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Chinese hieroglyphic writing has developed ways of recording meanings that differ from those in alphabetic systems, which generates interest in the hieroglyph as an object of research. This study complements the semiotic theory, which is usually applied to alphabetic systems, while looking for a complementary way to describe the ambiguous semiotics of Chinese writing. The study relied on a cross-disciplinary approach, i.e., the theory of semiosis in synthesis with the cultural-historical concept and a tertiary artifact as a link between them. A tertiary artifact corresponds to the semiotic sign-symbol, which is an implicit valuable textual category that cannot be manifested in a specific sign. The theory of artifacts was used in conjunction with a semiotic approach to the analysis of Chinese writing, both at the level of individual signs and at the text level. Diachronically, Chinese hieroglyphic signs tended towards symbolic semantics as they evolved, especially in cases where object nomination was motivated. As a synchronic example, the authors used a compositionally complex text of Wang Wei’s poem Magnolia Valley (辛夷坞), which illustrates the symbol both implicitly and explicitly. The analysis proved that semiotic ideas applied to alphabetic languages can be applied to Chinese writing but with the following caveat: in Chinese text, the implicit semantics of the symbol, being associated with a visually vivid imagery, hints at the symbol hidden behind the lines. Unlike letters, the hieroglyph possesses an additional technical potential for constructing an explicit series of images, thus contributing to a more effective comprehension of the main idea and morals, the emergence of which is regulated by its symbolic mode.

it is well-known that environmental graphic design is one of the messaging and advertising requirements in our life. Therefore, acquaintance with culture of society and knowing its norms, values, customs, and regulations can be significantly important to environmental graphic design. As designer knows deeply about culture and moods of society people, he can easily establish simple and deep communication with audience through simple and clear express, and in simple words designer can return audience identity to him with the new express and different framework and in this way can speak to him. Environmental graphic is a knowledge in which discussed and studied about how use different kinds of forms, colors, figures, and various pictures in a skillful, systematic, and planned way in order to making better and more simple relations, informing, and orientation, and also making beautiful the urban spaces such as public spaces. This knowledge is one of the most effective tools to effect on citizenships, and with visual design and relation it can return identity to audiences and seek to reform it based on components such as culture, customs and social contracts, economic and political trends and so on. This research aims to study the communicative role of the interactive environmental sign as an environmental graphic system. The research concludes that interactive environmental sign as an environmental graphic system through common media applied in urban environmental graphic such as poster, signs, highway signs, road signs, advertisings on vehicles, parks environmental design, design of buildings and resulted colors, public services spaces design, bus stops, phone booth, seats, environmental design of cultural and pleasure centers, design advertising sculptures in squares and parks, and different outdoor advertising

Many directors and critics around the world considered that cinema is a realistic art because it transmits the image and does not create it. However, realism was able to embody an independent cinematic trend in itself, so cinema can be realistic by its ability to simulate reality in the spatial and temporal dimensions, as well as In characters, names, and simulation of some real events, it presents reality with great honesty in a dramatic formulation . Realistic cinema is considered a pure embodiment of reality in all its manifestations, whether social or political. Realistic cinema is defined as a description of what is ordinary, in the sense that cinema is the language of reality, but does that ordinary and realistic language have the possibility of using the symbol and sign in the visual language? Or does realism not bear the signs, as it is an explicit art, merely a transfer of reality

This paper has tried to answer to a question: Is it important to use signs, symbols and pictograms to create a graphic and visual language, to communicate between people all over the world? And the answer is YES and will be explained in this paper. These graphic representations can be found in universities and schools, hospitals, airports, museums, libraries, network communication, business centres etc. But why are they so important? Because they inform, guide, allow, prohibit or warn depending on the situation. In our actual world visual communication without written language has become necessary. The main direction of the study was to present/design signage maps, as training models using signs, symbols, colours and pictograms.

This paper has tried to answer to a question: Is it important to use signs, symbols and pictograms to create a graphic and visual language, to communicate between people all over the world? And the answer is YES and will be explained in this paper. These graphic representations can be found in universities and schools, hospitals, airports, museums, libraries, network communication, business centres etc. But why are they so important? Because they inform, guide, allow, prohibit or warn depending on the situation. In our actual world visual communication without written language has become necessary. The main direction of the study was to present/design signage maps, as training models using signs, symbols, colours and pictograms.

The article attempts to combine the structural and comparative historical methods of symbol research. This is its scientific novelty, since modern symbolology is dominated by studies of a structural and semiotic nature and there is a clear lack of works that address the issue of the symbol's dependence on specific cultural and historical epochs. The author clarifies the concepts of the denoting and denoted symbol in the context of the ideas of linguistic conceptology and narratology, and also explores the problem of the conditionality of the meaning of the symbol and the means of its embodiment in the text by the artistic method and the type of narrative corresponding to it. The article proves that in realist prose the symbolic image is multifunctional. Firstly, it appears as an element of a landscape or interior description. Secondly, it performs a conceptual function, correlating its deep meaning with the main idea of the work. Thirdly, it plays a role in the development of the plot, in particular, it anticipates a significant and often unexpected turn within it. Fourthly, if it functions in the character's speech, it becomes one of the means of characterization, since the ability to perceive, comprehend and experience the symbolic meaning of an image is always evidence of the beginning of the character's spiritual insight. As for the symbolist, in particular ornamental, prose with its characteristic weakening of the plot, the symbol here has a completely different meaning. Firstly, it performs the function of a leitmotif - a figurative characteristic of the character, which is constantly repeated, because it expresses their essence. At the formal level, the function of symbols-leitmotifs is to organize the coherence and integrity of a literary text, which in realistic prose is ensured by the cause-and-effect relationships between the events that organize the plot. The author emphasises that these differences are due to the peculiarities of the worldview on which the respective artistic methods are based.

The study deals with discourse emblems treated as recognizable identifying signs of communication participants. They occupy a certain place in a general system of semiotic interpretation of reality - they are indices characterizing the pragmatic vector of a sign, according to Ch. Morris. The difference between emblems and allegories or symbols consists in their main quality - the former should be immediately recognized by the people who belong to a certain culture whereas the latter may be deciphered. Emblems as a system constitute an outer form of culture. Discourse emblems are inherent in any type of communication and may be regarded as discourse type indices. Their linguistic and cultural essence is to show communication partners as belonging to the joint community. Emblems in a personal habitual discourse demonstrate a restricted communicative distance, in an institutional discourse they indicate the group status of communicative partners, and in an artistic discourse they show a multiplex extensible variety of meanings contained in the text or any art object having an aesthetic value.

The paper introduces a close reading of Eco’s article “Generazione di messaggi estetici in una lingua edenica” (1971), in which he fictionalized the biblical story from Gen 2 to show that the aesthetic use of language generates internal contradictions (self-contradictions), as well as that any such contradiction at the level of expression/form also entails a contradiction at the level of content. Furthermore, the basic postulates of Eco’s semiotic theory revolving around the sign-function are discussed, followed by outlining certain theological-semiotics of language based on the text from the second chapter of the Acts of the Apostles (descent of the Spirit). It is based on an original sign – which is not, as with Eco, a sign associated with another sign (interpretant) within a sign system (code) nor a “dynamic object,” but it is the Mystical Body. The paper concludes by arguing that it is this very Body, and not the poetic invention, that generates “other languages” (ἑτέραις γλώσσαις) and consequently a communion, which is not multiethnic nor multilingual, but a Catholic community.

The article aims to illustrate the inadequacy of viewing semiotics as a mere extension of linguistic methods applied to non-linguistic objects. It highlights the dual and recursive na­ture of semiotic terms. Semiotics' objects are not independent signs but rather the processes involved in establishing sign relations, specifically semiosis and semiopoiesis. Given the dy­namic character of semiosis, signs should not be regarded as fixed objects from a predefined vocabulary; instead, they should be seen as ongoing processes. This underscores the signifi­cance of referencing texts and contexts within semiotics. This aspect is crucial as it is where semiotics can complement linguistics effectively. Social semiotics and poetic semantics, from different vantage points, demonstrate that the speaker's activity is not merely the reproduction of signs but the generation of them. Con­versely, biosemiotics and molecular genetics offer insights into comprehending the inter­nal laws of semiosis, affirming that sign generation is an inherent property of information sys­tems and need not always involve a conscious subject. Simultaneously, linguistic descrip­tions can take various directions, focusing either on describing significative functions exter­nal to the system or on internal relationships within the system.

The article is devoted to the study of elements of various sign systems that implement the semantics of English-language computer discourse and ensure the internal integrity of the message and its figurative-cognitive content; the structural and compositional features of the design of English-language computer communication within the framework of the semantic approach are analyzed. The purpose of this work is to identify English-language computer discourse in the context of its structural and semantic characteristics. The scientific novelty of the study is seen in the fact that today, the semantic approach assumes a traditionally pragmatic description of discourse in semiotics, which equates the meaning and situational use of an utterance. Based on linguistic analysis, it has been established that semantic description makes it possible to describe discourse based on its meaning-generating form, since the syntactic form of discourse has the ability to generate meanings.

The article presents a publication of documents of the late 19th century, which illustrate the policy of the Provincial Government towards of the Tobolsk Province and the fact that they commit the traditional Hajj to Mecca and Medina by the Muslim population and the reaction to the refusal by the Muslim population to wear the volost government attributes, which resembled an Orthodox symbol.

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.

The article is devoted to the study of the linguocultural coding of national heraldry specifics. The purpose of the article is to establish the semantic and linguocultural characteristics of the concept “culture code” and to identify the functions of its units – symbols in verbal descriptions of national heraldry. The relevance of the study is determined by the need to understand the essence and lingocultural features of the verbalization of national heraldry symbols. The study was conducted on the material of blazoning of the coats of arms of the former USSR republics, the states of the former colonies of Great Britain, France, Spain and Portugal, which once had a common joint past and a common language of interethnic communication. The novelty of this study lies in the fact that for the first time blazonization is the object of a linguistic description. It is established that a linguocultural code differs from a simple code by the unconsciousness and unintentionality of its creation; it “inherited” the password property from the symbol: possession of this code opens access to a certain culture for its “users”. The linguocultural code is defined in the most general form as a system of images referring to the verbalized concepts of spiritual culture, it is always a set of symbols of a particular ethnic or national culture that can refer to different semantic content. The study showed that the in the creation of the coat of arms the verbal description of the heraldic image is primary – the blazon obtained as a result of blazonig, which consists in explaining the symbols present on the coats of arms. The author came to the conclusion that the figurative embodiment of the basic linguocultural concepts of the national idea in the heraldry of countries united by the common language of blazonization indicates the use of units of the most diverse cultural codes, distinguished by thematic feature. In the heraldic symbolization of power, sovereignty, unity of the nation, the struggle for independence and the positive personal qualities of the inhabitants of the country, units of subject, animalistic, plant, astronomical, “weaponry” and chromatic cultural codes are used. The study uses methods of semantic, semiotic and linguocultural analysis of images symbolizing the ideas of national heraldry.

The monograph discusses the issues of lingua-semiotics, linguaculturology, axiological linguistics and discourse studies. The characteristics of linguistic and cultural concepts, dramatic plots and types of discourse on the material of the Russian, English and German languages are considered. The monograph consists of three sections: “Conceptual Functionality of Language”, “Narrative Functionality of Language” and “Discourse Functionality of Language”. The basic parametric concepts of space and time (infinity and eternity), regulatory concepts of behavior (power, perseverance and stubbornness, style and reputation), the concept of the mastered world (house, garden, merry-go-round) and natural phenomena (fire and ice) are described. As illustrative material, the plots “journey into the past”, “flight into space”, “eternal youth”, “meeting or joint adventures of twins” are considered. When describing the discourse potential of language, the modes of self-expression in communication, the illogical varieties of world perception in different types of discourse (participation), the peculiarities of mystification, discourse accuracy and inaccuracy, the unification of different types of discourse in a speech act (discourse convergence) are shown. It is meant for philologists and a wide range of researchers developing the foundations of the integral science of man.

The article asks to what extent, if at all, the methodological modus operandiof Erwin Panofsky’s three-level model for iconographic-iconological interpretation and analysis parallels that of semiotics as conceived by Ferdinand de Saussure and Charles Sanders Peirce. That this is the case has occasionally been asserted, for instance by Mieke Bal and Norman Bryson, as well as Giulio Carlo Argan. The exposition begins with an outline of features of iconography and of semiotics pertinent to the argument. It then proceeds to relate the grounds on which the two systems have been taken to resemble each other. Lastly, the alleged correspondence is contested on the grounds of differences regarding both the practices and objectives of iconography and semiotics respectively.

This study discusses the types of signs and their interpretation characterizations in the short story Syamsyūn Al-Jabbār by Kāmil Kilanī. The purpose of study is to interpret of signs in the characterization of the short story Syamsyūn Al-Jabbār. The theory used in this research is pierce semiotics which is know as triangle sign theory, that is representament, object, and interpretant. Pierce also divides the types of signs based on his object into three, that is icons, indexs, and symbols. The method used in this study is a descriptive qualitative method that examines the contents of the document. Based on the result of research on the Syamsyūn Al-Jabbār short stories, it was found first, there are three types of signs icon, indexs, and symbols used to find out the characters contained in the Syamsyūn Al-Jabbār stories. The Characters included six figures including Syamsyūn Al-Jabbār, Jamilah, Sultan, Dalilah, Pandai besi, and Menteri. Second, the interpretation of sign. Overall in the short story there are three aspects related to life, including aspect of strength, power, and beauty.

Objective: This study intends to extract the components of the effective concept in transforming the mental concept into a transferable concept from the perspective of experts based on Peirce’s sign and introduce it for use in ontologies. It aims to answer the question, what are the components of transforming a mental concept into a transferable concept from the point of view of experts based on the components of creating meaning in semiotics and their application in ontology?Methodology: The research approach was qualitative and the research method was phenomenological. This is because the method of phenomenological research seeks to understand and discover the experience of different people from the phenomenon under study to reach nature of people's lived experiences and deeply describe their life experiences, which are usually narrated in their own language. Using the phenomenological method, it is possible to directly receive the knowledge and experience of different people from concepts and phenomena. In the research community, there were 18 experts in the field of Ashura and tools for data collection, interviews, observation, analysis of the text of interviews. The phenomenological research used in this research was interpretive phenomenology which was done by inductive method.Findings: From analyzing the text of interviews and published memoirs of Ashura experts, 8 main categories and 47 sub-categories were identified and extracted. The result of the analysis showed that there were different stages in the transformation of the mental concept into a transferable concept or meaning, and each stage had several components.Conclusion: The results showed that the processes of transforming the mental concept into a transferable concept with the process of creating meaning. In this process, from the time of receiving the sign, recognizing the phenomenon and forming a concept of it in the individual's mind to transmitting the mental concept to others and creating meaning, various stages and components have been effective, the most important of which is related to individual characteristics. Therefore, focusing on how documents are represented in ontologies and information systems, and even how one interacts with the system, cannot lead to the creation of meaning. Rather, one should pay attention to the characteristics of the individual that are directly related to his mental patterns. The processes of perception and cognition in man have several stages and components related to each stage. Persons have their own personal world and structure their mental patterns based on this world. Therefore, for semantic retrieval, in addition to logical problems, statistical techniques and techniques, computer science and artificial intelligence should pay attention to other sciences such as sociology, psychology, anthropology and linguistics.

The study is devoted to psycholinguistics as one of the angles of the study of consciousness. The relevance of the study is due to the fact that psycholinguistics has not yet succeeded in constructing a valid ontological picture defining the specific “reality” of a given science, and finding a place for it in the scientific picture of the world. If we take into account the spatial structure of the sign, then we can assume the presence of at least three points of view on semiotics as a subject of study of the sign organization of consciousness. These are linguistic semiotics, philosophical semiotics and psychological-hermeneutical semiotics. The novelty of the study lies in the introduction of psycholinguistics into the intersubject communicative space of disciplines that study consciousness in order to highlight its subject-methodological features. The symbolic nature of consciousness makes it possible to consider semiotics not only as a scientific subject of study, but also as a method of organizing and transferring experience. As a result of the analysis of the problem, the statement can be proposed that psycholinguistics methodically explores understanding as an accompanying function of text creation. In culture, relations between people are reified, and this reification is semiotic. In the psyche, these relationships are psycholinguistic. The socio-cultural encounter of these relationships occurs at the metacognition level.

Peirce’s final statements on the sign were consigned in various ways over a hundred years ago as a form of logic, a branch of the science of enquiry based upon observation. This means inevitably that some parts of the theory will have been contested or considered superseded by more recent pronouncements on cognitive activity in general, both within and without the field of semiotics. Two such areas that have been host to innovative developments concern central preoccupations of the entire Peircean edifice: the basic unit of semiotics and its function, and ways of looking. First, following Thomas Sebeok’s pioneering integration of semiotics and the biological theories of Jakob von Uexküll, biosemiotics, it is claimed, has espoused a Peircean approach to the definitions of sign and semiosis. Second, observation involves the relation between the observer and the object observed, and, as a theoretical consequence, the relation between an organism and its environment, von Uexküll’s Umwelt. In view of the importance accorded Peircean semiotic theory in this more recent science, the paper compares and contrasts aspects of the later theory with the earlier, and concludes that there are significant theoretical differences between the two conceptions of the sign and its theoretical implications.

Abstract This study provides an understanding of the needs for signs identifying rooms shown in group homes for the elderly with dementia (residents' room signs) and reveals the elements for planning. The purpose of staff displaying residents' room signs is to support residents with dementia returning to their own rooms by themselves. It is appropriate for the display contents shown on the residents' room signs to be displayed with the name of the resident approximately 30 to 50 mm. The appropriate display location is near the door handle at a height of approximately 1200 to 1400 mm.

This article addresses the issue of the presence of poetry in hospitals. It first highlights the unexpected points of convergence between these two normative systems. Then it attempts to show how the NHS has repeatedly made use of poetry and underlines the increasing presence, in hospitals, of the potential therapeutic value of poetry. The article then reverses its angle of analysis as it examines the presence of hospital in a selection of poems. The confrontation of “poetry in hospital” and “hospital in poetry” leads us to address the status of the poetic sign in hospital and the status of hospital as a poetic sign—a reciprocal mise en abyme which, in the end, does not appear as particularly strange.

Functional tremor (FT) is the most common phenotype of functional movement disorders (FMD). Its diagnosis can often be challenging. While positive signs such as tremor variability, distractibility, and entrainment support a diagnosis of FT, these diagnostic clues may not always be present and can be challenging to assess. In this case series, we identify another examination technique which could be of value when assessing FT. In our Movement Disorders clinic, charts were retrospectively reviewed for relevant clinical information. Video examinations were conducted. Obtained videos were either synchronous, via the use of screen recording software during telehealth visits or asynchronous, from self-recorded home videos. In both settings, patients were instructed to self-record their tremor using their phone cameras. Three patients with FT or comorbid FT were identified as demonstrating a unique examination sign. Videos showed an improvement or suppression of the tremor when the phone was held by the affected hand. When compared to a patient with tremor-dominant Parkinson’s disease serving as a control, this “selfie sign” was not observed. These observations are preliminary and larger studies are needed to confirm the usefulness of the selfie sign in diagnosing FT. Patient-recorded videos of their tremor can be a convenient and practical way of evaluating suspected FT, especially when paroxysmal or variable symptoms limit the usefulness of classic signs often assessed in the clinic.

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.

The principal object of this study is constituted by two epistemologically distinct models of Ferdinand de Saussure’s depictions of the linguistic sign. The first model pertains to a bilateral conception of the sign as an inseparable unity of two sides that evoke each other in the mind of individuals during their speaking and understanding activities. The second model, termed here as ‘unilateral conception’, has been deduced from Saussure’s understanding of parole, where an idea establishes itself in a sound and a sound becomes the sign for an idea. A survey of related terminological distinctions derived from logic and philosophy as well as linguistic semiotics seems indispensable for presenting the positions of these bilateral and unilateral sign concepts in a typological matrix which could embrace all sign models originating in the sciences of language. The additional purpose of this study is to put forward the idea of epistemological equivalence to be achieved in translational practice. This supplementary focus of interest in particular concentrates around the question of how the translations of sign-related terms, selected from Cours de linguistique générale, reflect the epistemological awareness of their English-speaking translators.

Iniciamos nuestro recorrido con el señalamiento de tres consensos para los lenguajes de la crítica en las humanidades en la escena actual de la teoría (Biset & Naranjo, 2022), a saber: el distanciamiento del giro lingüístico, la crítica de los dualismos ontológicos y la perturbación de las escalas. Para abrir la pregunta que guía este artículo, problematizamos el primer consenso, ése según el cual sería posible trazar una constante en los lenguajes actuales de la crítica que parecen distanciarse del giro lingüístico –específicamente de su versión posestructuralista–, discutiendo o bien su modo de comprender el lenguaje o bien el postulado de la mediación lingüística en tanto tal. Así, nuestra indagación busca ser una hoja de ruta para un posible camino que actualice la pregunta de la relación entre las palabras y las cosas desde una reformulación puntual: los signos y la materia. De ese modo, realizamos las siguientes acciones: sostenemos la hipótesis de un cierto retorno de las semejanzas desde la relectura de la prosa del mundo de Foucault y la lengua del mundo de Latour; revisamos qué nociones de signo (y sus vinculaciones con la imaginación crítica) están operando en las teorías contemporáneas; aislamos una batería de tácticas para la reorientación de lo escribible y lo legible en la escena teórico-crítica actual; finalmente, proponemos una serie de figuras desde las que balizamos el trabajo con los textos literarios desde una imaginación crítica singular. Abstract We begin by pointing out three consensuses for criticism in human sciences in the current context of theory (Biset & Naranjo, 2022), namely: the distancing from the linguistic turn, the critique of ontological dualisms, and the disruption of scales. To open the question that guides this article, we problematize the first consensus, which suggests that it is possible to trace an insistence in current criticism that appear to distance their theory from the linguistic turn – specifically from its poststructuralist version – by discussing either their way of understanding language or the postulate of linguistic mediation as such. Thus, our inquiry aims to be a cartography for a potential path that updates the question of the relationship between words and things through a specific reformulation: signs and matter. In this way, we undertake the following actions: we hypothesize a certain return of the similitudes through the rereading of Foucault's prose of the world and Latour's language of the world; we review which notions of sign (and their connections to critical imagination) are at play in contemporary theories; we isolate a set of tactics for reorienting what is writable and readable in the current theoretical-critical scene; finally, we propose a series of figures from which we explore the work with literary texts through a unique critical imagination. DOI: 10.5281/zenodo.10433343

Issuance of negotiations instruments, checks, promissory notes, bills of exchange, their endorsement or guarantee, as well as the acceptance of bills of exchange must be according to the general rules of contracts to be considered a legal act. However, according to the international conventions of Geneva and UNCITRAL regarding negotiations instruments, the meaning is specified using a signature and seal. The definitive stage of delivery of the document after signing, which must be done with consent, is also important. Iran's law is silent on the legal effect of submitting a negotiation instrument while it is defined as the role of submission in international documents and English Law. Transfer of a document is considered as the intention to declare the will, or a declaration of the will along with the complementary and final signature.

The study is devoted to the analysis of the implementation of the music semiotic space in a modern literary text and is carried out on the basis of the Russian National Corpus, which records the works of fiction of the last two decades. The objectives of the study were to identify language units that represent the music semiotic space in a literary text; define their main functions; establish the symbolism of music in contemporary works of art. It is noted that the music semiotic space is closely connected with the culture of the society, it is an integral and important part of it, the basis for understanding what is happening in the semiotics of music. The scientific novelty of the study lies in the appeal to the units of music semiotic space as components of a literary text, important for the authors to translate cultural meanings, emotions, aesthetics, psychological characteristics of the heroes of the works. It was revealed that when the units of the music semiotic space perform informational and emotional functions, their semiotic significance is minimal, while their main functions in semiotic terms are aesthetic, expressive (emotional), psychological. Moreover, the image of a musical phenomenon is usually combined with a description of that strong impression (up to transformation of personality, feelings, behavior), which it has on the hero of the book. In addition, it is noted that the components of the semiotic music space actualize their symbolic, aesthetic, emotional functions when used in comparisons and metaphors, including conceptual ones. For the authors of modern works of art, it is important to depict the world as sounding, filled with music, which forms a common cultural space for the author and readers, indicates the unity of their cultural codes.

The aim of the article is to identify and analyze the linguistic and semiotic parameters of metaphors in the English professional discourse, to reveal the semiotic and linguistic potential of professional metaphors in conveying the business world significance and to study the mechanisms of the impact of professional metaphors on various target audience. This goal is achieved by referring to modern scientific both domestic and foreign studies of metaphor, linguistic semiotics and professional discourse. The relevance of the present study is determined by the necessity to understand the essence and main semiotic features of the metaphor used in the English professional discourse. As an empirical material, a bank of metaphors (1234 units) from the Economist is used. The novelty is the fact that metaphors in professional discourse are described as special signs of the semiotic continuum, 4 semantic groups and 23 subgroups are identified and analyzed. The authors have identified that metaphors are not used only as an independent cognitive resource in business, but also as a special sign that acts as a constructive foundation for business as a whole. They conclude that the metaphorization process in professional discourse provides a special algorithm for understanding social phenomena. Moreover, the authors argue that professional metaphors should be seen as conceptual frames applied to organizations to promote understanding, generate new meanings, and enable business and economic change, considering the advantages of second level professional metaphors.

Статья посвящена рассмотрению текстовых маркеров событийности в плане их воздействия на адресата. Актуальность избранного вектора исследования определяется интересом современной лингвистики к дискурсивным механизмам продуцирования и функционирования художественного вымысла, который трактуется как основополагающий принцип художественной коммуникации в целом. На материале новеллы О. Уайльда «Кентервильское привидение» выявлены и описаны коммуникативно-прагматические особенности событийности, которые определяют реализацию категории возможного в художественном дискурсе, что, в конечном счете, делает нерелевантным для него квалифицирование истинности описываемого. Автор статьи приходит к выводу о том, что синтез элементов условности и жизнеподобия в художественном тексте как результате художественного дискурса способствует выявлению специфики событийности как конституента художественного вымысла.

This study was carried out to analyze semiotic signs appearing on the names of Acehnese online newspapers. The method used in this research was qualitative by using content analysis, and the technique used for this research was documentation. The instrument used to collect the data for this research was a checklist by reviewing the names of Acehnese online newspapers: Aceh Redaksi, Kabar Aceh, Aceh TerUpdate, Aceh Info, Aceh WorldTime, and Acehzone_id. The data was analyzed using the sign theory of icons, indices, and symbols. The result of the analysis found that the signs which appeared on the names of Acehnese online newspapers and the meaning which appeared on them were related to the history of Aceh. They have the same characteristics in the use of colors: red, white, and black. These are the hues used on Aceh’s flag, which serves to represent the identity of the Acehnese. Since the newspaper organizations were also part of the Aceh community, Acehnese online newspapers also had the same culture. Thus, using the flag colors strengthened their identity and signified their origin. White is a symbol of purity, honesty, and kindness, meanwhile black refers to a warning and grief to the heroes, and finally, red symbolizes courage and heroism. The representation of the flag and people, in general, revealed the Acehnese desire to have a distinct identity from other Indonesian ethnicities in the 38 provinces of this country. Such portrayal was designed to create a distinct identity within the diversity of Indonesia.

The rapid development of the era has made changes in various aspects of life, including the way of communication. One of the things the company does to communicate its message to its target audience is through advertising on Instagram social media. This article was created to analyze the signifiers and signified in advertisements, especially those published by Gojek on Instagram on 15 and 17 October 2021 using the Ferdinand de Saussure sign approach. This study uses qualitative methods to conduct research in collecting and analyzing data. The study finds 35 signifiers in 3 ads published on 15 October and 13 signigiers in 2 ads published on 17 October. October 2021.

In this paper, I attempt to address some of the themes of Ludwig Wittgenstein’s Tractatus logico-philosophicus with the aim of their deconstructionist interpretation. My analysis is based on David Gunkel’s book Deconstruction (MIT Press 2021). Based on some of its findings, I show how the Tractatus allows deconstruction and its practice to be thought. I show that the graphic structure of signs is crucial for the young Wittgenstein’s analysis and that it justifies the metaphysical findings in favor of which he argues.

The aim of this study is to examine and analyses the importance of water in the light of the Holy Quran. Water is essential for survival. Allah mentions in Quran ‘…and we send down from the sky pure water.” Water is a blessing and we as Muslims must appreciate this blessing of Allah.

Language is the primary means of human communication in which the addresser uses a given linguistic sign to arouse a specific set of meaning(s) in the addressee. The term meaning is used here to refer to the images, interpretations and feelings or signification aroused by a particular sign or lexical item. In other words, communication takes place when there is a correspondence of meaning/ signification between the communicator and the receiver. Lexical diversity is a significant aspect of Urdu news media. It occurs due to the fact that the news editors, belonging to diverse news agencies, choose from diverse lexical resources at their disposal to convey the same message in their own style and as per their own needs. However, it needs to be considered that the linguistic signs/ words are not just useless or insignificant entities that are used haphazardly and randomly. They have a certain role and signification and are used with certain intent by the news editors while framing the news items. It is clear that meaning of these signs/lexical items depends upon a host of factors including their collocation, socio-cultural setting and context of use. As such, these language symbols are selected and utilized very consciously and systematically by the news editors and, in doing so, they chose and exploit the lexical items in a planned manner to convey the intended message to the audience. Given this backdrop, the present paper aims to undertake a psycho-semiotic analysis of Urdu news media to throw light on the selective use of lexical items by the news editors according to their background, purpose, and intention.

We live in a world of signs and we have very little comprehension of the world outside the semiotic systems that we are exposed to. Signs, in different ways of representing the world, makes us aware about the world around us. Bhartṛhari talks about two functions of the sign, namely identification (prakāś) and differentiation (vimarś). Here, the first function allows the user to identify the object in a system and the second one allows the user to differentiate the object from other objects in the system. But, at times, we may have the same object having multiple representamen. The present paper attempts to present one such case of the same object, namely ‘water’ represented in Gujarati by two linguistic signs – jaL and paaNi. The present paper will primarily deal with the first and the marked sign – jaL and how it is used in Gujarati Sign system. The paper attempts to identify various domains in which the marked sign is used, its interpretant and very specific cultural significance. The analysis of compounding consisting of this sign, and the phrases in which this sign appears is offered. An attempt is made to understand the distinctive features and culturally and socially domain specific meaning through this semiotic investigation.

The paper discusses the complex genre of tourist booklet as a fixed type of multimodal text that serves in a communicative situation of promoting a tourist product. This genre is a semiotically complex phenomenon, which conveys information through different semiotic systems. The methodological issues are posed as to a perspective model of genre analysis that would take into account the multimodal nature of genres. The author points to major hindrances that an analyst faces when doing multimodal analysis. The study focuses on discovering mechanisms of the interplay between verbal and visual components on semantic and formal levels, as well as showing how the elements of multimodal analysis can be targeted at various genre parameters. The booklets (85 items) for the study were collected in 2007–2019 in Australia, Great Britain, Germany, Poland, Russia and other countries. Methodologically, the paper draws on speech genre theory, semiotics, critical discourse analysis, and multimodal analysis. The claims are advanced that the tourist booklet has both obligatory and optional features, the visual component being obligatory. It is revealed that the colours of visuals can have factual and modal meanings embedded in them; photos convey precedent meanings; while using different semiotic codes, visual and verbal elements join the convergence relations and, thus, provide for genre coherence. The complex genre includes intertextual links between genres in its structure. These links may be of cross-code nature, since they are established between the elements of different semiotic systems, verbal and non-verbal. The conclusion is drawn that a consistent analytical model for multimodal genres has to be designed.

This year, Classiques Garnier Publisher has printed the book Ferdinand de Saussure. Une science du langage pour une science de l’humain, written by JeanPaul Bronckart and Ecaterina Bulea Bronckart. The two authors bring back into discussion the topicality of the Genevan scholar’s linguistics, starting from the same challenging question: “Why, again, Saussure?”. The answer extending over more than five hundred pages aims at the complexity of an approach which revolutionised not only the bases of language sciences, but also the terminological innovations introduced, with Saussure, in all disciplines whose subject of study is language. This article relies on the reading of the Bronckarts’ book and focuses on that innovative part of the Saussurean terminology without which the process of scientific establishment of language studies would not have been possible.

It has been determined that the majority of studies in the Turkish literature on place names examine the phenomenon by objectifying, describing, classifying and digitizing the existing data. It has been determined that this positivist privilege provided to the phenomenon causes the power relations inherent in the naming to be ignored. The aim of this study is to discuss the relationship of naming practices with power and ideology in a theoretical framework. This discussion is based on the assumption that "power names with the perspective of absolute space". This criticism; It focuses on a theoretical reading style based on the concepts of power, naming, ideology and sign.

The relevance of the article lies in the stable interest of the scientific community in the history of the church schism, in the problems of the formation of the ideology of the USSR, especially in the aspect of semiotics with the identification of some deep symbolic structures. The purpose of the study is to substantiate the hypothesis that the church schism of the 17th century and the Great October Socialist Revolution of 1917 are connected in the implementation of non-obvious semiotic scenarios for further development. The material of the work was the “Acts of the Moscow Cathedral” of 1666-1667, periodicals (newspapers “Krasnaya Gazeta”, “Krasny Sever”, “Zvezda Vytegry” of 1920), scientific works on the analysis of monuments of secular and church history. In the study, the leading methods are contextual analysis, reconstruction, modeling with the dominance of philological hermeneutics. With their help, five parameters are identified by which it is permissible to track the ideologization of the fact of reality by a group of interested persons: 1) the use of semantic-specific linguistic means; 2) the polarization of the assessment; 3) the precedence of the text; 4) the precedence of the idea and 5) the precedence of the image of a leader loyal to the community of people who won the controversy. It is shown that ideologized meanings do not depend on the time of creation and the sphere of functioning of the text that preserves them. In other words, the text acts as a material carrier of a dynamic formation that can be transferred from one statement to another for several centuries, which makes it possible to study ideologization using linguistic methods. At the end of the work, a graphical model of the ideologization of language and text is presented, which is relevant both for the era of the church schism in the second half of the 17th century and for the period after the October Revolution of 1917.

This paper attempts to illustrate a process of analysis that will hopefully open a path to more complete and useful definitions of sign and symbol. It applies a form-content analysis to the metaphysical properties of these two concepts. The objective is to locate criteria necessary and sufficient to derive formal definitions for these terms. Wittgenstein’s concept of “forms of representation” is analyzed and applied to the topic. Criteria are outlined that determine the appropriateness of the sign and symbol to be applied as labels. Criteria of definition are then developed using gesture, metaphor, and several other example types to illustrate the use of the criteria in distinguishing between sign and symbol. The structural organization of these two concepts proved to be especially complex and led to what some readers may find somewhat obscure. It is not our intention to be purposefully obscure.

Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely in its authors mind, expressed through a tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can, in fact, propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of an honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence.

This article discusses Kenneth Burke’s theory of the symbol, which considers the use of the sign as a specifically human activity associated with the formation of meaning. In Burke’s view, the symbol is a meaning-making device that can influence human action and thoughts, and therefore represents the key to understanding the nature of human communication. In this article, Burke’s ideas are compared to other sign-symbol theories — namely, the semiotics of Umberto Eco and Juri Lotman, Charles Sanders Peirce’s semeiotics, as well as Ernst Cassirer’s philosophy of symbolic forms —, with analysis on the way each of these theorists defines the nature of the symbol and its conventional acceptation, principle of identification, and the characteristics of the symbolisation process itself.

From Plato’s erotic symposium, through sex and death on Early Modern British stages, to Freud’s venture beyond pleasure, the ludic practice of plays and playing has long been associated with desire. This paper theorises that association for the first time, to propose an affiliation between stage and psyche. If we think of Freud’s obsession with Oedipus it is obvious that psychoanalysis has always leaned on drama; but when we read drama through the lens of desire, the relationship between drama and psychoanalysis becomes more structurally precise. It is as if Freud had modelled his topology of the psyche, directly upon the three carefully curated spaces at the Theatre of Dionysus. Reading stage-as-psyche allows us to explore the complex psycho-social connexions that take place in dramatized space in new ways. The paper maps Lacan’s reading of Borromean knots onto the stage to explore how the auditorial gaze, staged voice, and obscene backstage soundscape interconnect; and how they can be activated and suppressed in various dramatic and applied performance practices to generate startlingly different states of subjectivity. The paper offers fresh insight into how performance can position us to be creative, or receptive, in relation to culture, with important implications for artists who want to challenge anthropocentric practices.

Abstract Background There is a growing concern on how to increase tuberculosis (TB) case detection in resource-poor settings. The healthcare facilities routinely providing services to the elderly for chronic diseases often failed to detect TB cases, causing a missed opportunity. This study aimed to develop a simple and sensitive screening tool using signs, symptoms, and risk factors for TB case detection in the elderly. Methods This was a cross-sectional study conducted from August to December 2020. A random sample of 302 subjects was taken from the elderly aged ≥ 60 years attending the outpatient polyclinic at Mangunharjo hospital, Madiun, East Java, Indonesia, for a chronic disease problem. The test was developed using 16 TB signs, symptoms, and risk factors. Test performance was assessed by comparing it against the GeneXpert MTB/RIF. Results Marginal analysis resulted in the optimal cut-point of ≥ 7 for the test, which gave an area under the curve (AUC) of 0.62, with the maximum marginal AUC of 0.04 (p

Language has a significant contribution to the exchange of knowledge. Scholars examine different uses of language to find out its effect and role in several domains of society such as media, criticisms, politics, and related fields. Discourse analysis is connected with the use of both spoken and written language. It supports in analyzing how users say things, their effect on the audience, and how it influences society, or the way society affects communication. This mixed-mode research aims to provide a systemic analysis on how oppressed masses use signs and symbols through different social media platforms such as Facebook, WhatsApp, Twitter, and Instagram to encourage teachers to protest and achieve parents’ support to prevent their children from going to schools, in a Jordanian context. The sample of the study consisted of 189-selected posters/signs and symbols using a convenient sampling technique. The selected Arabic posters were translated into the English language. The researcher used the analytical instrument adopted from Van Dijk's (2005) framework of political discourse analysis. The corpus was analyzed contextually. The findings of the study showed that in the reaction to meeting demeaning and dismissive discourses, schoolteachers reacted as inheritors of cultural legacies, meaningful resources, context specialists, professionals, and moral authority figures. In addition, the results indicated a strong link between political discourse analysis and the use of sign language that reflects the social practices of protesters and oppressed masses. To conclude, this study is an add-value to both local and body of knowledge locally, regionally, and internationally concerning theory and practice in which previous experience shows every possible influence to preserve public sustenance, show criticism, and express demands as teachers’ signs and symbols in different provinces in Jordan worked effectively in a civilized manner.

Introduction. Road signs form the framework of the driver’s decision-making system in the process of vehicle driving, at the junction, separation and intersection of traffic and pedestrian flows. The most important in road signs are their luminance factor and retro reflectivity at nighttime; signs must have clear feedback. The more fully and clearly driver is informed about the conditions and needed modes of traffic,the more accurate and error-free are his actions. Problem statement. According to the analysis of accident rate statistics, most traffic accidents occur due to the inability of the driver to evaluate adequately the situation in conditions of insufficient visibility of road markings, signs and unsatisfactory lighting. According to researches, it has been determined, that improving the visibility of markings and signs can reduce traffic accidents by 10-30%. According to statistics, about 27% of traffic accidents occur due to driver inattention or loss of concentration. In Ukraine, such studies are almost non-existent, but according to traffic police data, in traffic accidents in the cities 50% of drivers consider also the cause of the collision tiredness or loss of concentration. An urgent task to eliminate the factors mentioned above is the use of high-quality informative road signs that will draw the driver’s attention to the elements of the road situation (the presence of pedestrian crossings, possible complications of traffic conditions, trajectory of own vehicle move, etc.). For mounting quality signs, first of all, it is need to follow all the rules of technology of their production. Purpose. To study the retroreflective and colorimetric characteristics of road signs depending on the technology of their manufacture. Мaterials and methods. Laboratory studies for determination the influence of the technology of signs manufacturing on the specific luminous intensity factor, chromaticity coordinates, luminance factor. Results. The results of laboratory tests of road signs samples manufactured by different technologies for determination of specific luminous intensity factor, chromaticity coordinates, luminance factor are presented. Conclusions. Based on the results of studies, it can be concluded that the manufacturers of road signs need to work very carefully on the selection of inks for digital printing in order to achieve an image with high color endurance. Manufacturers are advised to have the needed devices to control the color at the stage of manufacture. Also, it can be noted that the specific luminous intensity factor of the road sign image of non-white characters made by digital printing is less important than the signs made by other technologies. Manufacturers need to draw attention to this and work over the possibility of achieving higher values of retro reflectivity

The article is devoted to irony as a culture phenomenon, which is examined by various aspects of science. The term of anauthor’s ironic discourse is examined and the peculiarities of ironical communication. Also in this article language is studied asa sign system with an author’s illocutionary intention and a recipient’s perlocutionary reaction, and also the influence ofextralinguistic factors, including the way of organizing a text communication and an author’s consciousness peculiarities. Alsothe influence of the inner and outer contexts on the recipient’s understanding of the information is examined in the research.Examples are given from works of English authors.

The author points out landmarks for a correct and efficient reception of the texts from the mural paintings, defining and re-defining, structuring and commenting on the defining terms of the two notions: the text and the artistic-plastic reception. The emphasis is on the specifi city of the reception of the artistic-plastic image, which is epistemic and praxiologically different from the usual reception. At the same time, the perception of the visual space is highlighted, in which the images and the accompanying text are integrated. It addresses the relationship between the two notions of text and image in visual art works, their importance being enhanced by the status of the image, as a product of an interaction between sender and receiver and, at the same time, as a place of transition to the mentality that generated a. Being about representations included in an iconographic program, the defining features of the icon are highlighted - as an object of representation of a text and as an object-means of transmitting /communicating a written message/implicit to the genre.

Relevance. To increase the consumption of tomato and its diversity on the market, it is important to create new varieties that have economically valuable characteristics and are in demand among consumers. The aim of the research was to create a new determinant early-ripening variety of lettuce tomato, plastic, consistently productive, large-fruited, with dense pulp and high taste, tolerant to diseases.Materials and methods. The studies were carried out at the collection site of the Crimean OSS of the VIR branch (Krasnodar Region, Krymsk). The Agata Plus cultivar was obtained by crossing parental forms with subsequent multiple selections against a natural infectious background. As a mother, we used a salad variety of the Russian selection Agata – early maturing, undersized, with an average yield and fruits with good taste and average weight. The paternal form was a hybrid of the Dutch selection F1 Eploz, characterized by early maturity, medium height, medium leafiness, largefruited, dense pulp, consistently high yield and excellent taste of the fruit. The Agata tomato variety included in the State Register of the Russian Federation was taken as a standard.Results. Evaluation of breeding lines for a complex of biological, morphometric, economically valuable traits using individual and mass selections made it possible to obtain the best early ripening form of salad designation, marked by large fruit size, consistently high yield and good taste. In 2017, this form, called Agata Plus, was submitted to the State Variety Test, and since 2020 this variety has been approved for use.

The computation of the sign function of a matrix plays a crucial role in various mathematical applications. It provides a matrix-valued mapping that determines the sign of each eigenvalue of a nonsingular matrix. In this article, we present a novel iterative algorithm designed to efficiently calculate the sign of an invertible matrix, emphasizing the enlargement of attraction basins. The proposed solver exhibits convergence of order four, making it highly efficient for a wide range of matrices. Furthermore, the method demonstrates global convergence properties. We validate the theoretical outcomes through numerical experiments, which confirm the effectiveness and efficiency of our proposed algorithm.