Abstract Among the many Central European scholars and intellectuals driven into exile across the Atlantic in the 1930s was the prominent Vienna psychologist Karl Bühler (1879–1963). Bühler had great difficulty establishing himself in his new home of the United States, despite his attempts to adapt his ideas to the American scene. In this paper, we look at one such attempt at adaptation, the unpublished manuscript of Bühler’s “Pocketbook on Practical Semantics,” an effort to turn the Sprachtheorie of his Vienna period into a contribution to the applied semiotics and communications research popular in America at the time. Our paper represents the first detailed examination of the “Pocketbook” manuscript that places it in its context in the history of semiotics.
{"title":"From Sprachtheorie to semantics and cybernetics: Karl Bühler’s “Pocketbook on practical semantics”","authors":"James McElvenny, Clemens Knobloch","doi":"10.1515/sem-2022-0046","DOIUrl":"https://doi.org/10.1515/sem-2022-0046","url":null,"abstract":"Abstract Among the many Central European scholars and intellectuals driven into exile across the Atlantic in the 1930s was the prominent Vienna psychologist Karl Bühler (1879–1963). Bühler had great difficulty establishing himself in his new home of the United States, despite his attempts to adapt his ideas to the American scene. In this paper, we look at one such attempt at adaptation, the unpublished manuscript of Bühler’s “Pocketbook on Practical Semantics,” an effort to turn the Sprachtheorie of his Vienna period into a contribution to the applied semiotics and communications research popular in America at the time. Our paper represents the first detailed examination of the “Pocketbook” manuscript that places it in its context in the history of semiotics.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"45 1","pages":"39 - 54"},"PeriodicalIF":0.8,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89037604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper introduces a manual movement performed recurrently by German children in the age range of four to six. Based on the movement gestalt and its meaning, we termed it the Slapping movement. All forms identified in the data were performed with a communicative function, yet they showed different degrees of “gesturality.” To be more precise, we observed versions that clearly count as actions or gestures, but we also observed transitional forms between them. Based on a thorough analyses of form, meaning, and context we determined variations of the Slapping gesture that showed different degrees of abstraction from action to gesture in a semiotic sense. These degrees are distinguished by modifications in the execution of the movement and different levels of form stability, environmental coupling, and representational complexity.
{"title":"From action to performative gesture: the Slapping movement used by children at the age of four to six","authors":"S. Ladewig, L. Hotze","doi":"10.1515/sem-2022-0033","DOIUrl":"https://doi.org/10.1515/sem-2022-0033","url":null,"abstract":"Abstract This paper introduces a manual movement performed recurrently by German children in the age range of four to six. Based on the movement gestalt and its meaning, we termed it the Slapping movement. All forms identified in the data were performed with a communicative function, yet they showed different degrees of “gesturality.” To be more precise, we observed versions that clearly count as actions or gestures, but we also observed transitional forms between them. Based on a thorough analyses of form, meaning, and context we determined variations of the Slapping gesture that showed different degrees of abstraction from action to gesture in a semiotic sense. These degrees are distinguished by modifications in the execution of the movement and different levels of form stability, environmental coupling, and representational complexity.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"59 1","pages":"91 - 116"},"PeriodicalIF":0.8,"publicationDate":"2023-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80544304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article is about the signs during the creative stage of one’s self-development. With the acceptance of the creative act as an existential phenomenon, the research considers the creative process as a genuine expression that has been actualized during one’s search for his/her existence. An artist reflects his/her existential being through his/her work to construct an original self, by facing the world and within the struggle to construct the new self that stands beyond confusion. Tarasti’s philosophical approach to “existential semiotics” will be applied to the existential being of the artist Alev Ebuzziya Siesbye, and her creative act will be analyzed by means of the modalities, the semiotic square of being/doing, and the sign processes evident in the field of art. Siesbye’s existential personality and creative acts have been discussed by looking at what she has done in terms of her attitude on clay; her position in the contemporary art world and her artistic interrogations has been discussed in the existential being of the artist with the existential signs.
{"title":"The existential signs through the works of Alev Ebuzziya Siesbye","authors":"Ayse Ece Onur, Erdal Aygenc","doi":"10.1515/sem-2022-0036","DOIUrl":"https://doi.org/10.1515/sem-2022-0036","url":null,"abstract":"Abstract This article is about the signs during the creative stage of one’s self-development. With the acceptance of the creative act as an existential phenomenon, the research considers the creative process as a genuine expression that has been actualized during one’s search for his/her existence. An artist reflects his/her existential being through his/her work to construct an original self, by facing the world and within the struggle to construct the new self that stands beyond confusion. Tarasti’s philosophical approach to “existential semiotics” will be applied to the existential being of the artist Alev Ebuzziya Siesbye, and her creative act will be analyzed by means of the modalities, the semiotic square of being/doing, and the sign processes evident in the field of art. Siesbye’s existential personality and creative acts have been discussed by looking at what she has done in terms of her attitude on clay; her position in the contemporary art world and her artistic interrogations has been discussed in the existential being of the artist with the existential signs.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"9 1","pages":"235 - 250"},"PeriodicalIF":0.8,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74971680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The ontological implications of the Peircean Categories, as set forth most clearly in Peirce’s summative architectonic statement, “New Elements,” and referenced elsewhere in Peirce’s body of writings, are examined with reference to the existent or physical universe. The Peircean universal ontological Categories Firstness, Secondness, and Thirdness are shown to give rise to a cosmos that is triadic and representational in essence. This immanently representational cosmos, denominated the “Book Universe,” is shown to be evidenced by the representational contours of both the mathematical and of the conceptual framing of the three broad domains of theoretical physics, the quantum, classical, and relativistic domains. This triadic “Book Universe” model is both characterized and also contrasted with the “Block Universe” model, and is seen to incorporate both time and space as emergent representational characteristics, and to be manifest, qua triadic Representamen, in terms of a “foliated eternalism” that requires both antecedent and parallel cosmoi.
{"title":"The primordiality of representation","authors":"S. Bonta","doi":"10.1515/sem-2021-0144","DOIUrl":"https://doi.org/10.1515/sem-2021-0144","url":null,"abstract":"Abstract The ontological implications of the Peircean Categories, as set forth most clearly in Peirce’s summative architectonic statement, “New Elements,” and referenced elsewhere in Peirce’s body of writings, are examined with reference to the existent or physical universe. The Peircean universal ontological Categories Firstness, Secondness, and Thirdness are shown to give rise to a cosmos that is triadic and representational in essence. This immanently representational cosmos, denominated the “Book Universe,” is shown to be evidenced by the representational contours of both the mathematical and of the conceptual framing of the three broad domains of theoretical physics, the quantum, classical, and relativistic domains. This triadic “Book Universe” model is both characterized and also contrasted with the “Block Universe” model, and is seen to incorporate both time and space as emergent representational characteristics, and to be manifest, qua triadic Representamen, in terms of a “foliated eternalism” that requires both antecedent and parallel cosmoi.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"34 1","pages":"191 - 233"},"PeriodicalIF":0.8,"publicationDate":"2023-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88466633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this essay I will suggest that part of what makes the young Jamaican poet Ishion Hutchinson so remarkable is the fact that much of his work – in this age of “anything goes” post-postmodernism – is clearly modernist poetry, in both structure and effect. This structure will be that explained in my expanded version of Michael Riffaterre’s semiotic theory of poetry, which deals with modernist work. I will suggest that one of the distinctive features of the latter is that a modern poetic text is distinguished by two underlying “matricial” propositions, each of which generates a set of variant images having the same underlying semantic structure. This paradigmatic method of signifying is unique to poetry. Each matrix is reassembled by the reader from a comparison of the images of each set. The matrices are linked syntagmatically in a variety of relations such as negation or difference of scale. This bimatricial relation (subject-sign) has an intertextual counterpart (object-sign) of similar structure but different lexicon. The interpretant of these two complex signs has a sociolectic counterpart of similar lexicon but different structure. The semantic contrast thus established produces innovation, which is the other distinctive feature of modern poetry. It turns out that much of Hutchinson’s innovative work is structured in this way.
{"title":"“Little music” or “rough music”?: Ishion Hutchinson, modernist poet","authors":"Johnny Hopkins","doi":"10.1515/sem-2022-0042","DOIUrl":"https://doi.org/10.1515/sem-2022-0042","url":null,"abstract":"Abstract In this essay I will suggest that part of what makes the young Jamaican poet Ishion Hutchinson so remarkable is the fact that much of his work – in this age of “anything goes” post-postmodernism – is clearly modernist poetry, in both structure and effect. This structure will be that explained in my expanded version of Michael Riffaterre’s semiotic theory of poetry, which deals with modernist work. I will suggest that one of the distinctive features of the latter is that a modern poetic text is distinguished by two underlying “matricial” propositions, each of which generates a set of variant images having the same underlying semantic structure. This paradigmatic method of signifying is unique to poetry. Each matrix is reassembled by the reader from a comparison of the images of each set. The matrices are linked syntagmatically in a variety of relations such as negation or difference of scale. This bimatricial relation (subject-sign) has an intertextual counterpart (object-sign) of similar structure but different lexicon. The interpretant of these two complex signs has a sociolectic counterpart of similar lexicon but different structure. The semantic contrast thus established produces innovation, which is the other distinctive feature of modern poetry. It turns out that much of Hutchinson’s innovative work is structured in this way.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"30 1","pages":"27 - 41"},"PeriodicalIF":0.8,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90785382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study examines the Korean translations of a Japanese work Joshi no rongo [女子の論語/Women’s Analects] (Yuki, Ako [祐木亜子]. 2011. 女子の論語. Tokyo: Sunmark Publishing House), a modern interpretation of the Chinese classic The Analects, with a view to identifying how the paratexts of a translated text contributed, or hindered the reception of the work in the target culture. By drawing on Gérard Genette’s (1997 [1987]. Paratexts: Threshold of interpretation, Jane E. Lewin (trans.). Cambridge: Cambridge University Press) concept of “paratexts,” this study both analyses translation shifts in the peritexts (e.g., cover, foreword, table of contents) and the epitexts (reviews) of the Korean translations. The analysis shows that the additions and rearrangements of some paratextual elements in the Korean translation further reinforced the traditional view presented in the source text, which ironically brought about heavy criticisms of the original Japanese text and resulted in the Korean retranslation of the work. The scrutiny of peritexts and epitexts in this article will enhance our understanding of the interactions between the translator, the publisher, and the public readers, which jointly contextualize the production and reception of a translated work in a given culture.
{"title":"Paratexts and the reframing of a classic: Korean translations of the Japanese Women’s Analects","authors":"Kyung Hye Kim, Yifan Zhu","doi":"10.1515/sem-2021-0036","DOIUrl":"https://doi.org/10.1515/sem-2021-0036","url":null,"abstract":"Abstract This study examines the Korean translations of a Japanese work Joshi no rongo [女子の論語/Women’s Analects] (Yuki, Ako [祐木亜子]. 2011. 女子の論語. Tokyo: Sunmark Publishing House), a modern interpretation of the Chinese classic The Analects, with a view to identifying how the paratexts of a translated text contributed, or hindered the reception of the work in the target culture. By drawing on Gérard Genette’s (1997 [1987]. Paratexts: Threshold of interpretation, Jane E. Lewin (trans.). Cambridge: Cambridge University Press) concept of “paratexts,” this study both analyses translation shifts in the peritexts (e.g., cover, foreword, table of contents) and the epitexts (reviews) of the Korean translations. The analysis shows that the additions and rearrangements of some paratextual elements in the Korean translation further reinforced the traditional view presented in the source text, which ironically brought about heavy criticisms of the original Japanese text and resulted in the Korean retranslation of the work. The scrutiny of peritexts and epitexts in this article will enhance our understanding of the interactions between the translator, the publisher, and the public readers, which jointly contextualize the production and reception of a translated work in a given culture.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"32 1","pages":"251 - 269"},"PeriodicalIF":0.8,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80447641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the context of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions.
{"title":"A pragmatic view of the poetic function of language","authors":"A. Capone","doi":"10.1515/sem-2020-0012","DOIUrl":"https://doi.org/10.1515/sem-2020-0012","url":null,"abstract":"Abstract In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the context of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"85 3 1","pages":"1 - 25"},"PeriodicalIF":0.8,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83843791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Philodemus’ De signis is one of the classical texts of greatest semiotic interest. It reports the debate which arose between the Epicureans and an opposing school, usually identified as the Stoics, concerning semiotic inference. The Epicureans proposed to construct semiotic inferences based on generalizations resting on similarity, ultimately configuring their method as a form of induction. Their opponents attacked the Epicurean proposal in a twofold way: on the one hand, they argued that the Epicureans’ method intrinsically lacked cogency, invalidating their inferences from a logical point of view. On the other, they criticized the notion of similarity, arguing that it is generally a vague notion, and in some cases impossible to implement, as when one is faced with unique cases. The debate is very complex and is divided into replies and rejoinders. The ultimate impression one gets is that the Epicureans were able, for the first time in antiquity, to propose a real method to construct semiotic inferences, even though the latter were subject to fallibility, while their opponents did not propose a method, but a test, “elimination,” able only to check the logical soundness of semiotic inferences. In doing so, they placed themselves in a tradition extending back to the theory of signs formulated – albeit in a significantly different way – by Aristotle.
{"title":"An important chapter in the history of semiotics: inference from signs in Philodemus’ De signis","authors":"Giovanni Manetti","doi":"10.1515/sem-2022-0077","DOIUrl":"https://doi.org/10.1515/sem-2022-0077","url":null,"abstract":"Abstract Philodemus’ De signis is one of the classical texts of greatest semiotic interest. It reports the debate which arose between the Epicureans and an opposing school, usually identified as the Stoics, concerning semiotic inference. The Epicureans proposed to construct semiotic inferences based on generalizations resting on similarity, ultimately configuring their method as a form of induction. Their opponents attacked the Epicurean proposal in a twofold way: on the one hand, they argued that the Epicureans’ method intrinsically lacked cogency, invalidating their inferences from a logical point of view. On the other, they criticized the notion of similarity, arguing that it is generally a vague notion, and in some cases impossible to implement, as when one is faced with unique cases. The debate is very complex and is divided into replies and rejoinders. The ultimate impression one gets is that the Epicureans were able, for the first time in antiquity, to propose a real method to construct semiotic inferences, even though the latter were subject to fallibility, while their opponents did not propose a method, but a test, “elimination,” able only to check the logical soundness of semiotic inferences. In doing so, they placed themselves in a tradition extending back to the theory of signs formulated – albeit in a significantly different way – by Aristotle.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"38 1","pages":"117 - 148"},"PeriodicalIF":0.8,"publicationDate":"2023-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75088413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, attitudes, and dispositions of affiliation and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around.
{"title":"How binding and bonding communicate interpersonal meanings in a children’s museum to address Jordan’s energy and water challenges","authors":"Ahmad El-Sharif","doi":"10.1515/sem-2022-0019","DOIUrl":"https://doi.org/10.1515/sem-2022-0019","url":null,"abstract":"Abstract Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, attitudes, and dispositions of affiliation and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around.","PeriodicalId":47288,"journal":{"name":"Semiotica","volume":"683 1","pages":"43 - 66"},"PeriodicalIF":0.8,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77037670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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