Journal Name: Semiotica Issue: Ahead of print.

We all intuitively know what a diagram is, and still it is surprisingly difficult to describe it as a semiotic function or type. In this article, we present four groups of hypotheses in view of a clarification. We hypothesize: (1) That diagrams are signs of a distinct type, unknown to classical semiotics; (2) That the elementary graphs of a diagram are all derived fromlines and pointsintopologicalmental spaces. The mind applies these diagrammatic spaces to referential spaces in many ways, but basically (...) through conceptual integration (blending). The mind blends topology and reference, which makes the topology unnoticeable; (3) That elementary diagrammatic graphs constitute a natural, phenomenological, spatiotemporal, figurative and dynamic but informal geometry in the embodied, thinking mind; (4) That diagrammatic signs are the active components of the abstract mental figuration in working memory that accompany perception and deliver the schematizing ideas which invest and connect our categories and construe proper descriptive, narrative, patterns of inferentialthoughtand programs of sensorimotor and social action. (shrink)

På husmuren i Rue Jussieu, hvor et af Paris' universiteter holder til, kan man læse følgende grafitiske memento: La femme comme objet sexuel est le point noir de l'humanite.

Cognitive semio-linguistics studies the relations between signs and language, between semiological and linguistic structures, as expressions of, and as causes of, the cognitive activities involved in thinking, here called epistemic activities. This short essay displays a leveled analysis of the relations holding between semio-linguistic and epistemic structures active in the human mind.

After giving some contextual information, we propose an analysis of music and meaning in the song “The Garden,” as performed by the rock group Einstürzende Neubauten in the official video from the 1996 release of the album Ende Neu. We present a semiotic blending model of the narrative content of the song and of its imagery, partly determined by the structure and character of the music. Finally, we add a view of the apocalyptic perspective of some comparable creations.