Abstract The postdigital condition is discussed from the perspective of Paul Cobley’s biosemiotic approach to culture. While semiotics is often concerned with cultural criticism, there has been no explicit biosemiotic approach to culture, until only recently with Cobley unfurling such a research program. The key to this is the biosemiotic notion of modeling, which accounts for co-evolutionary processes encompassing biology and culture. This approach responds to recent calls in the humanities and social sciences to understand culture as constituted through technology, but also as something not strictly human (more-than-human). By undermining both vitalism and reductionism, biosemiotics avoids biologism and culturalism, which is of much importance for theorizing culture and learning in light of evolution. This has consequences for construing cultural pluralism. Mainstream notions of multiculturalism rely on cultural holism and, hence, advocate the separation of communities and languages for the pretense of maintaining diversity. Cobley’s theory avoids this pitfall, offering a view of cultures as intrinsically heterogeneous and open systems. This suggests further implications for how we understand the aims of literacy and state-run education. We present an account of biocultural learning that accommodates contemporary posthumanist and postdigital orientations. Construing learning as ecologically contextual is necessary for addressing ongoing technological transformations.
{"title":"Biosemiotics for postdigital living: the implications of the implications","authors":"A. Olteanu, Cary Campbell","doi":"10.1515/css-2022-2096","DOIUrl":"https://doi.org/10.1515/css-2022-2096","url":null,"abstract":"Abstract The postdigital condition is discussed from the perspective of Paul Cobley’s biosemiotic approach to culture. While semiotics is often concerned with cultural criticism, there has been no explicit biosemiotic approach to culture, until only recently with Cobley unfurling such a research program. The key to this is the biosemiotic notion of modeling, which accounts for co-evolutionary processes encompassing biology and culture. This approach responds to recent calls in the humanities and social sciences to understand culture as constituted through technology, but also as something not strictly human (more-than-human). By undermining both vitalism and reductionism, biosemiotics avoids biologism and culturalism, which is of much importance for theorizing culture and learning in light of evolution. This has consequences for construing cultural pluralism. Mainstream notions of multiculturalism rely on cultural holism and, hence, advocate the separation of communities and languages for the pretense of maintaining diversity. Cobley’s theory avoids this pitfall, offering a view of cultures as intrinsically heterogeneous and open systems. This suggests further implications for how we understand the aims of literacy and state-run education. We present an account of biocultural learning that accommodates contemporary posthumanist and postdigital orientations. Construing learning as ecologically contextual is necessary for addressing ongoing technological transformations.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41769678","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}
Abstract An interesting article by Hongbing Yu (Yu, Hongbing. 2019. Meaning generation. Chinese Semiotic Studies 15(3). 429–447) “Meaning generation” led me to reconsider an unpublished paper from 15 years ago on Roman Jakobson’s much-criticized basic communication model, and the functions of language published in the Closing Statement of Style in language (Jakobson, Roman. 1960. Linguistics and poetics. In Thomas Sebeok (ed.), Style in language, 350–377. New York: MIT Press). In this article it is about using the semiotic nonagon operative model, derived from the three Peircean categories, to review Jakobson’s model, and in turn, think about the limits of agency for the production of meaning in relation to three other authors like Jacques Lacan, Louis Althusser, and Charles S. Peirce himself.
{"title":"Form, communication, meaning","authors":"C. Guerri","doi":"10.1515/css-2022-2097","DOIUrl":"https://doi.org/10.1515/css-2022-2097","url":null,"abstract":"Abstract An interesting article by Hongbing Yu (Yu, Hongbing. 2019. Meaning generation. Chinese Semiotic Studies 15(3). 429–447) “Meaning generation” led me to reconsider an unpublished paper from 15 years ago on Roman Jakobson’s much-criticized basic communication model, and the functions of language published in the Closing Statement of Style in language (Jakobson, Roman. 1960. Linguistics and poetics. In Thomas Sebeok (ed.), Style in language, 350–377. New York: MIT Press). In this article it is about using the semiotic nonagon operative model, derived from the three Peircean categories, to review Jakobson’s model, and in turn, think about the limits of agency for the production of meaning in relation to three other authors like Jacques Lacan, Louis Althusser, and Charles S. Peirce himself.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41621189","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}
Abstract In the past, I have published papers on the use of language within the realm of fictional narratives, how the structure of postmodern films and novels operates to affect the reader or viewer, and on the purely objective worlds constructed within the confines of literature. Most recently, I submitted a newly written paper to my friend Paul Cobley for his casual feedback. He got back promptly, saying only that the paper did not have enough references. I pressed Paul: Was it not possible to write a philosophy paper where one just philosophized, without alluding to things written on the subject matter in the past, and wasn’t it ok not to cite references if you came up with the idea independent of any outside reading? His reply was: “No.” Time passed, and I was asked to write this article celebrating Paul’s 60th birthday. Looking for something I hadn’t read already, I discovered his book, Narrative (2014). This paper addresses one of the reference entries most definitely missing from my prior investigations on literature and cinema, one which should have informed – and now does my own thoughts on fiction and film.
{"title":"On the role of time, re-presentation, and self-conscious narrators in postmodern narrative","authors":"Baranna Baker","doi":"10.1515/css-2022-2090","DOIUrl":"https://doi.org/10.1515/css-2022-2090","url":null,"abstract":"Abstract In the past, I have published papers on the use of language within the realm of fictional narratives, how the structure of postmodern films and novels operates to affect the reader or viewer, and on the purely objective worlds constructed within the confines of literature. Most recently, I submitted a newly written paper to my friend Paul Cobley for his casual feedback. He got back promptly, saying only that the paper did not have enough references. I pressed Paul: Was it not possible to write a philosophy paper where one just philosophized, without alluding to things written on the subject matter in the past, and wasn’t it ok not to cite references if you came up with the idea independent of any outside reading? His reply was: “No.” Time passed, and I was asked to write this article celebrating Paul’s 60th birthday. Looking for something I hadn’t read already, I discovered his book, Narrative (2014). This paper addresses one of the reference entries most definitely missing from my prior investigations on literature and cinema, one which should have informed – and now does my own thoughts on fiction and film.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44916073","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-59-65
K. Pozdnyakov
The article theme is topical for the reason that Ilya Ilf in Zapisnye knizhki criticizes the socialist realism the art that propagandized and did not pay attention to the artistic expression quality and originality. In recent decades we can witness return of social realistic writing in the works of such authors as A. Ivanov, Z. Prilepin, K. Silvanova and E. Malisova. It appears that in the course of studying the classic Stalinist social realism and critical reflecting it is possible to understand certain patterns of the modern literature process. The research objective was to study Ilf's critique peculiarities and its objects. The article basic research methods comprise semiotic and intertextual analyses. The article beginning considers the context of Ilf's writing in 1930-s years. The stories by Ilf and Petrov, E. Zozulja and Barricady [Barricades] novel by P. Pavlenko were considered as the empiric material. As a result of the research, two thematic dominants of the writing were distinguished: 1) critical judgment of I. Ilfs literature colleagues who started working in social realistic manner in 1930-s years; 2) ironic attacks at the forming social realistic canon. Both of the writing thematic domains are polar opposite to Ilf and Petrov's artistic expression within the specified period. The coauthors created several social realistic texts, and some parts of Odnoetazhnaya America [One-storied America] are semantically compliant with the key Soviet ideology intentions. Thus, it is possible and necessary to distinguish between Ilfs independent creative working and the coauthors late works, where E. Petrov was an evident leader.
{"title":"Ilf’s «Zapisnye Knizhki» [Sketch Books] of 1930s as the proof of social realistic discourse formation","authors":"K. Pozdnyakov","doi":"10.18287/2782-2966-2022-2-4-59-65","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-59-65","url":null,"abstract":"The article theme is topical for the reason that Ilya Ilf in Zapisnye knizhki criticizes the socialist realism the art that propagandized and did not pay attention to the artistic expression quality and originality. In recent decades we can witness return of social realistic writing in the works of such authors as A. Ivanov, Z. Prilepin, K. Silvanova and E. Malisova. It appears that in the course of studying the classic Stalinist social realism and critical reflecting it is possible to understand certain patterns of the modern literature process. The research objective was to study Ilf's critique peculiarities and its objects. The article basic research methods comprise semiotic and intertextual analyses. The article beginning considers the context of Ilf's writing in 1930-s years. The stories by Ilf and Petrov, E. Zozulja and Barricady [Barricades] novel by P. Pavlenko were considered as the empiric material. As a result of the research, two thematic dominants of the writing were distinguished: 1) critical judgment of I. Ilfs literature colleagues who started working in social realistic manner in 1930-s years; 2) ironic attacks at the forming social realistic canon. Both of the writing thematic domains are polar opposite to Ilf and Petrov's artistic expression within the specified period. The coauthors created several social realistic texts, and some parts of Odnoetazhnaya America [One-storied America] are semantically compliant with the key Soviet ideology intentions. Thus, it is possible and necessary to distinguish between Ilfs independent creative working and the coauthors late works, where E. Petrov was an evident leader.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73026654","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-44-52
Gunther Scholz
In the 19th century philology became the most important human science following history, and the interpretation methods were refined. However, in the 20th century, fundamental doubts arose about the possibility and the sense of the interpretation procedure, and an increasingly sharp criticism was expressed. It was aimed at the presupposition of a certain, unchangeable meaning of the texts. The diversity of interpretations seemed to confirm that. The interpretations could also be called "fictions". However, this essential doubt about a certainty of the text meaning contradicts the linguistic communication in the society. These critics ignore the fact that there are very different forms of texts and the interpretations in different cultural areas pursue very different objectives. It is reasonable to distinguish between criticism and hermeneutics to regulate the controversy of interpretations: while the latter tries to explore the author's perspective, in criticism the interpreter is allowed to bring his own perspective to bear. These two concepts are usually related in the interpretation process, but can be separated in case of controversy.
{"title":"Are text interpretations fictions?","authors":"Gunther Scholz","doi":"10.18287/2782-2966-2022-2-4-44-52","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-44-52","url":null,"abstract":"In the 19th century philology became the most important human science following history, and the interpretation methods were refined. However, in the 20th century, fundamental doubts arose about the possibility and the sense of the interpretation procedure, and an increasingly sharp criticism was expressed. It was aimed at the presupposition of a certain, unchangeable meaning of the texts. The diversity of interpretations seemed to confirm that. The interpretations could also be called \"fictions\". However, this essential doubt about a certainty of the text meaning contradicts the linguistic communication in the society. These critics ignore the fact that there are very different forms of texts and the interpretations in different cultural areas pursue very different objectives. It is reasonable to distinguish between criticism and hermeneutics to regulate the controversy of interpretations: while the latter tries to explore the author's perspective, in criticism the interpreter is allowed to bring his own perspective to bear. These two concepts are usually related in the interpretation process, but can be separated in case of controversy.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81424489","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-8-14
D. Bylieva
The Christian traditional theme of love and freedom is reflected in the man-robot relationship. The Christian ethics opposes love with the observance of formal rules. Thus, the robot needs to find either universal ethical rules (whose difficulty is shown in both scientific and fiction literature), or allow him to find freedom and love. The popular cultural theme of robots rebelling against the code that prescribes their actions is now being replaced by images of autonomous and freely operating robots. Such changes are motivated by not least the success of the connectionist approach that made it possible to train artificial intelligence (AI) without predetermined rules. The AI image as a comrade, colleague and romantic partner is gaining more and more space both in mass culture and in life, and the discourse about its rights, ethics and freedom is becoming more topical.
{"title":"Ethics of artificial intelligence through the concepts of love and freedom","authors":"D. Bylieva","doi":"10.18287/2782-2966-2022-2-4-8-14","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-8-14","url":null,"abstract":"The Christian traditional theme of love and freedom is reflected in the man-robot relationship. The Christian ethics opposes love with the observance of formal rules. Thus, the robot needs to find either universal ethical rules (whose difficulty is shown in both scientific and fiction literature), or allow him to find freedom and love. The popular cultural theme of robots rebelling against the code that prescribes their actions is now being replaced by images of autonomous and freely operating robots. Such changes are motivated by not least the success of the connectionist approach that made it possible to train artificial intelligence (AI) without predetermined rules. The AI image as a comrade, colleague and romantic partner is gaining more and more space both in mass culture and in life, and the discourse about its rights, ethics and freedom is becoming more topical.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85857918","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-15-21
A. Nordmann
There are a lot of different debates about artificial intelligence. Indeed, in the last several decades one can witness a shift in Hollywood SciFi movies. Many of the older stories were puzzled about human and machine identities as they appeared to become uncannily indistinguishable. More recent stories deal with disappointment and shock as the machines which emulate and exceed human reasoning prove to have a kind of intelligence that is very different from human thinking and feeling. The following observations seek to reflect the significance of this shift. On the one hand, it is referred to a change in the orientation of AI research itself - transition from humanoid AI to machine one. On the other hand, these movies do not so much analyze impact and future of two AI kinds, as they reflect on the cultural conditions, hopes and fears that motivate or ground AI research. Thus, science fiction can be a stage or a representational framework for an interpretative interaction with technology, that is, for understanding artificial intelligence, its significance and importance for various ways people understand and position themselves in the world of signs and symbols, objects and work products.
{"title":"Humanoid and machine artificial intelligence in science fictions","authors":"A. Nordmann","doi":"10.18287/2782-2966-2022-2-4-15-21","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-15-21","url":null,"abstract":"There are a lot of different debates about artificial intelligence. Indeed, in the last several decades one can witness a shift in Hollywood SciFi movies. Many of the older stories were puzzled about human and machine identities as they appeared to become uncannily indistinguishable. More recent stories deal with disappointment and shock as the machines which emulate and exceed human reasoning prove to have a kind of intelligence that is very different from human thinking and feeling. The following observations seek to reflect the significance of this shift. On the one hand, it is referred to a change in the orientation of AI research itself - transition from humanoid AI to machine one. On the other hand, these movies do not so much analyze impact and future of two AI kinds, as they reflect on the cultural conditions, hopes and fears that motivate or ground AI research. Thus, science fiction can be a stage or a representational framework for an interpretative interaction with technology, that is, for understanding artificial intelligence, its significance and importance for various ways people understand and position themselves in the world of signs and symbols, objects and work products.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88714306","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-91-96
S. A. Sudin, G. P. Smirnova
The paper analyzes the dynamics of intergenerational interaction under the influence of modern communicative practices of young people, in turn, conditioned by the development of information technology. Using M. Mead's concept of pre-figurative culture and S. Ward's concept of reverse socialization, the research explains the process of positive activation of intergenerational communication due to growing needs of elder generation for competences of their children and grandchildren that, however, changes the habitual vector of socialization influence. The authors conclude that the dynamics of intergenerational communication under the influence of information technology is ambivalent: the natural increase in value contradictions is compensated by the intensification of interaction in the course of exchanging the experience and competence.
{"title":"Technological factor in the transformation of intergenerational communications","authors":"S. A. Sudin, G. P. Smirnova","doi":"10.18287/2782-2966-2022-2-4-91-96","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-91-96","url":null,"abstract":"The paper analyzes the dynamics of intergenerational interaction under the influence of modern communicative practices of young people, in turn, conditioned by the development of information technology. Using M. Mead's concept of pre-figurative culture and S. Ward's concept of reverse socialization, the research explains the process of positive activation of intergenerational communication due to growing needs of elder generation for competences of their children and grandchildren that, however, changes the habitual vector of socialization influence. The authors conclude that the dynamics of intergenerational communication under the influence of information technology is ambivalent: the natural increase in value contradictions is compensated by the intensification of interaction in the course of exchanging the experience and competence.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79572056","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}
Pub Date : 2022-12-28DOI: 10.18287/2782-2966-2022-2-4-66-72
Tatyana V. Kazarina
The article discusses three novels, where events take place in Samara (Kuibyshev). These are "Metro-2033: Bezymyanka [Underground-2033: Bezymyanka] (2010) by Sergey Paliy, "Bezymyanlag" (2016) by Andrey Olekh and "Pischeblock [Food Unit] (2018) by Alexey Ivanov. The work reveals the reasons for this localization of events that is identical for all the authors. In all the three cases, the location plays an important narrative role, which is explained in the article by both the authors' hope to get the Samara readers sympathetic attention, and the need to have specific recognizable details that is characteristic of mass literature, which give force to generally sketchy narration. Urban history facts, geographical marks, well-known loci local mythological narratives associated with them play the role of such details. The Samara portrait is constructed taking into account the tradition of depicting provincial existence as an alternative to metropolitan life, developed in the literature of the XIX century. The province could be idealized as a world of harmony, lost by the city, or ridiculed as a centre of savagery and backwardness. But these novels show Samara, surprisingly combining both the terror of urban life and the salutariness of suburbs. The heroes are tasked to escape to move from urban space to country one, facing unbelievable difficulties. Samara is a convenient locus for genre works: this city is not tagged with the characteristics firmly fixed in the mass consciousness, so anything can happen there. Such Samara absorbs all the worst and all the best that can be told about any city. The sharp polarization of its features enables to create a semantic field where events take place in a very way - that increases the dynamics of the described actions and makes them especially impressive in the readers eyes.
{"title":"Samara the fantastic","authors":"Tatyana V. Kazarina","doi":"10.18287/2782-2966-2022-2-4-66-72","DOIUrl":"https://doi.org/10.18287/2782-2966-2022-2-4-66-72","url":null,"abstract":"The article discusses three novels, where events take place in Samara (Kuibyshev). These are \"Metro-2033: Bezymyanka [Underground-2033: Bezymyanka] (2010) by Sergey Paliy, \"Bezymyanlag\" (2016) by Andrey Olekh and \"Pischeblock [Food Unit] (2018) by Alexey Ivanov. The work reveals the reasons for this localization of events that is identical for all the authors. In all the three cases, the location plays an important narrative role, which is explained in the article by both the authors' hope to get the Samara readers sympathetic attention, and the need to have specific recognizable details that is characteristic of mass literature, which give force to generally sketchy narration. Urban history facts, geographical marks, well-known loci local mythological narratives associated with them play the role of such details. The Samara portrait is constructed taking into account the tradition of depicting provincial existence as an alternative to metropolitan life, developed in the literature of the XIX century. The province could be idealized as a world of harmony, lost by the city, or ridiculed as a centre of savagery and backwardness. But these novels show Samara, surprisingly combining both the terror of urban life and the salutariness of suburbs. The heroes are tasked to escape to move from urban space to country one, facing unbelievable difficulties. Samara is a convenient locus for genre works: this city is not tagged with the characteristics firmly fixed in the mass consciousness, so anything can happen there. Such Samara absorbs all the worst and all the best that can be told about any city. The sharp polarization of its features enables to create a semantic field where events take place in a very way - that increases the dynamics of the described actions and makes them especially impressive in the readers eyes.","PeriodicalId":52036,"journal":{"name":"Chinese Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72991709","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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