherence, which is in turn based on conceptual agreement. The various elements that make up a brand must work together, as must the brand respond satisfactorily to the expectations of its addressees. This article examines the case of Camper shoes, considering it a positive example of how a brand, when structured by metaphorical mappings within an adequate source domain, meets the expectations of its addressees and ensures the desired coherence in brand communication. Camper’s communication strategy is influenced by two conceptual metaphors—LIFE IS PLAY and THE WORLD IS A STAGE—mapped within one of the dominant metaphors in this market segment: CLOTHING IS SPORTS. Though many clothing brands are guided by the super-ordinate metaphor of sports, the sub-domains vary: tennis in the case of Lacoste, sailing for Gant, aerobics for Uniqlo, chess for G Star Raw and horse riding for Barbour. Camper is related to circus acrobats and performing clowns. Hence, the conceptual domain of CIRCUS is systematically mapped onto that of CAMPER, and the metaphorical entailment of the source domain CIRCUS constructs the target domain CAMPER. This study analyses the lexical, visual and spatial metaphorical entailments employed by Camper in order to demonstrate how these create a consistent chain that tightly binds its entire discourse and makes the brand discourse coherent.
品牌依赖于连贯性，而连贯性又基于概念上的一致。组成品牌的各种元素必须协同工作，品牌必须对其受众的期望做出令人满意的回应。本文研究了露营鞋的案例，认为这是一个积极的例子，当一个品牌在一个适当的源域内通过隐喻映射构建时，如何满足其受众的期望，并确保品牌传播的预期一致性。露营者的传播策略受到两个概念隐喻的影响-生活是游戏和世界是舞台-在这一细分市场中占主导地位的隐喻之一:服装是运动。虽然许多服装品牌都以运动的超级隐喻为指导，但子领域各不相同:Lacoste以网球为例，Gant以帆船为例，优衣库以健美操为例，G Star Raw以象棋为例，而Barbour则以骑马为例。露营与马戏团的杂技演员和小丑表演有关。因此，CIRCUS的概念域被系统地映射到CAMPER的概念域，源域CIRCUS的隐喻蕴涵构建了目标域CAMPER。本研究分析了Camper品牌所使用的词汇、视觉和空间隐喻，以证明这些隐喻是如何形成一条连贯的链条，将其整个话语紧密地联系在一起，使品牌话语连贯。
{"title":"Life’s a Circus: A Case Study of the Branding of Camper Shoes","authors":"S. Marques","doi":"10.5840/AJS201921344","DOIUrl":"https://doi.org/10.5840/AJS201921344","url":null,"abstract":"Branding relies on coherence, which is in turn based on conceptual agreement. The various elements that make up a brand must work together, as must the brand respond satisfactorily to the expectations of its addressees. This article examines the case of Camper shoes, considering it a positive example of how a brand, when structured by metaphorical mappings within an adequate source domain, meets the expectations of its addressees and ensures the desired coherence in brand communication. Camper’s communication strategy is influenced by two conceptual metaphors—LIFE IS PLAY and THE WORLD IS A STAGE—mapped within one of the dominant metaphors in this market segment: CLOTHING IS SPORTS. Though many clothing brands are guided by the super-ordinate metaphor of sports, the sub-domains vary: tennis in the case of Lacoste, sailing for Gant, aerobics for Uniqlo, chess for G Star Raw and horse riding for Barbour. Camper is related to circus acrobats and performing clowns. Hence, the conceptual domain of CIRCUS is systematically mapped onto that of CAMPER, and the metaphorical entailment of the source domain CIRCUS constructs the target domain CAMPER. This study analyses the lexical, visual and spatial metaphorical entailments employed by Camper in order to demonstrate how these create a consistent chain that tightly binds its entire discourse and makes the brand discourse coherent.","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"32 1","pages":"353-370"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5840/AJS201921344","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71165518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visualizing Semiotics and Semioticizing Vision: The Role of Semiotic Theory in Graphic Design Theory","authors":"Gary Shank","doi":"10.5840/AJS2018343/443","DOIUrl":"https://doi.org/10.5840/AJS2018343/443","url":null,"abstract":"","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"34 1","pages":"453-461"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71165962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In contemporary marketing practice, semiotics is often considered to be a useful set of tools employed only in certain moments of the brand-building process. One of the reasons for this is that models rooted in dyadic understanding of a sign serve to narrow the role of applied semioticians to that of the expert, supporting a linear transfer of meaning from culture to products and services. This article proposes a framework that regards a semiotician, rather, as a key figure—a figure that I refer to as “the brand facilitator”—in the process of creating a new brand. The approach I present is based on the semiotics of Charles Sanders Peirce and his idea of the sign as a cooperation between three subjects—the object, the representamen and the interpretant—with the object, namely the Dynamical Object, being the starting point for a non-linear, rhizomatic process of brand-becoming or the creation of a new brand. The article offers a detailed explanation of steps needed to complete each of the three main stages of the inquiry, including a material research phase, a cultural research phase and a phase of expressive anchoring. The theoretical framework is supported by a case study, thoroughly describing a process of creating a brand of vegetable pastes introduced in 2017 on the Polish market.
{"title":"Possibilities of Materiality: Application of a Peircean Model of the Sign for Building New Brands","authors":"Maciej Biedziński","doi":"10.5840/AJS201922245","DOIUrl":"https://doi.org/10.5840/AJS201922245","url":null,"abstract":"In contemporary marketing practice, semiotics is often considered to be a useful set of tools employed only in certain moments of the brand-building process. One of the reasons for this is that models rooted in dyadic understanding of a sign serve to narrow the role of applied semioticians to that of the expert, supporting a linear transfer of meaning from culture to products and services. This article proposes a framework that regards a semiotician, rather, as a key figure—a figure that I refer to as “the brand facilitator”—in the process of creating a new brand. The approach I present is based on the semiotics of Charles Sanders Peirce and his idea of the sign as a cooperation between three subjects—the object, the representamen and the interpretant—with the object, namely the Dynamical Object, being the starting point for a non-linear, rhizomatic process of brand-becoming or the creation of a new brand. The article offers a detailed explanation of steps needed to complete each of the three main stages of the inquiry, including a material research phase, a cultural research phase and a phase of expressive anchoring. The theoretical framework is supported by a case study, thoroughly describing a process of creating a brand of vegetable pastes introduced in 2017 on the Polish market.","PeriodicalId":42572,"journal":{"name":"AMERICAN JOURNAL OF SEMIOTICS","volume":"34 1","pages":"293-311"},"PeriodicalIF":0.1,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5840/AJS201922245","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71165532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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