This paper argues that garbage is no longer the site of contempt and fear and has become an object of profound theoretical investigation. The paper reviews some of the salient points in the growing body of theory about garbage and shows that if one thing has come out of this scholarship, it is that waste is both productive and dangerous, spent but agential, rejected but inescapable, and the intensity of disruptions of order potential in waste are immense. I show that (...) two very different poems – one entitled “Above the Water, Under the Water” by South Korean poet Choi Sung-ho, the other entitled “Garbage” by American poet A.R. Ammons –reveal in very different ways both the agentic capacity of garbage and the ascension of garbage to a semiotics of the sublime in the twentieth century, East and West. (shrink)

Chapter One Triadomany defined You shall bind them in Three Classes; according to their Classes. William Blake, Milton In a manuscript of The Quest for ...

This paper presents a specific concept of the legal system, bringing a contribution to the Theory of Law, from the line of analysis of the Semiotics of Law. The entire methodological approach of this concept is based on the contributions of the École de Paris, from a theoretical-semiotic perspective derived from the studies of Algirdas Julien Greimas. The analysis seeks to further and qualify previous studies and publications, and focuses on the task of presenting the concept of juridicity, deriving the (...) description of the concept of the legal system from it, understood as a set of connections between legal texts. Consequently, the paper presents a Mesh Model for the description of the legal system, replacing the positivist concept of the Pyramid Model, through restoring the relationship between Law and Moral, between Law and Society and Law and Justice. Throughout the theoretical explanation, the paper tries to trace, develop and qualify the main points with arguments that distinguish the operation of the legal system, such as the concentric movement, micro-universes of meaning, discursive practices, the task of legal actors, dynamic inter-textuality, the role of interpretation, the process of the production of legal meaning and the search for textual justice. (shrink)

Over the past twenty years, the annual meetings of the Semiotic Society of America have tracked the growth and development of modern sign theory in American scholarship. Since 1981, the published proceedings of SSA meetings have included representative semiotic work from a wide range of disciplines and every extant -system- of semiotic thought. The papers have especially represented some of the leading intellectual descendants of C.S. Peirce and Ferdinand de Saussure in the United States and Canada. On this ground, the (...) series remains the primary record of North American contributions to sign perspectives, embracing world-wide philosophical, literary, and scientific bases for a 21st-century -doctrine of signs-. The proceedings project has consistently pursued excellent scholarship, representative diversity, and quality production. With publication of Semiotics 1996, general editor John Deely and the Semiotic Society continue the record of -representing- American semiotics. The SSA also plan to incorporate more voices from Mexico in an effort to achieve a comprehensive North American -semiotic- which is strongly linked to practical and theoretical developments across the world.". (shrink)

In East Asia, there has been a long tradition of using graphs and diagrams to express abstract ideas. This paper is to give an account of the East Asian methodsfor representing body, mind and the universe. The fundamental ideas of East Asian graphic interpretation mostly originated from the Yijing (I Ching, Zhouyi), and were later developed by Confucian and Daoist thinkers to describe the universe, the mind, and the body as an organic totality. By comparing different approaches to portraying the (...) universe, this paper offers a critical analysis of East Asian semiotics. (shrink)

The Archaeology of Semiotics and the social order of things is edited by George Nash and George Children and brings together 15 thought-provoking chapters from contributors around the world. A sequel to an earlier volume published in 1997, it tackles the problem of understanding how complex communities interact with landscape and shows how the rules concerning landscape constitute a recognised and readable grammar. The mechanisms underlying landscape grammar are both physical and mental, being based in part on the mindset of (...) the individual; the same landscape can thus evoke different meanings for different people and at different times. People's perception has greatly influenced the construction of landscapes over millennia but, until recently, the potential of this area has been largely untapped. Apart from chapters focusing solely upon human interaction with landscape, there are several which skilfully integrate artefacts and place with landscape (e.g. Gheorghiu and Sognnes). Other chapters look at the way people have marked the landscape through such mechanisms as rock-art (e.g. Clegg, Devereux, Estévez, Fossati, Kelleher and Skier). Rock-art establishes personal and communal identity in relation to landscape and it is clear that other forms of visual expression were in place which distinctively created special places within the landscape. Landscape constructs can bind cultures together; bringing the old ways of reading the landscape into contemporary life (e.g. Smiseth). Defining early and late prehistoric landscapes and segregating these into, say, mundane domestic and ritualised spaces rely on both clear and subtle archaeologies and in this volume distinct monument clustering and ritualised linearity are considered (e.g. Mason and Nash). A volume such as this cannot escape the influence of New World approaches, such as anthropology, and in many respects chapters by Bender, Muller and Merritt give context to other chapters within the book. Finally, one must consider text as a means of constructing landscape and this is considered by Heyd, who eloquently deconstructs the travel diary of a 17th century Japanese poet. This will be an important volume for archaeologists, landscape scholars and students. The many approaches used are tried and tested, forming an invaluable resource and not just another edited book. (shrink)

Despite the proliferation of studies on corporate social responsibility (CSR), there is a lack of consensus and a cardinal methodological base for research on the quality of CSR communication. Over the decades, studies in this space have remained conflicting, unintegrated, and sometimes overlapping. Drawing on semiotics—a linguistic-based theoretical and analytical tool, our article explores an alternative perspective to evaluating the quality and reliability of sustainability reports. Our article advances CSR communication research by introducing a theoretical-cum-methodological perspective which provides unique insights (...) into how to evaluate the quality of CSR communication. Particularly, we illustrate the application of our proposed methodology on selected U.K. FTSE 100 companies. Our two-phased analysis employed the Greimas Canonical Narrative Schema and the Semiotic Square of Veridiction in drawing meanings from selected sustainability/csr reports. In addition, we present a distinctive CSR report quality model capable of guiding policy makers and firms in designing sustainability/csr reporting standards. (shrink)

Emerald Fennell’s debut feature Promising Young Woman (2020) incisively examines sexual assault, misogyny, and the culture of complicity that continues to perpetuate `violence against women. This article will establish Fennell’s aptitude as a filmmaker in condemning the pervasive forces of patriarchal social order in harmony with Kate Manne’s account of structural misogyny analyzed in Down Girl (2017) and Entitled (2020). Fennell’s subversion of genre standards demonstrates how the actions of individuals, separate from the perpetrator, lead to additional acts of harm, (...) and addresses the ever-present reality of male violence which the feminist-hero is, ultimately, unable to surmount. Despite arguments that Promising Young Woman has not met the expectations for change the me-too movement inspired, Fennell challenges conventions to expose misogyny and male violence asking that future feminist filmgoers consider a new way forward. (shrink)

This paper proposes a biosemiotic conception of theories, as non-intentional organic theories, which is based on an analysis and comparison of philosopher Norwood Russell Hanson’s account of theories and zoologist Jakob von Uexküll’s theory of organisms. It is argued that Hanson’s proposals about scientific theories and their relation to observation are semiotic in nature and that there exists a correspondence between Hanson’s depiction of the relationship between theories, observation, and reality and von Uexküll’s views on the relationship between organisms and (...) their environments. This correspondence supports an account of theories that depicts them as organic extensions of our perceptual physiology. Among the epistemological consequences of this account are the following: The kind of correspondence that is established through theories between a subject and reality is related rather to a subject’s actions than to a faithful representation of every aspect of the world, it suggests a strong emphasis on the creative aspects of knowledge acquisition, and it urges a reassessment of the evolutionary epistemology of theories. (shrink)

Iouri Lotman, taking as a starting point the idea that the rapport with the sign determines all the codes of a given culture and their systems of classification, proposes a typology of cultures. His resarch has been received with little interest in France, to the extent that some important articles in which it is described have not yet been translated. This is surprising considering the interest in Lotman's hypotheses, which give a boost and a broader outlook to semiotics which it (...) had lost in certain scholarly minutiae. It may also be held that this indifference is normal for those whose profession is to reflect on the sign, unwilling to consider their object as a relative entity subject to the contingencies of history and culture, but also refusing to recognize the sign as a concrete force in Man's life, capable of directing his knowledge and his exchanges. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Comic Business: Theatricality, Technique, and Performance Contexts in Aristophanic ComedyC. W. MarshallMartin Revermann. Comic Business: Theatricality, Technique, and Performance Contexts in Aristophanic Comedy. Oxford: Oxford University Press, 2006. xiv + 396 pp. 15 black-and-white plates. 3 black-and-white figs. 5 tables. Cloth, $115.The cover illustration of Martin Revermann's book on Aristophanic performance betrays the author's personal and intellectual debts: caricatures of five scholars thanked in the preface, drawn as (...) if they were characters in Clouds, including Oliver Taplin in a swing looking down from above like Socrates. It is a shame many libraries will not keep the cover, since the lighthearted image is quite revealing about the nature of this study, though without any intended association with the academic pedantry of the Thinkery. Following chapter 1, entitled "Comic Business" (3–7), really a short whirlwind of an introduction that raises many of the sorts of questions the book addresses, the structure of the book falls neatly into two parts: three chapters examine the nature of performance criticism of ancient comedy and address a wide range of specifics; three chapters address individual plays, Clouds, Lysistrata, and Wealth. Each chapter falls into well-labeled sections, which will facilitate ongoing reference to the book. Revermann's study aims at a theoretical sophistication that is needed if the study of ancient performance is to proceed meaningfully. While he does not engage with every issue he raises in sufficient depth, Revermann provides a crucial advance on previous discussions (the book comes thirty years after C. W. Dearden's Stage of Aristophanes and twenty-six years after Kenneth McLeish's Theatre of Aristophanes).Chapter 2, "Performance Criticism: Point and Methods" (8–65), addresses some important and underexplored methodological questions that often go unmentioned in such studies. After arguing that "no ancient statement known to [End Page 431] me... claims a necessary link between meaning and dramatic performance" (15), Revermann identifies a "nexus of competitive agendas and social performances" (22), building on those Wilson has described for the choregos. Many of the issues raised (non-competitive performances, pay for poets, the relative importance of dramatic festivals) are equally important for the study of tragedy, and the book generally raises issues that students of tragic performance will need to consider. A general vocabulary of theatre semiotics is introduced, helpfully, with specific examples examining how performance generally is framed.Revermann embarks on an ambitious project of replacing the "significant action" hypothesis (which assumes that every significant action within a Greek play is indicated by the words a character says) that has dominated discussions of ancient stagecraft. This is a very helpful discussion, and it is surely correct, culminating in a good articulation of Revermann's methodology (63–64). Again, the principal examples come from tragedy. However, when Revermann invokes the question of on-stage frogs (agreeing with my 1996 discussion, which in its way sought also to challenge the "significant action" hypothesis), I think he needlessly muddles the matter by imagining the possibility of subsequent, frogless performances, when, I would say, a great deal is lost as a result. Revermann's interest is more with the possibilities offered by performance generally (65: "'Why frogs?,' irrespective of their visibility"), and sometimes the nitty-gritty of specific staging choices is not pressed (comparison is made with the offstage songs of the cloud chorus on 200).Chapter 3 (66–106) addresses "Two Fundamental Problems." The first relates the performance script (as attested in our manuscripts) to a concept of authenticity, considering that many plays were reperformed in the fourth century and after. Given that issues of reperformance were barely acknowledged until the last decade (Easterling's 1994 discussion is subtitled "A Speculative Note"), Revermann provides a solid discussion, arguing that the scripts of both tragedy and comedy closely match what was performed in Athens. Inconsistencies exist, but they are mentioned; context-specific references in Aristophanes point to the primary script surviving. An appendix on the time allocated to a performance during a festival is relevant (333–37). Revermann argues that the scripts as we have them may not have been performed in their entirety during their initial performance, suggesting, for example, that one... (shrink)

A historical sketch of Autonomous Systems Research (ASR) is presented to show its roots in cybernetics, AI, Robotics, Cognitive Science, and in theoretical biology. These connections are considered in the light of the epistemology of human observers as a special kind of agents modeling other systems as representing and eventually realising autonomy. It is argued that ASR must primarily be understood as an opposition to traditional AI style ‘disembodied’ robotics, and that contemporary ASR provides a partial shift of focus towards (...) the organismic roots of cognition. Finally, it is suggested that a deeper understanding of situated autonomous systems as being a kind of complex self-organizing semiotic agents with emergent qualitative properties can be gained from the broad field of theoretical biology, including recent perspectives from Artificial Life, Evolutionary Systems, the Developmental Systems Approach, and Biosemiotics. Inspired by theoretical biology we suggest to investigate a new notion of autonomy that includes a qualitative aspect of the organism. (shrink)

J. PELC (ed.) Semiotics in Poland 1894-1969. Translation from the Polish by 0. Wojtasiewicz. Dordrecht, Boston and London; D. Reidel Publishing Company; Warsaw: PWN?Polish Scientific Publishers; 1981. xxvi + 504 pp. Df. 105/ $49.50.

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 369-393.

This book is about aesthetic processes and play from the perspectives of psychologists, philosophers, and semiologists. They explore the underlying processes from many viewpoints, including the prehistoric roots of language and art; the historical evolution of artistic, literary, and musical styles; the structure of artworks from both gestalt and semiotic perspectives; the biological and psychological processes underlying production and appreciation; the appeal of sentimental art; emotional responses to art and other aesthetic forms; personality in relation to artistic style; the testing (...) and measurement of art-related skills; the relations between social life and literary understanding; literature in relation to media; as well as neurobiological, developmental and individual growth perspectives on play activity. (shrink)

Bourdieu, in his theory of practice, assumes the pragmatic and epistemological primacy of objective structure/culture. This leads Bourdieu to conceptualize the body as a cultural product formed solely by structural conditions, thus denying the physical body any origination. In making this assumption Bourdieu is unable to explain how dispositions are incorporated and sustained within one’s bodily schema. It is my argument that Merleau-Ponty’s philosophy of the primordial source of agency is crucial to Bourdieu’s theory of practice. I suggest that Merleau-Ponty’s (...) notion of the primordial body makes possible the embodiment of the dispositions of habitus,and sustains this open system of dispositions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Wittgenstein and Critical TheoryC. W. SpinksWittgenstein and Critical Theory, by Susan Brill; xi & 169pp. Athens: Ohio University Press, 1995, $40.00 cloth, $14.95 paper.Susan Brill’s central claim for this book is that “by relying upon Wittgensteinian philosophy, literary critics will be enabled to escape the stultifying position of absolutist critical discourses without being bereft of any satisfactory means of evaluating...” (p. 2). It is a claim well chosen (...) and she gives a well executed overview of the connections between Wittgensteinian philosophy and the study of literature. Her first chapter is a lucid introduction to Wittgenstein’s heuristic, giving ample quotations and insightful guidance for even the philosophical novice. However, her chosen audience is literary critics and theorists, and she uses the Wittgensteinian corrective of descriptive investigation as a counterpoint to both traditionalist and postmodernist critical theories. Her pragmatic goal, in Wittgensteinian fashion, is to “look” at literature, [End Page 401] not “think” about it in terms of preconceiving “theory.” Those familiar with Wittgenstein will find the application of his work to literary criticism illuminating, and those unfamiliar with his philosophical methodology and ideas will get an introductory account useful for literary and critical applications.After the introductory chapter, Brill turns to specific critical approaches and some particularly Wittgensteinian twists to literature, literary theory, and criticism. First, she looks at psychoanalytic criticism which she links somewhat oddly, I think, with semiotic critical orientations—probably to offset the Gallic influence which has fascinated American literary criticism for most of the second half of the twentieth century. Then in a series of three chapters, she turns to what she calls “issues of inclusivity and exclusivity” to look at feminist theories and their literary analyses, at the problems of canonical literature and marginalized writers, and at the “deconstructive project” as compared to Wittgenstein’s descriptive one. Although these three chapters are focused on specific literary ideologies, she consistently looks for the elements of connectivity in her approach to them. Her last chapter suggests some future uses of Wittgenstein in literary theory with particular attention to New Historicism and cultural criticism.The book does have two awkward emphases arising, I think, from the particular methodology of Wittgenstein and from the fact that this is Brill’s first book. First, the Wittgensteinian concept of “game” sometimes is used so broadly by both Wittgenstein and Brill, that everything becomes a “game” and anything can be a piece, a move, a strategy, or a rule. Brill tries to tie this specifically to patterns of discourse and uses it to open up responses to literature, but what is needed is a developed definition of play particularly as it relates to aesthetic behaviors like literature. “Game” is certainly a usable structural device, but without some relationship to the goals and needs of human behavior, it tells us more about the device than the user of the device. Second, the book does tend to take critics at their own estimation, and one needs to remember descriptively that critics are a Victorian invention like corsets and morning coats and just as restrictive in design. Any folk engaged in professional discourse, particularly one engaged in its own legitimization, will tend to over-valuate their own professional worth, and one should not take them too seriously unless it is clear that their profession is doing significant damage.Of course, that question about the damaging effects of critics and philosophers motivates both Wittgenstein and Brill, and the joining of the two here will probably do good for both professions. Certainly the study will do much to bring a more open notion of theory to the study of literature. Susan Brill is a persistent scholar who has drawn together a wide net, and though her chosen task was to suggest Wittgensteinian strategies for reading literature and to caution literary critics about overinvested theories, her own literary and philosophical desire has been to be as inclusive and open as possible to the [End Page 402] dynamics of texts without losing her own value center. Scholarship would surely be a better enterprise if more did what she has done with the persistence she has shown.C. W. SpinksTrinity UniversityCopyright... (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 216 Seiten: 363-381.