As one locus of extraordinary collocations, poeticized language features expressions that depart from the physical reality, involving the subjective transformation of objects in the mental space. Increasing subjectivity renders extraordinary collocations resistant to rational readings, resulting in two types of constructions: “innovative” collocations and “self-created” collocations. The meaning construction in the former is easier to achieve than in the latter; the former entails the “rational evaluation” and the latter the “speculative evaluation” processes in metalanguage. With its rule-breaking defiance caused by meaning obscurity compensated for by rich implied meaning and positive aesthetic feedback, the “self-created” collocations are regarded as poetic and re-accepted by the system. Therefore, the so-termed “poeticness” is derived from the positive feedback during the speculative evaluation process and constitutes the main substance of aesthetic interpretation.
{"title":"Subjective transformation in poeticized language and the formation of poeticness","authors":"Hui Yang","doi":"10.1515/lass-2024-0005","DOIUrl":"https://doi.org/10.1515/lass-2024-0005","url":null,"abstract":"\u0000 As one locus of extraordinary collocations, poeticized language features expressions that depart from the physical reality, involving the subjective transformation of objects in the mental space. Increasing subjectivity renders extraordinary collocations resistant to rational readings, resulting in two types of constructions: “innovative” collocations and “self-created” collocations. The meaning construction in the former is easier to achieve than in the latter; the former entails the “rational evaluation” and the latter the “speculative evaluation” processes in metalanguage. With its rule-breaking defiance caused by meaning obscurity compensated for by rich implied meaning and positive aesthetic feedback, the “self-created” collocations are regarded as poetic and re-accepted by the system. Therefore, the so-termed “poeticness” is derived from the positive feedback during the speculative evaluation process and constitutes the main substance of aesthetic interpretation.","PeriodicalId":63773,"journal":{"name":"Language and Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140248073","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}
This pilot study on humor in cultural trauma uses innovative digital methodologies in speech recognition and social media analysis via Postman and Python in the Twitter API v2 to propose different forms to gather and analyze empirical data on semiotics and humor to be used in a broader context. The given example of humorous instances on the cultural trauma of 9/11 in the fictional sitcom Rick and Morty is limited but corroborated by a second example that is structurally different from the first: humor about 9/11 in stand-up comedy by Louis C.K. Based on the data, humor in trauma seems to undergo a 5-phase-typology related to the Kübler-Ross model of grief, which is mended by the (digital) participation of society. Society, we argue, both shapes the discourse on humor in trauma and overcomes the traumatic effects through humorous discourse.
这项关于文化创伤中的幽默的试验性研究通过 Postman 和 Python 在 Twitter API v2 中使用语音识别和社交媒体分析的创新数字方法，提出了收集和分析符号学和幽默实证数据的不同形式，以便在更广泛的背景下使用。在虚构的情景喜剧《瑞克和莫蒂》（Rick and Morty）中出现的有关 9/11 文化创伤的幽默事例虽然有限，但与第一个事例在结构上不同的第二个事例：路易斯-C.K（Louis C.K.）的单口相声中有关 9/11 的幽默也证实了这一点。根据这些数据，创伤中的幽默似乎经历了与库伯勒-罗斯（Kübler-Ross）悲伤模型相关的 5 个阶段，并通过社会的（数字）参与得到修补。我们认为，社会既塑造了创伤中的幽默话语，也通过幽默话语克服了创伤影响。
{"title":"The semiotics of humor in cultural trauma: a pilot study on digital methodology concerning the evolution and overcoming of trauma through humor on the example of Rick and Morty","authors":"Felix Poschinger, Christopher Shannon","doi":"10.1515/lass-2023-0041","DOIUrl":"https://doi.org/10.1515/lass-2023-0041","url":null,"abstract":"\u0000 This pilot study on humor in cultural trauma uses innovative digital methodologies in speech recognition and social media analysis via Postman and Python in the Twitter API v2 to propose different forms to gather and analyze empirical data on semiotics and humor to be used in a broader context. The given example of humorous instances on the cultural trauma of 9/11 in the fictional sitcom Rick and Morty is limited but corroborated by a second example that is structurally different from the first: humor about 9/11 in stand-up comedy by Louis C.K. Based on the data, humor in trauma seems to undergo a 5-phase-typology related to the Kübler-Ross model of grief, which is mended by the (digital) participation of society. Society, we argue, both shapes the discourse on humor in trauma and overcomes the traumatic effects through humorous discourse.","PeriodicalId":63773,"journal":{"name":"Language and Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140252119","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}
This paper explores the narratives of the Taiwanese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience. The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder. The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society. The stories of Chu’s female narrators reveal the persistent and resisting feminine power. This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy. The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’ identity.
{"title":"The traumatic narratives of sexuality in Taiwanese writer Shao-Lin Chu’s trilogy","authors":"Hsiu-Chih Tsai","doi":"10.1515/lass-2023-0044","DOIUrl":"https://doi.org/10.1515/lass-2023-0044","url":null,"abstract":"\u0000 This paper explores the narratives of the Taiwanese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience. The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder. The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society. The stories of Chu’s female narrators reveal the persistent and resisting feminine power. This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy. The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’ identity.","PeriodicalId":63773,"journal":{"name":"Language and Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139796460","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}
This paper explores the narratives of the Taiwanese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience. The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder. The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society. The stories of Chu’s female narrators reveal the persistent and resisting feminine power. This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy. The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’ identity.
{"title":"The traumatic narratives of sexuality in Taiwanese writer Shao-Lin Chu’s trilogy","authors":"Hsiu-Chih Tsai","doi":"10.1515/lass-2023-0044","DOIUrl":"https://doi.org/10.1515/lass-2023-0044","url":null,"abstract":"\u0000 This paper explores the narratives of the Taiwanese woman novelist Shao-Lin Chu’s trilogy to see how the problem of female sexuality and resistance to parental wedlock tragedy becomes a traumatic experience. The traumatic symptoms in the narratives are taken as Peircean signs for tracing the negative influences of traumatic experiences on the formation of personal identity and the associated depressive disorder. The scenes portrayed in Chu’s traumatic narratives of female and male sexuality are implications and representations of how sexuality is conceptualized and confined by the traumatic events while backgrounded with regulations and restrictions of a traditional society. The stories of Chu’s female narrators reveal the persistent and resisting feminine power. This paper adopts the concept of feminist narrative to analyze the traumatic and sexual events in Chu’s trilogy. The decoding and re-encoding of resistance and sexuality in the traumatic narratives prove that the narratological textual analysis and semiotic reading strategy together offer a solid approach to the discovery of the persistent traumatic impacts of the secret veiled in the narratives and reveal the probable strength of compassion that has its roots derived from deplorable trauma but later transforms itself to stimulate a positive reconstruction of the traumatic survivors’ identity.","PeriodicalId":63773,"journal":{"name":"Language and Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139856142","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}
The wide acceptability of Nigerian hip hop music, home and abroad, indicates increasing value of the inclusion of local popular languages in the composition and performance of the music. In the text of many of the award winning singles and albums are mixtures of different languages ranging from English, Pidgin English, Yoruba, Igbo and other local dialects. Drawing on Ferdinand de Saussure’s theory of structuralism, this study examines meaning construction in hip hop music in Nigeria. By focusing on the Nigerian hip hop artists, who adopt different slangs embedded with codes considered absurd within the mainstream cultural milieu, the study closely investigates constructed meanings in the lyrics of four Nigerian award winning hip hop artists. All the artists adopted multilingual codes-switching from one language to another in presentation of their messages. The codes in the songs generally symbolise and present messages or meaning that appears out of the mainstream cultural meanings. Listeners and artistes meet at the level of interpretations. The article argues that Nigerian artists creatively present a sub-culture where they and their fans can relate through codes and words embedded with symbolic meanings shared by both artists and fans.
{"title":"Meaning construction in Nigerian multilingual hip hop: a study in sociology of music","authors":"O. Liadi","doi":"10.1515/lass-2023-0021","DOIUrl":"https://doi.org/10.1515/lass-2023-0021","url":null,"abstract":"\u0000 The wide acceptability of Nigerian hip hop music, home and abroad, indicates increasing value of the inclusion of local popular languages in the composition and performance of the music. In the text of many of the award winning singles and albums are mixtures of different languages ranging from English, Pidgin English, Yoruba, Igbo and other local dialects. Drawing on Ferdinand de Saussure’s theory of structuralism, this study examines meaning construction in hip hop music in Nigeria. By focusing on the Nigerian hip hop artists, who adopt different slangs embedded with codes considered absurd within the mainstream cultural milieu, the study closely investigates constructed meanings in the lyrics of four Nigerian award winning hip hop artists. All the artists adopted multilingual codes-switching from one language to another in presentation of their messages. The codes in the songs generally symbolise and present messages or meaning that appears out of the mainstream cultural meanings. Listeners and artistes meet at the level of interpretations. The article argues that Nigerian artists creatively present a sub-culture where they and their fans can relate through codes and words embedded with symbolic meanings shared by both artists and fans.","PeriodicalId":63773,"journal":{"name":"Language and Semiotic Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139614102","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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