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Journal articles on the topic 'Semiotics and art'
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1
Liu, Zhongchen, and Guyong Lee. "Signification of Contemporary Chinese Art through a Semiotic Aspect: Focusing on the Visual Symbols Shown in the Work." Korean Society of Culture and Convergence 45, no. 11 (2023): 711–26. http://dx.doi.org/10.33645/cnc.2023.11.45.11.711.
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This study employs semiotic theory to explore the visual symbols and their meanings in contemporary Chinese art. By analyzing the visual symbols of specific artworks through case studies and interpreting their meanings centered around Roland Barthes's theory of myth, the research delves into the association between art and semiotics in various artistic forms including two-dimensional, three-dimensional, and digital visual symbols. Focusing on works created after the 1979 'Star Art Exhibition', it provides a nuanced understanding of the semiotics and visual symbols in contemporary Chinese art, demonstrating semiotics as a valuable framework for in-depth analysis. The findings reveal that through semiotic analysis, contemporary Chinese art can be seen as a 'text' with profound socio-cultural meanings, enhancing our comprehension of the intricate interplay and deeper significations between contemporary art and signs.
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Konstantinov, Mihael. "ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE." Вісник КНУКіМ Серія «Мистецтвознавство», no. 41 (December 30, 2019): 35–43. http://dx.doi.org/10.31866/2410-1176.41.2019.188528.
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The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art
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Zhu, Haoyun, and Guangxiang Rao. "2018 Annual Report of Chinese Semiotic Studies." Signs and Media 1, no. 1 (2020): 5–25. http://dx.doi.org/10.1163/25900323-12340002.
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Abstract By analysing semiotic papers, works and academic conferences from 2018, this paper aims to describe the development of Chinese semiotics. During this year, the study of semiotics in China further advanced in the fields of Marxist semiotics, communication semiotics, cultural semiotics, ecological semiotics and art semiotics. Overall, theoretical explorations and the integration of applications became development trends in semiotics. Further, the traditional concept of semiotics gained new interpretations through the introduction of new methods and ideas. In turn, the ‘meaning’ attribute of semiotics provided a unique analytical perspective for cutting-edge topics such as artificial intelligence and ecological environments.
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Alreem M Alfawaz, Alreem M. Alfawaz. "سيميائيَّة الغياب في ديوان "ما تلاه عليّ الغياب" دراسة في ضوء سيميائيَّة الأهواء". journal of king abdulaziz university arts and humanities 27, № 4 (2019): 181–99. http://dx.doi.org/10.4197/art.27-4.7.
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T he semiotic approach is based on the assumption that the text includes a surface structure and a deep structure. Analyzing the two structures looks at the relations between the two. As for the objective behind the semiotic approach it is the uncovering of the relations that link the hidden implications of the text by following the development of meaning. On the other hand, the semiotics of emotions is a branch of general semiotics. Emotion is what semiotics analyzes to know its role in the creative text. In the collection of poems discussed here it is absence that played a role in the formation of the emotion of sadness: the absence of people or specific attitudes. Sadness is seen as preceding the ways meaning reveals itself and also as an agent in their production
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Lawes, Rachel. "Science and semiotics: What’s the relationship?" International Journal of Market Research 60, no. 6 (2018): 573–88. http://dx.doi.org/10.1177/1470785318787944.
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This article considers the relationship of semiotics to science. A history of semiotics is provided. Questions are addressed of whether semiotics is empirical and what is distinctive about semiotic approaches to the inbuilt challenges of science such as controlling for bias. These scientific matters are supplemented by a discussion of the use and purpose of art in semiotics. The second half of the article demonstrates semiotic technique by applying it to debates within the market research community over the scientific status of semiotics, behavioral economics, neuromarketing, and neuroscience. Provisional conclusions are drawn regarding the fate of new market research methods within these debates, and recommendations for further investigation are offered.
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Zlydneva, Nataliya. "The Moscow–Tartu Semiotic School and Soviet Art History." Yearbook of Balkan and Baltic Studies 7 (July 2024): 256–65. http://dx.doi.org/10.7592/ybbs7.11.
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Although the problems of art history did not form the core of the Moscow–Tartu semiotic school’s interests, its members often turned to the material of visual art within the framework of general and specific studies of sign systems. In turn, Soviet art history in general did not show interest in semiotics. Meanwhile, the selection of problems and the approach to them in art history (mainly of the Moscow school) indicated that the reflections of art historians and philologists starting from a certain time (in the late 1960s and into the 1970s) began to develop in parallel veins. The present article provides an overview of the main problems of visual art in the works of representatives of the Moscow–Tartu school (Lotman, Uspenskij, Ivanov, Toporov and others), as well as of the adepts of semiotics from the side of art history (Paperny, Daniel, Zlydneva). In addition, the article shows how despite not accepting the semiotic mode of thinking, in their texts art historians approached the semiotic problematics of art raised by philologists (in particular, interest in the problem of the border-zone and marginalia, correlation between a word and an image in visual art, and the poetics of the historical avant-garde, etc.). This antinomic (non-)meeting of semiotics and art history in the realm of Soviet humanities in the 1970s can serve as the manifestation of the power of the unified scientific episteme of the era.
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Sless, David. "Reading semiotics." Information Design Journal 4, no. 3 (1986): 179–89. http://dx.doi.org/10.1075/idj.4.3.01sle.
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This paper presents a general and non-technical overview of semiotics and its recent history. The importance of Peirce and Saussure as founding fathers of contemporary semiotics is discussed and the debate they precipitated is mapped out including some of the peculiar characteristics of semiotics as a field of study. Some advice is given on how to read semiotic research, emphasising its contribution as an art rather than as a science. Some emphasis is placed on the specific contribution of semiotics to our understanding of the political nature of all communication.
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Khajrulina, Nailia. "Judas Iscariot’s Semiotic Image in Ukrainian Literature at the Beginning of the Twentieth Century." Perspektywy Kultury 28, no. 1 (2020): 37–42. http://dx.doi.org/10.35765/pk.2020.2801.06.
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The article under consideration is devoted to the semiotic analyses of the biblical apostle Judas Iscariot, one of the most contradictory religious characters. The article demonstrates the semiotic paradigm of Judas, including portrait semiotics (paleness, timidity, secrecy and slouch), gesture semiotics (abrupt movements) and symbolic semiotics (hopelessness, suicide). The research stresses the aspect of venality. It is proved that Judas Iscariot became the archetype of venality not only in literature, but in art generally. The article’s summary will be used for students learning literary criticism and philologists.
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Blier, Suzanne Preston. "Art Systems and Semiotics." American Journal of Semiotics 6, no. 1 (1988): 7–18. http://dx.doi.org/10.5840/ajs1988/1989612.
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Bal, Mieke, and Norman Bryson. "Semiotics and Art History." Art Bulletin 73, no. 2 (1991): 174. http://dx.doi.org/10.2307/3045790.
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Mouratidou, Eleni. "De la sémiotique de la représentation théâtrale à l’anthropologie culturelle: Pourquoi le théâtre (résiste)? — From the semiotics of theatrical representation to cultural anthropology or why theater (resists)?" Sign Systems Studies 34, no. 2 (2006): 527–38. http://dx.doi.org/10.12697/sss.2006.34.2.14.
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From the semiotics of theatrical representation to cultural anthropology or why theater (resists)? In this paper I propose an epistemological approach to the field of theatre semiotics from the beginning of the 20th century to our days. Firstly, I point out two different periods that have influenced theatre semiotics. The first one centres on reflections and studies by the Prague School of Structuralism. More precisely, I address Jan Mukařovsky’s essays about art and society as well as Jindrich Honzl’s contributions to the study of sign and system in theatre. The second period presented here is that of theatre semiotics in the early 70s and late 80s in France. My goal here is to expose the main reasons that led theatre semiotics to a deadlock in the early 90s. Theatre semiotic research has been rich and fruitful in the beginning of last century. However, in our days it is generally deemed unadvisable to describe theatre representation in terms of sign and system. Although theatre semiotics used to be presented in French university classes, it is no longer possible to do so. Even though general semiotics has progressed by denying the importance of structure and by refusing to search for the minimal sign and its code, theatre semiotics has remained faithful to old communicational semiotics research. Throughout my contribution, I would like to examine the kind of semiotic field best fit to approaching an artistic domain such as theatre. In other words, I would like to show that Western theatre, granted it can be seen as a semiotic object, is first and foremost an artistic and cultural one. In order to do so, I propose a theoretical and methodological framework based on a specific semiotic model: the “indicial semiology” proposed by Anne-Marie Houdebine. Inspired by Juri Lotman’s essays about culture and art, I will try to set “indicial semiology” in the general field of a cultural anthropology.
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Luo, Qiaojuan. "Understanding artworks from Danto’s philosophy of art: a Peircean semiotic approach." Chinese Semiotic Studies 19, no. 4 (2023): 665–85. http://dx.doi.org/10.1515/css-2023-2027.
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Abstract Arthur Danto’s philosophy of art contributes significantly to diverse perspectives that seek to understand the nature and significance of artistic creations, offering unique insights into the interpretation and meaning of artworks. This paper aims to examine Danto’s philosophy of art by employing the semiotic framework developed by Charles Sanders Peirce and applying it to the analysis of three famous artworks. By integrating Peirce’s semiotics with Danto’s ideas, we seek to gain a deeper understanding of the nature of art, its interpretation, and the significance it holds within the “artworld.” This exploration highlights the complementary aspects of Peirce’s semiotics and Danto’s philosophy of art, shedding light on the multifaceted realm of artistic expression.
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Rozin, Vadim Markovich. "Semiotics as a philosophical and methodological, natural science and mathematical discipline (main stages of development and perspective)." Философия и культура, no. 6 (June 2022): 66–81. http://dx.doi.org/10.7256/2454-0757.2022.6.38261.
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The article examines the history of the development of the ideas of semiotics, from the works of St. Augustine to the present. The author shares the semiotic approach, which, judging by the literature, was formulated by Augustine, and semiotics as a scientific discipline, and in two versions, as an analogue of mathematics and natural science (we are talking about the "second nature", which is studied in the humanities and social sciences). The characteristic of the semiotic approach presented by Augustine in the scheme is given, which, the author shows, can be extended to various humanitarian objects (this is specifically demonstrated with respect to music). Based on the semiotic approach and classifications of signs, various variants of semiotics as a science were created in the XIX and XX centuries. The difference of scientific semiotics is explained: semiotics solved different problems and tasks, semiotically comprehended different subject areas, proceeded from a different understanding of science. Nevertheless, in all variants of semiotics, relations between the components of the sign were established. The semiotics reform project proposed by G.P. Shchedrovitsky is considered, and what came of it (another semiotics, and not the organization of different scientific semiotics on a single basis of the theory of activity). Based on the analysis of two cases (the semiotic analysis of the metaphor in the work of Meir Shalev "Esav" and the sculpture of Aphrodite Praxiteles), the author outlines another version of semiotics, which he calls "expressionism". Although the methodology proposed by him allows analyzing and comprehending a fairly wide range of expressions and works of art, the author suggests not to consider it universal.
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Kosarevska, Raddamila, Oleksii Levchenko, and Yuliia Tretiak. "QUANTUM SEMIOTICS AND FEATURES OF ITS APPLICATION TO THE FORMATION OF OBJECTS OF DESIGN, ARCHITECTURE AND ART." Current problems of architecture and urban planning, no. 64 (August 31, 2022): 63–82. http://dx.doi.org/10.32347/2077-3455.2022.64.63-82.
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The article considers the main approaches to defining the essence of the concept of quantum semiotics in the field of design, architecture, and art. The relevance of the study lies in the fact that quantum semiotics is gradually gaining ground in the modern world as a kind of response to evolutionary changes in the algorithms of human mental activity. This approach allows us to perceive information about the current reality and create its alternative version, in particular, in works of visual art. In this paper, quantum semiotics is considered as the ability of a person to perceive the world around him according to the quantum complementarity principle (augmented reality).
 The quantum-semiotic approach in the humanities makes it possible to trace the transformation of real cultural facts, events, phenomena, or objects into signs, to analyze their semantic content and ways of transformation into symbols. Similar processes of object symbolization occur due to the number of images laid down by the author, perceived from different angles of view, and can carry different meanings that complement each other.
 The study and analysis of several examples of works of visual art suggest that the quantum-semiotic method of forming and perceiving the image of objects (works) can be considered an organic part of the highest scientific and theoretical approach, namely the synergetic one, which, among other things, makes it possible to choose key points of human knowledge of the world. Thanks to the ability of a human creator - a scientist or a practitioner - to go beyond the facts of cognition and use interdisciplinary methods in their work, in particular quantum-semiotic methods, viewers are allowed to perceive the multi-layered world around them, as well as imagine its multifaceted parallels in their minds. Thus, the studied facts form ideas and concepts, and in general create messages that can only be understood by the sender and a specific recipient, or by all of humanity.
 The paper emphasizes the need to introduce the concept of "quantum semiotics" into scientific circulation in the field of design, architecture, and art through the proposed quantum semiotic method; features and strategies for the development of quantum semiotics in design, architecture, and art, as well as its application in theory and practice, are considered.
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Tajsin, Emilia A. "Signification and the Problem of Truth." Galactica Media: Journal of Media Studies 5, no. 3 (2023): 287–312. http://dx.doi.org/10.46539/gmd.v5i3.433.
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The great hopes of scientists in various fields, from computer science and mathematics to literature and art criticism, from analytical philosophy to post-structuralism, in the last third of the 20th and first quarter of the 21st centuries are assigned to semiotics, or the general theory of signs, which studies signification and its laws. Signification, or designation (denotation, signalizing, symbolization) is the widest-common procedure in scientific creativity and culture in general.
 The scope of the semiotic approach and the abstractness of the categories of semiotics are such that they allow for speaking at least of the theoretical-cognitive, if not ontological, universality of its approaches and the general methodological validity of its tools. One is capable of thinking only on the basis of the semiotic mediation of reality; moreover, the essence of consciousness itself as a whole is reflective, and representative. The recognition of the great informative capacity and value of the basic semiotic concepts, as well as the extreme breadth of the subject of semiotics due to the actual or potential symbolic nature of human science and culture, the instrumental nature of signs and symbols which science, ethics, religion, and art are full of, allows us to hope that semiotics will play, in the near future, the role of a universal manifestor and communicator.
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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.
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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.
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Rozin, Vadim Markovich. "The idea of building a new humanitarian discipline ‒ "narrative semiotics"." Культура и искусство, no. 4 (April 2022): 78–93. http://dx.doi.org/10.7256/2454-0625.2022.4.37955.
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The article formulates the main provisions of narrative semiotics and offers an analysis of four cases illustrating the methodology of semiotic study within the framework of a new concept. The difficulties associated with the application of the traditional semiotic approach to the analysis of iconic signs, symbols, diagrams, music, and other works of art are characterized. The author's proposed version of the extended version of semiotics and the problems that arise in this case are outlined: firstly, the new approach is subjective, and secondly, it requires the concretization of semiotic discourse. Overcoming these difficulties, the author characterizes the narrative-semiotic approach, highlighting in it three plans of analysis (framework) and special concepts. The most general frame and the encompassing whole is "conscious cultural reality"; the second, also quite general frame and the encompassing whole (meaning narrative constructions), "cultural communication"; the third frame is the structure of the content of narrative constructions, consisting of two wholes a certain reality and signs that allow you to enter this reality, to actualize its events. These plans are defined as ideal objects and concepts that require specification and empirical verification. Solving this problem, the author analyzes four cases: an interesting childhood dream, a teenage experience of K.Jung, children's experience of works of art and the knowledge of love in Plato's "Feast". At the same time, along with the use of the concepts of the reality of culture, communication, the structure of the content of narrative construction, formation, development, evolution, the concepts of "life world" and "objectivity" are introduced. Agreeing that the concept of narrative semiotics is seriously different from the traditional one, the author claims that he tried to act within the framework of a semiotic approach, and therefore the proposed concept, in his opinion, has every right to be considered semiotic.
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Barry, Jackson. "Semiotics, Visual Art and Language." American Journal of Semiotics 9, no. 4 (1992): 141–49. http://dx.doi.org/10.5840/ajs19929413.
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Paschalidou, Maria. "Semiotics of the Protest." Protest, Vol. 4, no. 2 (2019): 44–49. http://dx.doi.org/10.47659/m7.044.art.
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In the Semiotics of the Protest performed video, I visually examine the key significance of the body and its language for the materialization of the street protest, the vital tool by means of which people reclaim public space and activate it as a political terrain. The video is based on a performance for which I invited a volunteer dancer to “rehearse” public gestures of resistance against oppression. Challenging dominant representations of protestors as “mobs” and protestors’ bodies as irrational and uncontrollable entities, in this performed video, I visually analyse the political demonstration as choreographic tactics executed by bodies which are meaningful and purposeful and which, through their gestures, move forward to social change. Keywords: participation, performed video, Phantasmagoria, politics and aesthetics, protest as choreography
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Dondero, Maria Giulia. "Le plan de l’expression des images: Quelques réflexions sur support et apport." Semiotica 2020, no. 234 (2020): 253–70. http://dx.doi.org/10.1515/sem-2018-0124.
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AbstractIn this article we plan to revisit the notion of substance of the plane of expression, as found in semiotic studies of the image, and how this notion relates to the concepts of purport and form. The article is divided into three parts: The first section gives a brief history of the various ways substance has been addressed in (or excluded from) image analyses based on Greimassian semiotics and Groupe μ rhetoric. Drawing upon Jacques Fontanille’s semiotics of practices and Jean-François Bordron’s theory of iconicity, the second section concerns proposals that attempt to address the “moment” of giving substance in autographic works of art – and also in writing –, through notions of support, application, and the gestural act of inscription. The third section tests these methodological tools on chemical photography and on digital image-making in order to propose a new, specifically semiotic approach to studying the media characteristics of images.
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Olteanu, Alin, and Andrew Stables. "Learning and adaptation from a semiotic perspective." Sign Systems Studies 46, no. 4 (2018): 409–34. http://dx.doi.org/10.12697/sss.2018.46.4.01.
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This paper discusses the relation between learning and adaptation, arguing that the current state of the art in semiotics suggests a continuity between the two. An overview of the relevant theories in this regard, as considered in semiotics, reveals an embodied and environmental account of learning, where language plays an important but nevertheless limited role. Learning and adaptation are seen as inseparable cases of semiotic modelling. Such a construal of these opens up new pathways towards a nondualist philosophy and theory of education.
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Stampoulidis, Georgios. "Stories of resistance in Greek street Art: A cognitive-semiotic approach." Public Journal of Semiotics 8, no. 2 (2019): 29–48. http://dx.doi.org/10.37693/pjos.2018.8.19872.
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 In line with cognitive semiotics, this paper suggests a synthetic account of the important but controversial notion of narrative (in street art, and more generally): one that distinguishes between three levels: (a) narration, (b) underlying story, and (c) frame-setting. The narrative potential of street art has not yet been considerably studied in order to offer insights into how underlying stories may be reconstructed from the audience and how different semiotic systems contribute to this. The analysis is mainly based on three contemporary street artworks and two political cartoons from the 1940s, involving the same frame-setting, which may be labeled as “Greece vs. Powerful Enemy.” The study is built on fieldwork research that was carried out during several periods in central Athens since 2014. The qualitative analyses with the help of insights from phenomenology show that single static images do not narrate stories themselves (primary narrativity), but rather presuppose such stories, which they can prompt or trigger (secondary narrativity). Notably, the significance of sedimented socio-cultural experience, collective memory and contextual knowledge that the audience must recruit in order to reconstruct the narrative potential through the process of secondary narrativity is stressed.
 
 Author BiographyGeorgios Stampoulidis, Centre for Language and Literature, Division for Cognitive Semiotics, Lund University, Sweden
 Georgios Stampoulidis is a PhD candidate at the Division for Cognitive Semiotics at Lund University. His research interests are in the fields of polysemiotic communication and multimodality, narrative and metaphor, and urban creativity. His work focuses on street art as a cross-cultural medium of meaning-making, cultural production and political intervention in urban space, and thus, he has previously conducted fieldwork in Athens, Greece. His most recent publications are “A Cognitive Semiotic Exploration of Metaphors in Greek Street Art” (Cognitive Semiotics, 2019) and “Urban Creativity in Abandoned Places. Xenia Hotels Project, Greece” (Nuart Journal, 2019). Currently, he is research fellow at Urban Creativity Lund and Scandinavian Metaphor networks.
 
 
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Proskuriakova, O. "Make-up as a space of semiotic communication." Culture of Ukraine, no. 78 (December 23, 2022): 38–44. http://dx.doi.org/10.31516/2410-5325.078.04.
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The purpose of the article is to study the peculiarities of semiotic communication in make-up art.
 The methodology. New methodological principles of make-up training, which are based on the intersection of cultural and art history approaches, will be proposed. Particular attention is paid to the semiotic study of make-up.
 The results. Having studied the construction and functioning of make-up as a symbolic system, it has been proven that make-up art has a complex structure of semiotic communication. It can be traced in its symbolic units (color, line, etc.) and their interaction, as well as in the multi-layered structure of reference and recipient, which is most vividly reflected in theatrical make-up.
 Thus, the space of semiotic communication of playing can be considered in two main vectors: 1) communication between signs and symbolic structures in the space of the make-up scheme; 2) communications between signs composing the semiotic space of makeup from the external environment.
 Therefore, to solve the problems of semiotic communication of make-up art, sufficient attention should be paid both to the detailed processing of make-up schemes and the question of authorship in the context of dialogue, the multiplicity of interpretations, contexts and meanings.
 The scientific novelty. Along with studies of the semiotics of the theatre, a separate direction of research is proposed — the semiotics of make-up. This will provide new opportunities for researchers and experts in the context of the semiotic understanding of culture and make-up art in general.
 The practical significance. The results of the research can be used in the scientific, creative and pedagogical activities of specialized educational institutions, as well as by directors-producers of performances, theatrical programs, actors and make-up artists involved in these productions to solve theoretical and practical tasks.
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Gruzdev, А. А. "ICONOLOGICAL METHOD IN SEMIOTIC ANALYSIS OF ARTWORKS." Arts education and science 1, no. 4 (2021): 92–99. http://dx.doi.org/10.36871/hon.202104012.
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The history of art is marked by many experiments in expanding and contrasting different methods and concepts. Nevertheless, in recent years there have been increasing attempts to draw parallels between iconology and semiotics. Of particular interest is the so-called Erwin Panofsky method, which forms the basis of modern iconology. The article discusses various aspects of the use of the iconological method in connection with the semiotic analysis of artistic works. Both general questions of the formation of iconology and special questions of its application and synthesis in the context of semiotic analysis are highlighted. A brief overview of the main iconological principles in revealing the figurative and symbolic content of the work is given, and the main features of the structural mechanisms underlying the semiotic approach are summarized. The scientific novelty of the work is determined primarily by the fact that for the first time the peculiarities of the application of the iconological method as one of the tools of semiotic analysis are investigated. Semiotics and iconology have a wide range of application in the study of culture-specific relations, since in contemporary art criticism, there is a great scientific interest in understanding the artwork as a carrier of national-cultural information. All this increases the methodological possibilities for studying the artwork, and thus expands the boundaries of the historical study of fine art.
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Leone, Massimo. "The Semiotics of the Medical Face Mask: East and West." Signs and Media 1, no. 1 (2020): 40–70. http://dx.doi.org/10.1163/25900323-12340004.
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Abstract After a concise survey of the state of the art on the semiotics of the mask and on studies in humanities and social sciences about medical face masks, the essay provides anecdotic evidence about differences in the semiotics of medical face masks in Europe and in the ‘Far East’, especially Japan, China, and Korea; it proposes a semiotic grid for decoding the phenomenology and meaning of the medical face mask; it concludes with some general observations on the change of the meaning of the face during the current pandemic.
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Czach, Marie. "Further on "Semiotics and Art History"." Art Bulletin 75, no. 2 (1993): 338. http://dx.doi.org/10.2307/3045957.
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Vilas Rupnath Buwa. "Feminist Semiotics of Advertising Media Texts." Creative Saplings 2, no. 04 (2023): 53–64. http://dx.doi.org/10.56062/gtrs.2023.2.04.341.
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Semiotics is emerged a major theoretical and analytical approach in the media-driven era of 21st century. In the history of human evolution, use and analysis of signs to communicate have the utmost importance. Before verbal and written linguistic discourse, the use of signs remains in human communication. Semiotics is thought to be a structural and linguistic approach but as Saussure has asserted that semiotics is broad, inclusive and comprehensive in nature and scope, while linguistics is a part of it. Modern media is scientifically and technologically more enhanced and inclusive of various signs through technological gadgets. McLuhan regards ‘media is message’. Like language in literature, various audio-visual and graphic signs are employed for effective expression in media texts. Language is a ‘sign system’ of human communication which is mainly androcentric and needs to be challenged and explored through a feminist perspective. The idea is to study semiotics in feminist context i.e. to be regarded as ‘feminist semiotics. The emergence of the feministic approach changed perception in every field of life and brought various possible interpretations. As the signs employed in media texts mainly androcentric, the feminist semiotics attempts to expose and deconstruct them. Advertisements especially, consumer ads either in print or in electronic media are published having the notion of ‘art for market’s sake’ or ‘art for profit’s sake’ which need to be considered and analyzed as ‘media text’. In this research article, efforts are made to explore and blend feminist contextual approach with semiotics to analyze advertising texts. There is a multitude of audio-visual and electronic driven gadgets in the present digital world therefore, it needs to be interpreted from feminist semiotic perspective.
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Burlina, E. Ya. "URBAN CHRONOTOPE – URBAN SEMIOTICS. FLORENCE AND SAINT PETERSBURG." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 22, no. 74 (2020): 77–84. http://dx.doi.org/10.37313/2413-9645-2020-22-74-77-84.
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In this paper author presents an interdisciplinary interaction betweeen semiotics and chronotopy. The paper refers to the great cities of Renaissance and the Russian cities like Saint Petersburg. As M. M. Bakhtin formulated, "genre is cultural memory". According to the author, the structural and spatiotemporal memory lies in the core not only of artistic works, but of urban structurestoo.As an instruments of structural and semiotic analysis of city, the terms of chronotope and chronotopy were coined. The followers of M. M. Bakhtin, the structuralists and the semeiologists of the Yu. M. Lotman Semiotic School now agree on this point. In 1990s, one of the founders of Russian semiotics, Yu. M. Lotman came to the conclusion that new spatiotemporal modes can crystallize and spiritually develop citizens. This concept formed the basis of the first part of the paper. The second part considers practical opportunities of semiotics and urban chronotopy in dialogue with students during classes on such humanities subjects as philosophy, global art culture, aestetics e.t.c. According to the author, urban chronotope and urban semiotics are different and complementary instruments of scientific comprehension and development of cities.
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Singh Gandi, Pankaj. "A Semiotical Case Study of the Unconscious in the Works of Salvador Dali." ECS Transactions 107, no. 1 (2022): 4713–22. http://dx.doi.org/10.1149/10701.4713ecst.
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This research paper attempts to analyse the contents of the unconscious (psyche) in the works of the Surrealist artist, Salvador Dali, and also to provide for an interpretation of the same. In order to establish a relation between psychology and art, Jungian symbolism is studied and to avoid any subjective approach to analytical interpretation, Semiotics of Charles S. Peirce is applied with respect to the whole work of art as a semiotic sign.
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Ponzio, Augusto. "Modeling, dialogue, and globality: Biosemiotics and semiotics of self. 1. Semiosis, modeling, and dialogism." Sign Systems Studies 31, no. 1 (2003): 25–63. http://dx.doi.org/10.12697/sss.2003.31.1.02.
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With our paper we intend to offer a critical overview of state of the art in semiotics, with specific reference to theoretical problems concerning the relationship between culture and nature. In other words, we intend to focus on the relationship between the concepts of semiosphere (Lotman) and biosphere (Vernadsky) considering the various approaches to this issue and proposing our own point of view. An important reference for a valid overview view of semiotics today is the Handbook Semiotik/Semiotics. It is no incident that the subtitle of this work is A Handbook on the Sign-Theoretic Foundations of Nature and Culture. In this handbook a fundamental role is carried out by Thomas A. Sebeok and his particular approach to semiotics, which may be designated as ‘global semiotics’. One of the pivotal concepts in Sebeok’s global semiotics is that of modeling which traverses nature and culture. This concept connects natural semiosis and cultural semiosis and ensues in an original formulation of the relationship between the notions of ‘semiosphere’ and ‘biosphere’. Such problematics respond to semiotic research in Tartu today, especially as it finds expression in the present journal. And, in fact, as in his book of 2001, Global Semiotics, Sebeok often underlined the importance of the Estonian connection himself in his writings for the development of semiotics.
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Lomas, Tim. "Positive Semiotics." Review of General Psychology 23, no. 3 (2019): 359–70. http://dx.doi.org/10.1177/1089268019832849.
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Although semiotics has historically been a focus of interest in psychology, its impact over recent decades has been fairly muted. Moreover, no systematic efforts have been made to study and understand it from a positive perspective, that is, the way sign-systems are or can be “positive.” As such, this article introduces the notion of “positive semiotics,” a label for the disparate research and theorizing that is already underway across academia relating to this topic. The article draws on the work of Charles Sanders Peirce, particularly in terms of his triadic view of sign-systems as comprising a sign, an object, and an interpretant. The idea of positivity is then elucidated using the criterion of desirability, drawing on the work of James Pawelski. Attempts are also made to ascertain the nature of desirability, including normative forms (clarified here using the conceptual triad of goodness, truth, and beauty) and nonnormative forms (understood as personal wants). The article then considers four key semiotic channels—discursive language, body language, symbols, and art—looking at selective examples of how positive semiotics might pertain to that channel. It is hoped the article will stimulate further interest in, and work on, a phenomenon that is of considerable importance to psychology and beyond.
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Konstantinov, Mihael. "Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection." Sign Systems Studies 48, no. 2-4 (2020): 392–414. http://dx.doi.org/10.12697/sss.2020.48.2-4.10.
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Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background, the article offers a view onto some aspects of Juri Lotman’s and Gilles Deleuze’s studies on the cinema.
 As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audio-visual art is most developed in semiotics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audio-visual art.
 The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors’ approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer’s perception of cinema.
 The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audio-visual arts.
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Moxey, Keith P. F. "Semiotics and the Social History of Art." New Literary History 22, no. 4 (1991): 985. http://dx.doi.org/10.2307/469075.
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Small, Ian. "SEMIOTICS AND OSCAR WILDE'S ACCOUNTS OF ART." British Journal of Aesthetics 25, no. 1 (1985): 50–56. http://dx.doi.org/10.1093/bjaesthetics/25.1.50.
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Chvatík, Květoslav. "Semiotics of the Literary Work of Art." Russian Literature 20, no. 4 (1986): 297–322. http://dx.doi.org/10.1016/0304-3479(86)90022-0.
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Wolf, Reva, Francis H. Dowley, Mieke Bal, and Norman Bryson. "Some Thoughts on "Semiotics and Art History"." Art Bulletin 74, no. 3 (1992): 522. http://dx.doi.org/10.2307/3045902.
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Leontyeva, Anna. "The round table “Balcano-Balto-Slavica and semiotics”." Slavic Almanac, no. 3-4 (2023): 504–7. http://dx.doi.org/10.31168/2073-5731.2023.3-4.28.
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On April 27, 2023, at the Institute of Slavic Studies of the Russian Academy of Sciences, as part of the 17th Balkan readings “Certainty and uncertainty in the Balkan languages and cultures”, a round table meeting “Balcano-Balto-Slavica and semiotics” was held. The participants of the round table were faced with the task of studying the relevance of the semiotic direction in our days and the possibilities of applying corresponding methods in linguistics, ethnography, folklore and art history.
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Abdullah, Farid. "SEMIOTIKA = ILMU ATAU METODE : TELAAH BUKU ' HANDBOOK OF SEMIOTIK', WINFRIED NOTH, 1995." Jurnal Dimensi Seni Rupa dan Desain 8, no. 2 (2011): 1–10. http://dx.doi.org/10.25105/dim.v8i2.965.
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AbstractThis paper is about Winfried Noth book, title " Handbook of Semitics," 1995. A handbook with ambitious objevtives of dealing with a broad field specturm of research, ranging from Advertising, Architecture, Comic, Photography, Music, Visual Communication , to Zoosemiotics. Aims to this book, as the author describe, s adventurous goal of a topographical survey, of some main areas of theoritical and applied semiotics. In this book, the approach to semiotic adopted is basically descriptive and pluratistic. The history aspect, the present state of the art, intends to be a systematic, comprehensive, and up to date. To understand this handbook, we must be a critical reader and at the end we can draw our own critical conclusion AbstrakTulisan ini adalah ulasan terhadap buku Winfries Noth yang berjudul " Handbook of Semiotics" terbit tahun 1995. Sebagai buku pegangan tentang semiotika, buku ini memiliki rentang kajian yang sangat ambisius, dengan cakupan bidang yang dikaji dari periklanan, arsitektur, komik, fotografi, musik, komunikasi visual, hingga tanda yang dikirimkan oleh hewan. Tujuan dari buku ini seperti yang diuraikan penulisnya, semacam pemetaan dalam semiotika teoritik dan terapan. Pada buku ini ,pendekatan semiotik yang dipakai adalah deskriptif dan pluratistik. Aspek sejarah seni, berusaha disusun secara sistematis, menyeruluh, dan kekinian. Untuk memahami buku pegangan ini,sebagai pembaca kita harus meletakakan diri sebagai pembaca yang kritisdan akhirnya kita dapat memperoleh kesimpulan yang kritis pula
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Voutounos, Chrysanthos, and Andreas Lanitis. "A Cultural Semiotic Aesthetic Approach for a Virtual Heritage Project." Techné: Research in Philosophy and Technology 20, no. 3 (2016): 198–215. http://dx.doi.org/10.5840/techne201653147.
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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, complementing the experience received from traditional Byzantine art media. Part A of the work presents the development of the semiotic foundation of the study prior to presenting the applied potential of the approach in design and evaluation of VH for Byzantine art, which appears in Part B. The final task of the proposed approach aims to support a meaningful interpretation, assisting in the promotion of the significance (value) of the virtual museum to potential interpreters/visitors.
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Ajeng, l. Nindan. "KAJIAN SEMIOTIKA CHARLES SANDERS PIERCE KARYA LUKIS ERICA HESTU WAHYUNI “VACATION IN PROSPERITY LAND”." Kusa Lawa 1, no. 1 (2021): 42–47. http://dx.doi.org/10.21776/ub.kusalawa.2021.001.01.06.
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Semiotics Study Of Charles Sanders Pierce Works Of Painting Erica Hestu Wahyuni "Vacation In Prosperity Land". Painting is a two-dimensional art consisting of lines, fields, shapes and colors. Painting works are made not without reason, artists create works often for expression as well as expressing ideas and creativity. In addition, there are many values that are contained in works of art. This article discusses the meanings contained in the painting “Vacation in Prosperity Land” by Erica Hestu Wahyuni. This work is a work that explains how happy the world of children is, which is not full of falsehoods. The review in this work was conducted to prove the existence of a correlation between visual and its meaning, so that it can become a medium of information. The results of the semiotic study in this painting show that there are visuals and color compositions that show that Erica has succeeded in elevating something complex to become a simple thing. Keywords: Painting; semiotics; vacation in prosperity land.
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Shackell, Cameron. "Finite semiotics: Cognitive sets, semiotic vectors, and semiosic oscillation." Semiotica 2019, no. 229 (2019): 211–35. http://dx.doi.org/10.1515/sem-2017-0127.
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AbstractThe grounding of semiotics in the finiteness of cognition is extended into constructs and methods for analysis by incorporating the assumption that cognition can be similar within and between agents. After examining and formalizing cognitive similarity as an ontological commitment, the recurrence of cognitive states is examined in terms of a “cognitive set.” In the individual, the cognitive set is seen as evolving under the bidirectional, cyclical determination of thought by the historical environment. At the population level, the distributed “global” cognitive set is argued to be constrained to a manifold in which the cognition of individuals is determined only when their cognitive sets meet certain conditions in the world: a result seen as consistent with Lotman’s semiosphere.With these foundations in place, dimensional modelling of the semiosic field is inaugurated. Firstly, measures of cognitive similarity are formalized as cognitive “distance” and on this basis the concept of a semiotic vector is defined. Secondly, semiotic vectors are seen to shape a general pattern of oscillation in semiosis, and thus to imply zero points in semiosic potential. Thirdly, semiosic oscillation in individual agents is shown to be consistent with a novel diachronic or longitudinal interpretation of Greimas’ semiotic square expanded into a “semiotic pipe” in which cognition traverses an n-dimensional space structured by axes of oscillation. Finally, the expanded theory of finite semiotics is advanced as a useful basis for two new complementary disciplines: (1) a computational, mathematical science of “natural semiotic processing” (NSP) to trace and model semiotic vectors and oscillation; and (2) an ethical, rhetorical art of “technological influencing” (TI) to guide its inputs and applications.
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Basri, Syaiful, and Ethis Sari. "TARI REMO (NGREMONG): SEBUAH ANALISIS TEORI SEMIOTIKA ROLAND BARTHES TENTANG MAKNA DENOTASI DAN KONOTASI DALAM TARI REMO (NGREMONG)." GETER : Jurnal Seni Drama, Tari dan Musik 2, no. 1 (2019): 55–69. http://dx.doi.org/10.26740/geter.v2n1.p55-69.
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Semiotik aims to look for the production and consumption of meaning that is on the mark. In this case the sign system can be used as one of the frame of mind that helps one in interpreting a meaning. One example is the study of semiotics. Semiotics represents a wide range of field studies, ranging from art, literature, anthropology, mass media, and so on. Semiotic study is a way or method to analyze and give meanings to the symbols contained in a symbol of message or text. The substance of dance is motion. The purpose of motion here, not the motion of everyday man, but the motion in a certain sense and process so that it changes from the natural form. Remo dance is one of the traditional dance form of East Java which is expressed from the vibration of soul and emotion of East Java society. Remo dance movement is obtained from the vibrations of the soul and emotions of East Java. The main characteristic of dance Remo is a dynamic dance movement. In this case the motion of remo dance will be analyzed using Barthes' semiotic theory. Keywords: semiotics, signs, dance, motion, remo.
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Huang, Tianyou. "How Art Semiotics Affects Our Behaviour and Judgement." Art and Society 2, no. 5 (2023): 46–49. http://dx.doi.org/10.56397/as.2023.10.08.
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Symbols are tools used by humans to understand the world and interpret art works. During this process, art and the signs in the artworks affect the viewer’s way of thinking and judgment. This is an interesting phenomenon and a significant way for viewers to interpret works of art. The author divides this article into three parts, starting from the fact that “art is unnatural” but a product of human consciousness, to how the “inclination of art” affects our judgment and values, and finally to raise actual cases to talk about “pan-aestheticisation” and its impact on society.
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Feshchenko, Vladimir. "Artistic communication as an object of semiotics and linguistic aesthetics." Sign Systems Studies 51, no. 3-4 (2023): 565–603. http://dx.doi.org/10.12697/sss.2023.51.3-4.04.
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The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.
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Pardo Abril, Neyla Graciela. "Art and memory: Magdalenas por el Cauca." International Journal of Heritage, Memory and Conflict 2 (January 12, 2022): 39–49. http://dx.doi.org/10.3897/ijhmc.2.70846.
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Adopting an interdisciplinary framework of Memory Studies and Art and employing semiotics with a multimodal and multimedia character, it is explored how social groups in Colombia memorialise the violence of the internal armed conflict. The reflection associates the victims’ experiences with those expressions of commemoration and remembrance that are narratives embodied in visual and scenic art. It is explored how a semiotic landscape of memory is created through a performative artistic proposal. In this landscape, not only cultural frames can be determined, but also the semiotic-discursive resources that give meaning to the relationship between art and memory. The aim is to characterise the performance known as Magdalenas por el Cauca (2008) which was recorded audiovisually in several spaces on the internet. It means that, in addition to the ephemeral mise-en-scène, there are records of the performative and communicative work. In this article, we analyse the video X PEREGRINACION TRUJILLO y MAGDALENAS POR EL CAUCA (2010), one of the records that perpetuates Magdalenas por el Cauca. This reparation act is an audiovisual narrative with ethical and political character and produced collectively by relatives of victims, witnesses, artists and other interlocutors, which interpret and assign new meanings to the performance.
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Van Leeuwen, Theo, Emilia Djonov, and Kay L. O'Halloran. "“David Byrne really does love PowerPoint”: art as research on semiotics and semiotic technology." Social Semiotics 23, no. 3 (2013): 409–23. http://dx.doi.org/10.1080/10350330.2012.738998.
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Riley, Howard. "Visual art and social structure: the social semiotics of relational art." Visual Communication 12, no. 2 (2013): 207–16. http://dx.doi.org/10.1177/1470357212471595.
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Chikarkova, Maria. "Graffiti as a sign: the semiotic approach to the study of the phenomenon." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 92–98. http://dx.doi.org/10.34079/2226-2849-2019-9-18-92-98.
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Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.
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Suryanto, Ricky, and Gregorius Genep Sukendro. "Menguak Makna Manusia dan Spiritualitas (Studi Analisis Semiotika Pada Karya Seni Instalasi “Antara” oleh Monica Hapsari)." Koneksi 5, no. 2 (2021): 406. http://dx.doi.org/10.24912/kn.v5i2.10406.
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This research examines the meaning of human beings and spirituality contained in the artwork of Antara by Monica Hapsari. The theories used in this research are human theory, spirituality, visual communication and semiotics. This study uses a qualitative descriptive approach with Charles Sanders Peirce's semiotic analysis technique consisting of signs, objects, and interpretations. The method used in this research is analytical method using Charles Sanders Peirce's semiotic triangle. In this study, it was found that Antara's artwork carries a message conveyed by the artist in the form of installation art about the meaning of humans and spirituality. The use of visual signs makes this work of art considered valid as a medium of visual communication because it becomes a forum for the artist to carry out communication activities with the audience.Penelitian ini membahas makna manusia dan spiritualitas yang terdapat dalam karya seni Antara oleh Monica Hapsari. Teori yang digunakan pada penelitian ini adalah teori manusia, spiritualitas, komunikasi visual dan semiotika. Penelitian ini menggunakan pendekatan kualitatif yang bersifat deskriptif dengan teknik analisis semiotika Charles Sanders Peirce yang terdiri dari tanda, objek, dan interpretasi. Metode yang digunakan dalam penelitian ini adalah metode analisis menggunakan segitiga semiotika Charles Sanders Peirce. Dalam penelitian ini ditemukan bahwa karya seni Antara membawa sebuah pesan yang disampaikan oleh senimannya dalam bentuk karya seni instalasi mengenai makna tentang manusia dan spiritualitas. Penggunaan tanda-tanda visual menjadikan karya seni ini dianggap sahi sebagai media komunikasi visual karena menjadi wadah bagi senimannya untuk melakukan aktivitas komunikasi terhadap khalayak.
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Kroó, Katalin, and Peeter Torop. "Text dynamics: Renewing challenges for semiotics of literature." Sign Systems Studies 46, no. 1 (2018): 143–67. http://dx.doi.org/10.12697/sss.2018.46.1.07.
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The paper examines the problem of textual/cultural dynamics linked to the issue of semiotic literariness, to be further investigated by the authors in later papers on literary semiotics. This scientific project aims to get closer to reaching an adequate disciplinary identification for semiotics of literature and a relatively precise definition of the status of this field in relation to semiotics of culture. The first step for the project is to reveal the interrelationhip between text and culture using the notion of dynamics that can be reconstructed from a historical perspective through some essential components of Formalist and Structuralist theory (Tynyanov’s ‘function’, Jakobson’s ‘dominant’) and also works by Lotman (the ‘text–culture’ relationship) and Bakhtin (‘dialogue’). The notions of inclusiveness/integration, distancing and hierarchization, leading to transformation, are interpreted in some detail in the context of these theories. On these grounds, three basic categories of the analysability of textual/cultural dynamics are set up with the indication of further aspects of the dynamic function: (1) mediation; (2) transposition; (3) temporality–spatiality. The suggested classification and the implied conceptual segmentation are expected to contribute to a synthesis between “Structuralist” and Peircean theoretical and methodological orientations in semiotic literary studies. This also reveals the need for a coexistence of approaches (a) moving from particular cultural fields (literary culture tradition) towards general semiotics of culture, and (b) returning from universal transfield concepts to literary culture, including the historical traditions both in art (object-level) and its scientific interpretation (meta-level).