Results for 'Semiotics and art '

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  1.  35
    Semiotic systems of works of visual art: Signs, connotations, signals.Georgij Yu Somov - 2005 - Semiotica 2005 (157):1-34.
    The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...)
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  2.  61
    Lotman’s semiotics of culture in the age of AI: analyzing the cultural dynamics of AI-generated video art in the semiosphere.Daria Arkhipova & Auli Viidalepp - 2023 - Semiotica 2023 (255):149-160.
    The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a (...)
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  3.  20
    Edusemiotics: Semiotic Philosophy as Educational Foundation.Andrew Stables & Inna Semetsky - 2014 - New York: Routledge. Edited by Inna Semetsky.
    _Edusemiotics_ addresses an emerging field of inquiry, educational semiotics, as a philosophy of and for education. Using "sign" as a unit of analysis, educational semiotics amalgamates philosophy, educational theory and semiotics. Edusemiotics draws on the intellectual legacy of such philosophers as John Dewey, Charles Sanders Peirce, Gilles Deleuze and others across Anglo-American and continental traditions. This volume investigates the specifics of semiotic knowledge structures and processes, exploring current dilemmas and debates regarding self-identity, learning, transformative and lifelong education, (...)
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  4. From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. Historical change of perspective exemplified on Josef Albers.Martina Sauer - 2020 - In Grabbe, Lars Christian ; Rupert-Kruse, Patrick ; Schmitz, Norbert M. (Hrsgg.): Bildgestalten : Topographien medialer Visualität. Marburg: Büchner. Büchner Verlag. pp. 194-213.
    The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...)
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  5.  22
    From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music.Eero Tarasti - 1998 - Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.
  6.  74
    Musical semiotics in growth.Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) - 1996 - Imatra: International Semiotics Institute.
    (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 ...
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  7. Rilke’s Semiotic Potential.William D. Melaney - 2002 - American Journal of Semiotics 18 (1-4):159-172.
    This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s 'Duino Elegies' suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My concluding remarks (...)
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  8.  98
    On semiotic aesthetics.Richard Rudner - 1951 - Journal of Aesthetics and Art Criticism 10 (1):67-77.
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  9.  34
    Semiotica de las artes visuales (Semiotics of the Visual Arts)Cuestiones de estetica.Mihai Nadin, Elena de Bertola, Jorge Glusberg, Jorge Lopez Anaya & Rosa Maria Ravera - 1982 - Journal of Aesthetics and Art Criticism 40 (4):443.
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  10. Semiotics of Poetry.Joseph Margolis - 1980 - Journal of Aesthetics and Art Criticism 39 (1):93-97.
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  11.  49
    Embodied semiotic artefacts: On the role of the skin as a semiotic niche.Breno Bitarello & João Queiroz - 2014 - Technoetic Arts 12 (1):75-90.
    The skin can be described as a niche structured by semiotic artefacts (tattoos) that work as symbolic–indexical devices (dicisigns). New biocompatible technologies responsive to organic and environmental variations change the role of the skin as a semiotic niche. New devices are transforming the skin into a niche of interactive interfaces. In this article we introduce a variety of techno-scientific artefacts, which are readily available, and their main characteristics. We are interested in the recent proliferation of devices based on biotechnologies that (...)
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  12.  33
    A Theory of Semiotics.Robert Scholes - 1977 - Journal of Aesthetics and Art Criticism 35 (4):476-478.
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  13.  65
    Semiotic Vision of Ideologies.Josué Antonio Nescolarde-Selva & Josep-Lluis Usó-Doménech - 2014 - Foundations of Science 19 (3):263-282.
    A semiotic theory of systems derived from language would have the purpose of classifying all the systems of linguistic expression: philosophy, ideology, myth, poetry, art, as much as the dream, lapsus, and free association in a pluridimensional matrix that will interact with many diversified fields. In each one of these discourses it is necessary to consider a plurality of questions, the essence of which will only be comprehensible by the totality; it will be necessary to ask, in the first place, (...)
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  14.  24
    Semiotics of Media Text Translation.Bogdana Kolodii, Mariya Tkachivska, Mariia Grytsenko, Olena Stepanenko, Ivan Bakhov & Vasyl Tkachivskyi - 2022 - Postmodern Openings 13 (4):497-512.
    The topic of the article is important, because nowadays there is a need to study the semiotics of media text translation, the use of innovations in choosing the types of media text translation. The aim of the article is the need to study and substantiate the importance of studying the essence of the concepts of “semiotics”, “media text”. The article gives a theoretical justification for the concept of media text in the field of mass communication, substantiates the (...) of learning about signs and sign systems; semiotic characteristics of media texts translation are given. In the field of view of semiotics are various sign systems, features of translation of these signs in media texts, in particular: natural (spoken) and artificial (formal) languages, sentence systems of scientific theories, signaling systems in society and nature, states and many others. Artificial languages can also be considered as sign systems (including the “language” of scientific theory, “languages” of fine arts, cinema, theater, music), various types of visual sign systems (from road signs to painting), as well as any complex control systems considered from the standpoint of cybernetics: machines, devices and their circuits, living organisms, their subsystems (for example, central nervous system), industrial and social associations and society as a whole. (shrink)
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  15.  26
    Semiotic value in advertisements in Silesian Catholic periodicals from the second half of the nineteenth to early twentieth centuries.Małgorzata Haładewicz-Grzelak & Joanna Lubos-Kozieł - 2012 - Semiotica 2012 (192):381-425.
    The paper studies semiotic values in advertisements appearing in German Catholic periodicals in Silesia in the second half of the nineteenth and early twentieth centuries. The study is grounded in the Tartu School of Semiotics and shows shifts and hierarchies in the semiotic valuations of particular commodities. Collected advertisements were classified into four main groups: (1) books, (2) church art, (3) church and devotional accessories, (4) everyday life commodities. We motivate the claim that the group (2) of the advertisements (...)
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  16.  22
    Introduction: from semiotic odysseys to artistic tele-machinations.Martin Švantner & Ondřej Váša - 2023 - Semiotica 2023 (254):1-14.
    The main theme of the article, which by genre falls into the area of semiotically influenced philosophy, is a reflection on the relationship between the human and the non-human, using two partial but parallel discourses. The first discourse is the perspective of general semiotics, which is defined in the article on the basis of two distinct forms of rationality that, in different guises, still intervene in debates about the nature of the humanities and social sciences today. The first form (...)
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  17.  13
    Semiotics: Critical Concepts in Language Studies.Peer F. Bundgaard & Frederik Stjernfelt (eds.) - 2010 - Routledge.
    Semiotics embraces linguistics, philosophy, and literary studies, as well as linking to anthropology, art, psychology, and biology. This new Routledge collection helps to make sense of the subject’s huge interdisciplinary corpus of scholarly literature and brings together the best and most influential materials from ‘the first phase’, neo-classics from the institutionalization of semiotics in the 1960s, and contemporary works illustrating the ongoing development of semiotics and its widening applications. Volume I collects pre-modern material showing the genesis of (...)
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  18.  38
    A Semiotic Phenomenology of Aesthetic Systems.Marian Zielinski - 2003 - American Journal of Semiotics 19 (1-4):197-208.
    This article investigates the significance of Bateson’s concept of metapattern and the intrinsic correlation of his distinctions between the conscious, the aesthetic, and the sacred as they apply to theatre and the visual arts. It entails a series of phenomenologicalreflections on ornament and visual patterns as they relate to explorations of character (as habit) and environment (as habitat). As well, I explore the implications of the traces we leave as individuals (i.e., as expressive embodiments of culture), traces that mark the (...)
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  19.  36
    The Sign: Semiotics around the World.R. W. Bailey, L. Matejka & P. Steiner - 1980 - Journal of Aesthetics and Art Criticism 38 (3):337-338.
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  20.  37
    Can Semiotic Be the Lingua Franca for the Epistemological Hybrids of Contemporary Times?Julio Pinto - 2009 - American Journal of Semiotics 25 (3-4):67-73.
    Based on the observations of Brazilian theorists of Communication, this article purports to give an overview of the contemporary experience in terms of communicational phenomena and their relationship with art, technology, science and language from the broad standpoint of a Charles S. Peirce-based view of semiotic.
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  21.  42
    Some problems of non-semiotic aesthetic theories.Richard Rudner - 1957 - Journal of Aesthetics and Art Criticism 15 (3):298-310.
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  22.  59
    Saying, singing, or semiotics: "Prima la musica E poi le parole" revisited.Armen T. Marsoobian - 1996 - Journal of Aesthetics and Art Criticism 54 (3):269-277.
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  23.  56
    A Cultural Semiotic Aesthetic Approach for a Virtual Heritage Project.Chrysanthos Voutounos & Andreas Lanitis - 2016 - Techné: Research in Philosophy and Technology 20 (3):198-215.
    This paper presents an integrated framework applied towards the design and evaluation of a virtual museum of Byzantine art that combines the theorized fields of semiotics, virtual heritage (VH), and Byzantine art. A devised semiotic model, the case study semiosphere, synthesizes important principles from the theoretical background justifying the overall design and evaluation methodology. The approach presented has theoretical extensions to the understanding of the role technology plays in promoting a consummatory aesthetic experience for Byzantine art in virtual environments, (...)
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  24.  18
    Entangled Speech: Semiotic sympoiesis for the posthuman commons.Klaus Spiess - 2021 - Technoetic Arts 19 (1):203-214.
    In our performanceEntangled Speech, we connect the integration of microbial agency into a new complex ‘common good’ with the shared values of language. Drawing on a posthuman commons we aim for a hybrid language that not only processes formal symbols but also interacts with the microbes in the speaker’s mouth. We argue that the metaphors historically used to frame the relationship between microbiomes and speech cannot account for the co-creative material relationship between human speech and posthuman microbial, environmental and biotechnological (...)
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  25.  53
    The Role of the Reader: Explorations in the Semiotics of Texts.Umberto Eco - 1979 - Journal of Aesthetics and Art Criticism 38 (3):336-337.
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  26.  16
    Tomás Saraceno: semiotic regimes of posthuman temporalities.Martin Charvát - 2023 - Semiotica 2023 (254):41-56.
    Since 2007, Tomás Saraceno has been developing a project that aims to break out of the anthropocentric understanding of communication and coexistence with other animal organisms. In this article, I point out the importance of using modern visualization technologies to analyze and investigate the structure of communication frameworks and their modalities in the animal world, specifically using the example of spiders. The visualization of what is normally invisible to the eye and inaudible to the ear rearticulates the realm of the (...)
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  27. A Phenomenalist Semantic Frame for the Semiotics of Contrapuntal Theory.Frank Foulks - 1991 - Dissertation, Indiana University
    In the early twentieth century Arnold Schoenberg introduced into music an atonal style of polyphonic composition. The artistic success of his and his colleagues' oeuvre insured the wide diffusion of his technique of the twelve tone series. In the period immediately following World War II, the serial technique exercised a dominant influence over advanced musical practice. However, in the decades that followed, composers and theorists alike began to entertain doubts about the relation between the derivation of a composition from a (...)
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  28.  33
    A Cultural Semiotic Aesthetic Approach for a Virtual Heritage Project.Chrysanthos Voutounos & Andreas Lanitis - 2018 - Techné: Research in Philosophy and Technology 22 (2):230-261.
    Continuing from Part A (2016), in which we discuss the semiotic foundation for designing a virtual museum of Byzantine art, Part B presents an applied methodology for the representation of cultural artifacts through virtual technologies and semiotic techniques. We discuss how our semiotic model, case study semiosphere, contributes to design and evaluation research of such unique art-form representation and why the approach contributes as a whole to the field of Virtual Heritage (VH). Theorizing further the design implications integrating the overall (...)
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  29.  41
    An Ecological Approach to Semiotics.W. Luke Windsor - 2004 - Journal for the Theory of Social Behaviour 34 (2):179-198.
    This paper proposes an ecological approach to the perception and interpretation of signs. The theory draws upon the ecological approach of James Gibson . It is proposed that cultural and natural perception can both be explained in terms of the direct pick-up of structured information and the Gibsonian concept of affordances without having to invoke a sharp distinction between direct and indirect perception. The application of the theory is exemplified through attention to language and to the visual and audio arts.
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  30. Handbook of Brand Semiotics.George Rossolatos (ed.) - 2015 - Kassel: Kassel University Press.
    Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a set (...)
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  31.  45
    Lines of Development in Greek Semiotics.Wenceslao Castañares - 2012 - Cultura 9 (2):13-32.
    Three lines of semiotic thought were developed by Greek culture: that of Medicine, that of the Arts of discourse (Logic, Dialectic and Rhetoric), and finally,that of Language, strictly speaking. Even though these three branches evolved in quite parallel terms, they only slightly influenced one another, which hindered the existence of a general Semiotics. However, this fact does not play down the reflection on Semiosis carried out by the Greeks.
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  32.  28
    New approaches to plastic language: Prolegomena to a computer-aided approach to pictorial semiotics.Everardo Reyes & Göran Sonesson - 2019 - Semiotica 2019 (230):71-95.
    In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In (...)
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  33.  21
    Wendt versus Pollock: Toward visual semiotics in the discipline of IR theory.Serdar Güner - 2021 - Semiotica 2021 (238):239-251.
    We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, (...)
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  34.  44
    Hotspots for textual dynamics: cultural semiotic approach to digital archives.Indrek Ibrus & Maarja Ojamaa - 2021 - Semiotica 2021 (243):387-407.
    Digital cultural archives and databases are promising an era of heritage democratization and an enhancement of the role of arts in everyday cultures. It is hoped that mass digitization initiatives in many corners of the world can facilitate the secure preservation of human cultural heritage, with easy access and diverse ways for creative reuse. Understanding the dialogic processes within these increasingly vast databases necessitates a dynamic conceptualization of data they contain. The paper argues that this can be found in Juri (...)
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  35.  16
    Metaphors in Juan Luna's Works: A Semiotic-Hermeneutic Analysis.Joseph Reylan Viray - 2023 - Diversitas Journal 8 (3).
    Juan Luna was a major force of painting tradition in the Philippines particularly in the late 19th Century. Like his colorful paintings, his life was also interestingly complicated which scholars and historians were fond of studying about. His paintings are known to be packed with symbolism. In this study, I tried to interpret the painter's works and the intricacies of his life as a nationalist and as a private person. By employing semiotic-hermeneutic interpretation, an exposition of various symbols embedded in (...)
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  36. The Appropriation of the Work of Art as a Semiotic Act.Jean-Marie Klinkenberg & Francis Édeline - 2015 - In Peer F. Bundgaard & Frederik Stjernfelt, Investigations Into the Phenomenology and the Ontology of the Work of Art: What are Artworks and How Do We Experience Them? Cham: Springer Verlag.
    A work of art can be defined as a section of space that has been assigned a particular status. It is not our intention to define this status—philosophical aesthetics has been addressing this issue for centuries. Rather, we aim to pinpoint the mechanisms in virtue of which this section of space is isolated and bestowed with the status in question. Such a move requires the action of a certain instance—hence the emphasis we put on the interactive character of the process. (...)
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  37.  48
    Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle.Roland Posner - 2011 - Semiotica 2011 (183):9-30.
    The contribution describes the differences between modernism and postmodernism as historical periods of the twentieth century and establishes comparable differences between structuralism and post-structuralism as semiotic approaches. Like modernism, structuralism rejects traditional modes of thought, attempts to reconstruct academic disciplines on the basis of a few fundamental principles and strives to work with reconstructed terminologies and axioms. Like post-modernism, post-structuralism is characterized by the necessity of finding ways to continue research based on the fragmentary results left by structuralist projects. In (...)
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  38. Money as Media: Gilson Schwartz on the Semiotics of Digital Currency.Renata Lemos-Morais - 2011 - Continent 1 (1):22-25.
    continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection (...)
     
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  39.  17
    Semiotics of art literature• painting• film.Sémiotique des Arts - 1971 - In Julia Kristeva, Josette Rey-Debove & Donna Jean Umike-Sebeok, Essays in semiotics. The Hague,: Mouton. pp. 397.
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  40.  41
    The Aesthetics of Inscape: Teaching Chinese Art with Barthesian Semiotic Theory.Lian Duan - 2019 - Journal of Aesthetic Education 53 (1):78-96.
    As a general concept, aesthetic education and art education are connected; to a certain extent, the two can be taken as one or two sides of the same coin. However, the specific questions involved are how they are connected and how to connect them in teaching practice. To answer these questions, I define aesthetic education as more general and theoretical and define art education as less general and more practical, that is, teaching students to read art works. Exploring the answers (...)
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  41. Signs of music: a guide to musical semiotics.Eero Tarasti - 2002 - New York: Mouton de Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  42.  34
    Semiotics of Art: Prague School Contributions.J. F. - 1977 - Substance 6 (18/19):220.
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  43.  49
    The ethnographer as a trader.Piret Koosa & Art Leete - 2006 - Sign Systems Studies 34 (2):387-401.
    Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...)
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  44. What does Peirce's Sign System Have to Say to Art History?James Elkins - 2003 - Culture, Theory, and Critique 44 (1):5-22.
    Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.
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  45.  14
    The Semiotics of Art: A Dynamic View.Herbert Eagle - 1977 - Semiotica 19 (3-4).
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  46.  73
    A systemic-functional semiotics of art.Michael O’Toole - 1990 - Semiotica 82 (3-4):185-210.
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  47.  15
    The Dialectical Approach to the Art of the Moving Image.Kevin L. Stoehr - 2006 - Film and Philosophy 10:99-115.
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  48. Abraham, Nicolas. Rhythms: On the Work, Translation, and Psychoanalysis. Translated by Benjamin Thigpen and Nicholas T. Rand. Stanford: Stanford University Press, 1995. xii & 169 pp. Cloth $35.00; paper $12.95. Adams, EM Religion and Cultural Freedom. Philadelphia: Temple Univer-sity Press, 1993. xiii & 193 pp. Cloth $39.95. [REVIEW]Transcendental Semiotics - 1996 - Man and World 29:445-468.
     
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  49.  26
    The function of art as ′iconic text′: An alternative strategy for a semiotic of art.A. Christine Hasenmueller - 1981 - Semiotica 36 (1-2).
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  50.  13
    Art evolution in the light of brain asymmetry: A trial of empirical investigation.Vladimir M. Petrov - 1995 - In Eero Tarasti, Musical signification: essays in the semiotic theory and analysis of music. New York: Mouton de Gruyter. pp. 121--267.
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