Pub Date : 2022-10-17eCollection Date: 2022-11-01DOI: 10.1515/cogsem-2022-2013
Irmak Hacımusaoğlu, Neil Cohn
Languages use different strategies to encode motion. Some use particles or "satellites" to describe a path of motion (Satellite-framed or S-languages like English), while others typically use the main verb to convey the path information (Verb-framed or V-languages like French). We here ask: might this linguistic variation lead to differences in the way paths are depicted in visual narratives like comics? We analyzed a corpus of 85 comics originally created by speakers of S-languages (comics from the United States, China, Germany) and V-languages (France, Japan, Korea) for both their depictions of path segments (source, route, and goal) and the visual cues signaling these paths and manner information (e.g., motion lines and postures). Panels from S-languages depicted more path segments overall, especially routes, than those from V-languages, but panels from V-languages more often isolated path segments into their own panels. Additionally, comics from S-languages depicted more motion cues than those from V-languages, and this linguistic typology also interacted with panel framing. Despite these differences across typological groups, analysis of individual countries' comics showed more nuanced variation than a simple S-V dichotomy. These findings suggest a possible influence of spoken language structure on depicting motion events in visual narratives and their sequencing.
语言使用不同的策略对运动进行编码。有些语言使用微粒或 "卫星 "来描述运动路径（卫星框架语言或 S 语言，如英语），而其他语言通常使用主要动词来传达路径信息（动词框架语言或 V 语言，如法语）。我们在这里要问：这种语言上的差异会不会导致漫画等视觉叙事中描绘路径的方式不同？我们分析了由 S 语言（来自美国、中国和德国的漫画）和 V 语言（来自法国、日本和韩国的漫画）使用者创作的 85 部漫画语料库，分析了它们对路径片段（来源、路线和目标）的描绘，以及表示这些路径和方式信息的视觉线索（如运动线和姿势）。从整体上看，S-语言的板块比 V-语言的板块描绘了更多的路径片段，尤其是路线，但 V-语言的板块更多地将路径片段孤立在自己的板块中。此外，S 语言的漫画比 V 语言的漫画描绘了更多的运动线索，而且这种语言类型还与画面构图相互影响。尽管不同类型组之间存在这些差异，但对单个国家漫画的分析显示出的细微差别比简单的 S-V 二分法更多。这些研究结果表明，口语结构可能会对视觉叙事中运动事件的描述及其排序产生影响。
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Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2004
Ulf Cronquist, T. Knap
Abstract After providing information about details of the song’s historical genesis and an exegetic Explication De Texte we proceed to analyze the lyrics as a modernist, surrealist narrative that is not always easy to make clear sense of, yet best can be understood as a classical structure of dramatic complications and possible catharsis with reference to Per Aage Brandt’s work on diegesis and narrative forces and spaces. Brandt’s contributions to cognitive narratology provide an extended framework of force dynamics, catastrophe theory and structuralist psychoanalysis – also with considerations of intentionality and imagination as integral parts of intersubjectively experienced story-worlds. Our empirical object of study departs from the original canonical recording song lyrics produced in 1968 on the album Music from Big Pink, where the many consecutive live performances by The Band and other artists remain quite faithful to the original text. To the best of our knowledge, a thorough scholarly analysis of the lyrics of The Weight has not yet been available until we now present our detailed, philological amplification on the details of this piece of art.
在提供了这首歌历史起源的细节信息和对文本的阐释之后，我们继续分析歌词作为一种现代主义、超现实主义的叙事方式，这种叙事方式并不总是容易弄清楚，但最好的理解是，参照Per Aage Brandt关于叙事、叙事力量和空间的研究，它是一种具有戏剧性复杂性和可能的宣泄的经典结构。勃兰特对认知叙事学的贡献提供了一个力动力学、灾难理论和结构主义精神分析的扩展框架——也考虑到意旨和想象是主体间体验故事世界的组成部分。我们的实证研究对象脱离了1968年在专辑《Music from Big Pink》中制作的原始规范录音歌词，乐队和其他艺术家的许多连续现场表演都相当忠实于原始文本。据我们所知，对《重量》歌词的彻底的学术分析还没有出现，直到我们现在对这件艺术品的细节进行了详细的、语言学上的放大。
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Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2010
W. Wildgen
Abstract Cognitive semiotics should not only use psychology and neurology as the background of multi-modal sign usage, but it must also take into account the biological, and specifically the evolutionary and developmental aspects of communication with signs, or in Cassirer’s terms, of “symbolic forms”. This article deals with questions of the emergence of religion (in general) and the morphogenesis of specific religious (and mythical) forms. As a theoretical background, it has recourse to René Thom’s “morpho-dynamics” and “semio-physics”. The contours of a catastrophe-theoretical model of morphogenesis of religions and their possible implosion after a phase of hyper-complexity are described with a focus on polytheistic features of Hinduism and its implosion in the Buddhist “revolution”. A section on Christianism describes the early phases of its self-organization (after the death of Jesus) and its stabilization as a state religion. The basic attractors of this morphogenesis are Jesus and (his mother) Mary. Finally, the further unfolding of religion, its semio- and ratio-genesis, are commented on. The morpho-dynamic modeling of religion avoids traditional, cultural and philosophical biases and raises the highly controversial topic of religion to a scientific level, accessible to mathematical treatment and empirical evaluation.
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Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2001
Bent Rosenbaum
Abstract The concept of ‘enunciation’ was developed very early in Per Aage Brandt’s work. Giving Saussure’s semiology a prominent position, Brandt’s enunciation model became the basis for further development of a psychosemiotic model that was used in the analysis of persons in traumatized and psychotic states of mind. This paper describes this development and its claim that the enunciative, spoken words, statements or narrations, in which the enunciation is more or less silently embedded, is anchored or embedded in internal communicative components, which in themselves can be said to be enunciatively structured. These components will be described in detail as well as their characteristics encompassing the imaginary and symbolic dimensions of language.
{"title":"Enunciation – some psychosemiotic reflections","authors":"Bent Rosenbaum","doi":"10.1515/cogsem-2022-2001","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2001","url":null,"abstract":"Abstract The concept of ‘enunciation’ was developed very early in Per Aage Brandt’s work. Giving Saussure’s semiology a prominent position, Brandt’s enunciation model became the basis for further development of a psychosemiotic model that was used in the analysis of persons in traumatized and psychotic states of mind. This paper describes this development and its claim that the enunciative, spoken words, statements or narrations, in which the enunciation is more or less silently embedded, is anchored or embedded in internal communicative components, which in themselves can be said to be enunciatively structured. These components will be described in detail as well as their characteristics encompassing the imaginary and symbolic dimensions of language.","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"51 1","pages":"147 - 159"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84310608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2003
A. Hougaard, Todd Oakley, S. Coulson
Abstract An axiom of Per Aage Brandt’s approach to conceptual blending, known colloquially as the “Aarhus model”, is that semiosis only makes sense when grounded in communicative interaction. Here we adopt that approach in relation to the reality of current, daily communication which is increasingly mediated by digital audio-visual technology platforms. We pursue this goal via a small set of case studies that explore how this technology changes and challenges social interaction and how participants exploit and adapt cognitive, embodied, technological, and semiotic resources in creating meaningful, collective, virtual spaces of joint social activity. In so doing, we expand the horizon of inquiry and contribute insights that have relevance for the new media ecology. This application of cognitive semiotic analyses of video meetings confronts the nature of “mediation” and its accomplishment, the status of “virtual spaces”, and “social presence.”
{"title":"Who’s talking? Cognitive semiotics in the (new media) wild","authors":"A. Hougaard, Todd Oakley, S. Coulson","doi":"10.1515/cogsem-2022-2003","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2003","url":null,"abstract":"Abstract An axiom of Per Aage Brandt’s approach to conceptual blending, known colloquially as the “Aarhus model”, is that semiosis only makes sense when grounded in communicative interaction. Here we adopt that approach in relation to the reality of current, daily communication which is increasingly mediated by digital audio-visual technology platforms. We pursue this goal via a small set of case studies that explore how this technology changes and challenges social interaction and how participants exploit and adapt cognitive, embodied, technological, and semiotic resources in creating meaningful, collective, virtual spaces of joint social activity. In so doing, we expand the horizon of inquiry and contribute insights that have relevance for the new media ecology. This application of cognitive semiotic analyses of video meetings confronts the nature of “mediation” and its accomplishment, the status of “virtual spaces”, and “social presence.”","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"17 1","pages":"47 - 73"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90406451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2011
Line Brandt
Abstract This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled “Effects of poetic enunciation: Seven types of iconicity”. Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In “Effects of poetic enunciation”, I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology.
{"title":"Rhythm in verse","authors":"Line Brandt","doi":"10.1515/cogsem-2022-2011","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2011","url":null,"abstract":"Abstract This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled “Effects of poetic enunciation: Seven types of iconicity”. Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In “Effects of poetic enunciation”, I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology.","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"30 1","pages":"161 - 173"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83209184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2008
J. Kennedy
Abstract Tom Thomson is a doyen of Canadian art. Here, I argue one of his well-known pictures contains a hidden figure. In Thomson’s Islands, Canoe Lake, 1916, a blue-gray picture primitive richly affords a rock and a bear, a long-overlooked ambiguity, one that Thomson did not tell us he intended. Its picture primitives are contours and patches. They offer a limited set of scene primitives. A likelihood ratio of less than 1 in 100 supports the contention that the bear is a hidden figure.
{"title":"Tom Thomson’s Islands, Canoe Lake, 1916: a rock as the head of a bear","authors":"J. Kennedy","doi":"10.1515/cogsem-2022-2008","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2008","url":null,"abstract":"Abstract Tom Thomson is a doyen of Canadian art. Here, I argue one of his well-known pictures contains a hidden figure. In Thomson’s Islands, Canoe Lake, 1916, a blue-gray picture primitive richly affords a rock and a bear, a long-overlooked ambiguity, one that Thomson did not tell us he intended. Its picture primitives are contours and patches. They offer a limited set of scene primitives. A likelihood ratio of less than 1 in 100 supports the contention that the bear is a hidden figure.","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"65 1","pages":"75 - 92"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75370371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2006
Henrik Jørgensen
Abstract The present analysis discusses the narratological structures of the Danish folk ballad on ‘Germand Gladensvend’ (‘Happy Germand’, DgF 33). The text is preserved in six different manuscript versions, all of them written before appr. 1630, and in a printed version from 1591. Although the story is strongly related in all of them, including stanzas that are identical almost word for word, the different versions nevertheless have rather different narratological structures, depending on the strong variation between the conclusions of the different versions. In order to make these differences clear, the analysis uses classical narratological concepts, like movements of objects of value and the semiotic square. The narrative structures in the extant versions of the Danish popular ballad “Germand Gladensvend” (DgF 33).
{"title":"Germand Gladensvend and the monster","authors":"Henrik Jørgensen","doi":"10.1515/cogsem-2022-2006","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2006","url":null,"abstract":"Abstract The present analysis discusses the narratological structures of the Danish folk ballad on ‘Germand Gladensvend’ (‘Happy Germand’, DgF 33). The text is preserved in six different manuscript versions, all of them written before appr. 1630, and in a printed version from 1591. Although the story is strongly related in all of them, including stanzas that are identical almost word for word, the different versions nevertheless have rather different narratological structures, depending on the strong variation between the conclusions of the different versions. In order to make these differences clear, the analysis uses classical narratological concepts, like movements of objects of value and the semiotic square. The narrative structures in the extant versions of the Danish popular ballad “Germand Gladensvend” (DgF 33).","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"847 1","pages":"113 - 130"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77549041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2002
Peer F. Bundgaard
Abstract This text is a short intellectual biography written in memory of Per Aage Brandt (1944–2021). I present some of the main tenets of his scientific endeavor, artistic practice, and scholarly entrepreneurship.
{"title":"The semiotic scoubidou – a short intellectual biography of Per Aage Brandt","authors":"Peer F. Bundgaard","doi":"10.1515/cogsem-2022-2002","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2002","url":null,"abstract":"Abstract This text is a short intellectual biography written in memory of Per Aage Brandt (1944–2021). I present some of the main tenets of his scientific endeavor, artistic practice, and scholarly entrepreneurship.","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"33 1","pages":"21 - 28"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78054677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1515/cogsem-2022-2007
Jean Petitot
{"title":"From the blue waters of the Baltic and Kattegat to the Red Sands of Burgundy. Per Aage Brandt (April 26, 1944 – November 10, 2021)","authors":"Jean Petitot","doi":"10.1515/cogsem-2022-2007","DOIUrl":"https://doi.org/10.1515/cogsem-2022-2007","url":null,"abstract":"","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"47 1","pages":"9 - 20"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80724291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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