Kick off the year right... and you will find yourself capable of recognizing the depth and breadth of John's genius. This event, commented on by Bujar Hoxha (South-East European University) chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, (...) the Lyceum Institute, the Deely Project, Saint Vincent College, the Iranian Society for Phenomenology at the Iranian Political Science Association, the International Association for Semiotics of Space and Time, the Institute for Scientific Information on Social Sciences of the Russian Academy of Sciences, the Semiotic Society of America, the American Maritain Association, the International Association for Semiotic Studies, the International Society for Biosemiotic Studies, the International Center for Semiotics and Intercultural Dialogue, Moscow State Academic University for the Humanities and the Mansarda Acesa with the support of the FCT - Foundation for Science and Technology, I.P., of the Ministry of Science, Technology and Higher Education of the Government of Portugal under the UID/FIL/00010/2020 project. *** Eero Tarasti, professor of musicology at the University of Helsinki (chair) in 1984-2016. He was President of the IASS/AIS - International Association for Semiotic Studies, 2004-2014 and is now its Honorary President. In 2016 he has founded the Academy of Cultural Heritages. He studied music in Sibelius Academy, Helsinki, and then in Vienna, Paris, Rio de Janeiro and Bloomington. He got his PhD from the University of Helsinki (1978) after studies in Paris with Claude Lévi-Strauss and A. J. Greimas. He is one of the founders and the director of the international research group Musical Signification since 1984.Tarasti has become Honorary Doctor at Estonian Estonian Academy of Music and Theatre, New Bulgarian University (Sofia), Indiana University (Bloomington), University of Aix-Marseille, and Gheorghe Dima National Music Academy in Cluj-Napoca, Rumania. He has published about 400 articles, edited 50 anthologies, and written 30 monographs; among them one finds: Myth and Music (1979), A Theory of Musical Semiotics (1994), Heitor Villa-Lobos (1996), Existential Semiotics (2000), Signs of Music (2003), Fondéments de la sémiotique existentielle (2009), Fondamenti di semiotica esistenziale (2010), Semiotics of Classical Music (2012, in French 2016), Sein und Schein, Explorations in Existential Semiotics (2015), and Transcending Signs: Essays in Existential Semiotics (2023); two novels: Le secret du professeur Amfortas (2002) and Retour à la Villa Nevski (2014, in Italian L’heredità di Villa Nevski 2014, in Finnish Eurooppa/Ehkä 2016). He has supervised 150 PhDs in Finland and abroad. *** Dr. Bujar Hoxha is a full professor of Communication Sciences at the South-East European University in Tetovo and Skopje, North Macedonia. His teaching courses include communication theory, introduction to communication sciences, and Semiotics of Mass Communication. His main scientific interests are structural semiotics, semiotics of passions, semiotics of disabilities, and existential semiotics. He gained his PhD from the University of Skopje in 2008 on the semiotics of Umberto Eco. Out of his creative and intellectual work, one can number two published novels, a book, as well as several scientific articles published in prestigious scientific journals, such as: “Semiotics of Precision and Imprecision” (2016) and “Multilingualism and Sameness vs Otherness in a Semiotic Context”, (2018) both in de Gruyter Mouton's Semiotica, Berlin and Boston, as well as “On the Applicability of the Semiotics of Passions” (2018) and “The Signs’ Behavior in Autistic Children: Semiosis of an Unspoken Language” (2021), both in the Humanities Bulletin, issued by London Academic Publishing, London, United Kingdom. Recently, Dr. Hoxha has published a monograph entitled: Umberto Eco’s Semiotics: Theory, Methodology and Poetics, issued by Cambridge Scholars Publishing in January 2022, New Castle upon Tyne, UK. *** Homepage: https://www.uc.pt/fluc/uidief/io2s Auditorium: https://www.uc.pt/fluc/uidief/io2s/auditorium *** Technical support assured by Robert Junqueira. The cover image for the video was designed by Zahra Soltani. (shrink)

(by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...

This article argues that Machiavelli’s chapters on the Decemvirate ( D 1.35, 1.40-45) advance an internal critique of the juridical discourse of sovereignty. I first contextualize these chapters in relation to several of Machiavelli’s potential sources, including Livy’s Ab urbe condita, Dionysius of Halicarnassus’s Roman Antiquities, and the antiquarian writings of Andrea Fiocchi and Giulio Pomponio Leto. I then analyze Machiavelli’s claim that the decemvirs held “absolute authority” ( autorità assoluta)—an authority that was unconstrained by either laws or countervailing magistrates. (...) I proceed to argue that Machiavelli’s account of the decemvirs’ election contains a web of allusions to the lex regia, the “royal law” by which the Roman people were thought to have conveyed their sovereign power to an emperor. By modeling the decemvirs’ election on the lex regia, Machiavelli reveals the political limitations of the doctrine of popular sovereignty; moreover, he illustrates that even free and fair elections can easily give rise to tyranny. (shrink)

Thirty high-level essays on various aspects of semiotics by Finnish, Estonian, and Hungarian scholars.

One need not know much history of semiotics in order to recognize the background of my title. It is of course an allusion to Umberto Eco’s classic Struttura assente from 1968, which turned out to be a major touchstone in the history of European semiotics. At that time, everything about semiotics had become “structural”. But why, for Eco, was structure “absent”? This notion of absence reveals something essential in both the history of structuralism and in the reasoning to which most (...) semiotics has remained faithful – namely, that “true” reality is not that which can be seen, heard or felt, but the structure behind and causing any manifest phenomenon. As Greimas put it, any surface reality was only an “effet du sens”, a meaning-effect. In a word, manifest reality is only Schein – appearance, illusion – a notion that may be found as early as in the teachings of Schiller and Kant. Getting at the structure involves the kind of reductionism described by Mireille Marc-Lipiansky: réductionnisme qui cherche à ramener le supérieur à l’inférieur. Under the category of “antihumanism”, she distinguished among four different phases of reductionism: the reduction of the individual to the collective; the reduction of the conscious to unconscious categories; the reduction of consciousness to an unconscious regulative agglomeration or “combinatory”, which eliminates the creative activity of a subject and of history; and finally, the reduction of freedom to necessity. One cannot think of a better summary of the issue, and to judge from the world around us, this world-view has certainly won out. (shrink)

Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the so-called (...) 'organic growth' which particularly manifests in symphony. The concepts of 'organic/inorganic' can be used as analytic terms, whereby one might even compare such composers as Jean Sibelius and Gustav Mahler. Music is said to be 'organic' when (I) its theme actors live in their proper Umwelt (or isotopy); (2) all music material stems from the same themes (it is innerly iconic); (3) all musical events follow each other coherently (inner indexicality or the principle of Growth); (4) music strives for some goal (temporality). Moreover the Ueküll idea of a particular lch-Ton of every organism can be turned back to music. Hence we can say that every musical piece is like an 'organism' which has its lch-Ton detennining which signs it accepts and how it acts in the musical environmentof its own and formed by other musical works. (shrink)

It is more or less uncontroversial that when we harm someone through wrongful conduct we incur an obligation to compensate her. But sometimes compensation is impossible: when the victim is killed, for example. Other times, only partial compensation is possible. In this article, I take some initial steps towards exploring this largely ignored issue. I argue that the perpetrator of a wrongful harm incurs a duty to promote the impartial good in proportion to the amount of harm that cannot be (...) made up for by compensating her victim. (shrink)

A person is biased toward the future when she prefers, other things being equal, bad events to be in her past rather than her future or good ones to be in her future rather than her past. In this paper, I explain why both critics and defenders of future bias have failed to consider the best version of the view. I distinguish external time from personal time, and show that future bias is best construed in terms of the latter. This (...) understanding of future bias avoids several standard objections. I then consider a new justification of future bias which is consistent with that construal. My discussion points to a new position regarding the basic relation that grounds rational egoistic concern over time, according to which that relation is asymmetric between person-stages. I also explain how this way of justifying future bias would resolve the apparent tension between the future bias we display in our own case and our relative indifference toward the timing of the good and bad things that happen to other people. (shrink)

The essay deals with the formation of the Greimassian thought from its earliest origins in his young years at Kaunas University, i.e. his connections with Wilhelm Sesemann, Lev Karsavin and Russian formalism, to the rise of structuralism in Paris. The Paris School approach stems from Semantique structurale (1967) leading to the ‘third semiotic revolution’, as Greimas called it, by the invention of the modalities. This made his method close to even analytic philosophy and modal logics. In both, a linguistic turn (...) and use of formal logics took place. Yet Greimas’ semiotics grew out of a purely linguistic framework into a broader philosophical approach. Nowadays, considered one of the classics of the semiotic scene, his method still has not lost anything of its analytic acuity and epistemic temptation. Even such new paradigms as existential semiotics grow organically from some Greimas’ ideas which have kept their relevance.В статье исследуется формирование научных взглядов Греймаса: юность в Каунасском университете, знакомство с Василием Сеземаном, Львом Карсавиным и идеями русского формализма, рождение структурализма в Париже. Основой парижской школы семиотики стала книга Греймаса Semantique structurale (1967), которая, по его словам, привела к ≪третьей семиотической революции≫ благодаря изобретению модальностей. Это сблизило метод Греймаса с аналитической философией и модальной логикой. В обеих науках произошел лингвистический поворот и стали пользоваться формальной логикой. Семиотика Греймаса преодолела рамки чистой лингвистики, став более широким философским подходом. Сейчас его метод считается классикой семиотики. Однако метод Греймаса не потерял своей аналитической остроты и эпистемологической привлекательности. Даже такие новые парадигмы, как экзистенциальная семиотика, органически вырастают из идей Греймаса, сохранивших свою актуальность.Artikkel kasitleb Greimase mottemaailma valjakujunemist alates selle varaseimatest allikatest, mis parinesid noorusaastatest Kaunase Ulikoolis, s.t tema sidemetest Wilhelm Sesemanni, Lev Karsavini ja vene vormikoolkonnaga, kuni strukturalismi tekkimiseni Pariisis. Pariisi koolkonna lahenemise aluseks on Semantique structurale (1967), mis toob kaasa “kolmanda semiootilise revolutsiooni”, nagu Greimas seda nimetas, leiutades modaalsused. See muutis tema meetodi sarnaseks ingliskeelse analuutilise fi losoofi a ja modaalloogikaga, kus molemas toimus lingvistiline poore ning hakati kasutama formaalloogikat. Ent Greimase semiootika kasvas puhtlingvistilisest raamistikust valja avaramaks fi losoofi liseks lahenemiseks. Tanapaeval, mil tema meetodit peetakse semiootikavaldkonna klassikasse kuuluvaks, ei ole see kaotanud midagi oma analuutilisest teravusest ja episteemilisest koitvusest. Isegi sellised uued paradigmad nagu eksistentsiaalne semiootika kasvavad orgaaniliselt valja monedest Greimase ideedest, mis on sailitanud oma relevantsuse. (shrink)

A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...) The most formalized aspect of the analysis is constituted by what has been called a modal grammar of the piece (the term modality understood here in its philosophico-linguistic sense). The analysis tries to show how the musical form emerges from its inner processual traits, kinetic, epistemic and other aspects of a modal nature. It thus approaches for instance the problem of segmentation from the processual and dynamic nature of musical works. Moreover, the analysis is also an attempt to study the narrativity in music, since the narrative content of a piece like Chopin's G minor Ballade is clearly seen as the result of its modal processes. (shrink)

Music is said to be the most autonomous and least representative of all the arts.

Although Judith Butler's theorization of violence has begun to receive growing scholarly attention, the feminist theoretical background of her notion of violence remains unexplored. In order to fill this lacuna, this article explicates the feminist genealogy of Butler's notion of violence. I argue that Butler's theorization of violence can be traced back to Gender Trouble, to her discussion of Monique Wittig's argument that the binary categorization of sex can be conceived as a form of discursive violence. I contend, first, that (...) Butler starts to develop her notion of “gender violence” on the basis of her reading of Wittig, and second, that Butler's more recent writings on military violence and the ethics of nonviolence build on her early interpretation of Wittig. On the basis of my reading, I suggest, in contrast to recent criticism, that Butler's later critique of violence is not at odds with but rather expands upon her prior work on violence. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 21-34.

There is widely thought to be a proportionality constraint on harming others in self-defense, such that an act of defensive force can be impermissible because the harm it would inflict on an attacker is too great relative to the harm to the victim it would prevent. But little attention has been given to whether a corresponding constraint exists in the ethics of compensation, and, if so, what the nature of that constraint is. This article explores the issue of proportionality as (...) it applies to the liability to compensate. The view that some perpetrators are not liable to pay full compensation because doing so would be disproportionately burdensome is clarified and defended, and it is asked what view we should adopt instead. A key step in that inquiry is an argument that someone is liable to bear the cost of compensating for an injury if and only if she would have been liable to bear that same cost in defense against that same injury ex ante. (shrink)

Many people believe that the wrongness of killing a person does not depend on factors like her age, condition, or how much she has to lose by dying – a view Jeff McMahan calls the ‘Equal Wrongness Thesis’. This article argues that we should reject the Equal Wrongness Thesis on the basis of the moral equivalence between killing a person and knocking her unconscious.

In this paper a logical interpretation of semantic nets and graph grammars is proposed for modelling natural language understanding and creating language understanding computer systems. An example of parsing a Finnish question by graph grammars and inferring the answer to it by a semantic net representation is provided.

The dominant framing of the political corporate social responsibility discussion challenges the traditional economic conception of the firm and aims to produce a paradigm shift in CSR studies wherein the traditional, apolitical view of corporations’ roles in society is replaced by the political conception of CSR. In this paper, we show how the major framing of the political CSR discussion calls for a redirection to take international hard legal and moral regulations, as well as the need for the boundaries between (...) business and politics into account. (shrink)

Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...

Despite the acknowledged importance of strategic planning in business and other organizations, there are few studies focusing on strategy texts and the related processes of their production and consumption. In this article, we attempt to partially fill this research gap by examining the institutionalized aspects of strategy discourse: what strategy is as genre. Combining textual analysis and analysis of conversation, the article focuses on the official strategy of the City of Lahti in Finland. Our analysis shows how specific communicative purposes (...) and lexico-grammatical features characterize the genre of strategy and how the actual negotiations over strategy text involve particular kinds of intersubjectivity and intertextuality. (shrink)

PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...

This paper investigates how play practices affect players’ relationships with the urban environment through the bodily movement and performances that characterize them. Building on a definition of playful behavior derived by semiotics of culture, we investigate urban play from the perspective of motor praxology to outline how movement is central for the experience of the players. We then concentrate on the role of semiotic valorizations in different urban contexts, notably the famous typology of Metro users by Floch and different kinds (...) of ludic mobility. Finally, we combine these two perspectives with the zemic model realized within existential semiotics in order to create a typology or urban players as well as urban playful enunciation modes. (shrink)

Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...