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This paper aims to analyse the structural function and symbolic function of the historic building Yuan Guan during the inculturation process in the early Qing dynasty in China. This process was the dominant Western practice during the early Qing dynasty, when technology, design, aesthetics, and linear perspective were considered indispensable tools to express the nature of an architectural encounter between China and Europe. Given the artistic–cultural richness of this context, the masterwork Yuanying Guan complex can be examined from a spatial semiotic study in an original and unique way. Thus, semiotic tools were used to interpret the expression of the architectural space and to formulate a subsequent understanding of the architectural forms of this destroyed heritage, turning each element into a tool of communication.

The aim of the article is a linguo-cultural analysis of the concept of “freedom” in the language of H. Skovoroda’s works, which verbalizes the code of the national con sciousness of Ukrainians and the linguistic consciousness of the writer-philosopher. Within this goal, the following tasks have been solved: the semiotic content of the concept of “freedom” in the cognitive-semantic fi eld of life and work of H. Skovoroda and in the context of Ukrainian culture was clarifi ed; its connotations were revealed. The concept of “freedom” is one of the determinants of the linguistic consciousness of the Ukrainian pe ople and an individual speaker, the evidence of which is the verbal oral folk and professional creativity of Ukrainians and a number of connotations to it. The language of H. Skovoroda’s works is a syncretic example of Old Slavonic, as the oldest literary language of the Slavs, and colloquial Ukrainian of the time of the writer-philosopher, as well as modern Ukrainian literary language. The word-deno tation “freedom” and connotations to it (“equal inequality”, “happiness”, “related work”, “freedom”, “Bogdan the Hero”, “cheerful spirit”, “deep heart”, “the world tried to catch me but failed” and others) have a mental and ideological specifi cs, as they conceptualize the teachings of H. Skovoroda about man and the meaning of life. The writer-philosopher mostly uses in his speech a lexical way of expressing the con notative meaning of the concept of “freedom” through such tropes as comparisons, epithets, phraseologisms and other means of poetic speech, sometimes authorial in novations that give dynamism to this lexical-semantic fi eld allegory as the dominant features of his style.Prospects for further research are related to the linguistic and cultural substan tiation of the concept of “freedom” in the language of the works of Lesya Ukrainka, who, like H. Skovoroda, represents the Ukrainian philosophical and literary tradition of existential orientation.

The article defines the research field of a semiotically oriented philosophy of digital communication. It lays out its methodological perspective, pointing out how the fake has always been at the center of semiotic research. It traces the origin of deepfakes back to the conception of GANs, whose essential semiotic workings it expounds on. It enucleates the specificities of the digital fake, especially in the production of artificial faces. It reviews the deepfake phenomenon, enunciating its most recent statistics, prevalent areas of application, risks, and opportunities. It surveys the most current literature. It concludes by emphasizing the novelty of a situation in which the fake, in human societies and cultures, is produced mostly by machines. It stresses the desirability for a semiotic and interdisciplinary study of these productions.

U ovome radu ponudili smo dvojaku perspektivu kognitivne lingvistike i semiotike analizi paleolitičke spiljske umjetnosti – najstarijeg prapovijesnog ostataka ljudske znakovne djelatnosti, s ciljem opisa kognitivnih i semiotičkih mehanizama u pozadini njihova znakovnog djelovanja. Problematikom spiljskih crteža bavile su se brojne humanističke discipline, poput povijesti umjetnosti, antropologije i arheologije, s primarnim ciljem utvrđivanja njihova značenja i eventualne utilitarne svrhe. Ovaj rad nastojao je graditi na novoj perspektivi njihovu tumačenju koja proizlazi iz interdisciplinarnog područja arheologije, semiotike i kognitivne znanosti koje ne nastoji utvrditi njihovo značenje, već načine na koji oni potiču gradbu značenja. Relativna recentnost discipline i manjak literature na temu rezultirali su površnim pristupom semiotičkoj komponenti spiljskih crteža koji ne iskorištavaju pun potencijal korištenih teorija, dok je kognitivnolingvistički doprinos temi uglavnom previđen. U teorijskom dijelu rada opisali smo istraživanju relevantne kognitivne mehanizme poput metafore, metonimije i kategorizacije, te načine kognitivnog ustroja pojmovnih struktura u obliku idealiziranih kognitivnih modela i pojmovnog miješanja. U semiotičkom dijelu usporedili smo nekoliko modela znakova s ciljem utvrđivanja najpogodnijeg opisu kompleksnih znakova, ali i sintezi s kognitivističkim uvidima u gradbu značenja. Kao korpus analize koristili smo pet najučestalijih motiva pronađenih u paleolitičkoj umjetničkoj tradiciji: otiske ruku, zoomorfne, antropomorfne i teriantropomorfne prikaze, te geometrijske oblike. Rezultati analize ukazali su na postepen razvoj kognitivne i semiotičke kompleksnosti paleolitičkih znakova s obzirom na način obnašanja predstavljačke funkcije koji prati kronologiju njihova nastanka. Počevši sa znakovnim indicijama u obliku otisaka ljudskih ruku, semiotička kompetencija naših predaka napreduje prema naturalističkim, ikoničkim prikazima antropomorfnih i zoomorfnih figura, te kulminira s kreacijom multi-modalnih teriantropomorfnih prikaza nastalih pojmovnim miješanje. Rezultati analize razotkrili su i značajan utjecaj postojećih struktura znanja o pojavnosti na njezinu znakovnu reprezentaciju. In this paper, we offer a dual perspective of cognitive linguistics and semiotics in the analysis of Paleolithic cave art—the oldest prehistoric evidence of human sign activity—with the aim of describing the cognitive and semiotic mechanisms underlying their signifying practices. Numerous humanities disciplines, such as art history, anthropology, and archaeology, have addressed the issue of cave drawings, primarily seeking to determine their meanings and potential utilitarian purposes. This paper seeks to build on a new perspective of interpretation emerging from the interdisciplinary field of archaeology, semiotics and cognitive science, which does not aim to establish their meanings, but rather focuses on how cave drawings facilitate the construal of meaning. The relative novelty of the discipline and the lack of literature on the subject have resulted in a superficial approach to the semiotic component of cave drawings, failing to fully exploit the potential of the theories they employ, and largely overlooking the potential cognitivelinguistic contribution to the topic. In the theoretical part of the study, we describe relevant cognitive mechanisms such as metaphor, metonymy, and categorization, as well as the ways in which conceptual structures are cognitively organized through idealized cognitive models and conceptual blending. In the semiotic section, we compare several models of signs to determine the one most suitable for description of complex signs, while also synthesizing them with cognitive insights into the construal of meaning. We used five of the most common motifs found in the Paleolithic artistic tradition as the corpus of our analysis: handprints, zoomorphic and anthropomorphic representations, therianthropic figures, and geometric shapes. The analysis indicated a gradual development of cognitive and semiotic complexity in Paleolithic signs which follows the chronology of their creation. Starting with indices in the form of human handprints, the semiotic competence of our ancestors progresses towards naturalistic, iconic representations of anthropomorphic and zoomorphic figures, culminating in the creation of multi-modal therianthropic representations resulting from conceptual blending. The results of the analysis also revealed a significant influence of existing knowledge structures on the sign representation of a given phenomenon.

This study aims to find meaning distortions, shifts in meaning, matrices, models, variants, and hypograms of Umar Kayam's short story Seribu Fireflies in Manhattan. The research method used is descriptive qualitative. The data collection method used is the hermeneutic method which adheres to Riffaterre's semiotic theory. From the research that has been done, it is found that there are four possible stories and two types of indirect expressions in this short story in the form of meaning distortion which includes metaphor and metonymy, and replacement of meaning which includes contradiction, ambiguity, and nonsense. The matrix of this short story is a two-way conversation between Jane and Marno who leads the whole story with a romantic but firm model by Umar Kayaman. The conclusion of the research that can be drawn is that short stories can be categorized as contemporary literary works because of the complexity of the language style, the indirect expression in this short story is in the form of deviation and substitution of meaning, and the matrix of this short story is a two-way conversation between Jane and Marno who leads the whole story with a model that romantic but firm

В статье представлены результаты исследования восприятия городского пространства города Ростова-на-Дону как текста. Следует отметить, что тема «город как текст» рассматривается в статье с позиций семиотики. Для ростовчан это привычный текст с красивой архитектурой, разнообразными памятниками и любимыми местами отдыха. Для гостей города – это интересное путешествие в мир знаков, вывесок, лозунгов и надписей. Они могут в какой-то степени напоминать им даже о своих городах. Многие из них с удовольствием читают текст Ростова-на-Дону, чтобы найти намеки на нашумевший штамп «Ростов-папа», прочувствовать нежное поэтическое сочетание «скамеечка кленовая», увидеть «синезвездный небосклон» столицы Донского края. Учитывая тот факт, что крупные российские города похожи друг на друга и испытывают ряд достаточно серьезных и схожих проблем, авторы считают, что результаты данного исследования могут быть полезны и применимы не только в масштабах изучаемой территории. Авторы убеждены, что успешность правильного прочтения ростовского текста поможет интеграции в процессе развития городов России., The article presents the results of the study of perception of the urban space of the city of Rostov-on-Don as a text. It should be noted that the theme "city as text" is viewed in the article from the position of semiotics. For Rostov citizens, it is a familiar text with beautiful architecture, various monuments and favourite places of recreation. For visitors, it is an interesting journey into the world of signs, signboards, slogans and inscriptions. They may even remind them of their cities to some extent. Many of them enjoy reading the text of Rostov-on-Don in order to find hints of the notorious stamp "Rostov-Papa", to feel the delicate poetic combination of "benches of maple", to see the "blue-sky" of the capital of the Don region. Given the fact that major Russian cities are similar to each other and experience a number of fairly serious and similar problems, the authors believe that the results of this research can be useful and applicable not only on the scale of the territory under study. The authors are convinced that the success of a proper reading of the Rostov text will help integration in the process of developing Russian cities., Russian Linguistic Bulletin, Выпуск 7 (43) 2023

In this paper we discuss how a group of six Brazilian semioticians narratively positioned themselves vis-à-vis the construction of their academic identity. Their identity positionings were analysed in in-depth interviews by using a synergy of different strands of narrative positioning theory (Bamberg & Georgakopoulou, 2008; De Fina, 2013; Deppermann, 2015, Hyvärinen, Hatavara & Rautajoki, 2021). This synergy has been carried out to get to know how interviewees construct their identity in the field of semiotics. The results show positionings related to macro discursive contexts such as: 1) the current sociopolitical context of Brazil and, 2) a prevailing discourse among semioticians from different countries that conveys their experience of working in a marginal field. This macro discourse is also called the Discourse of semiotics (Chávez Herrera, 2022a)., En este artículo discutimos cómo un grupo de seis semiólogos brasileños se posicionan narrativamente sobre la construcción de su identidad académica. Sus posicionamientos identitarios se analizaron en entrevistas a profundidad usando una sinergia entre diversas ramas de la teoría narrativa de posicionamiento (Bamberg & Georgakopoulou, 2008; De Fina, 2013; Deppermann, 2015, Hyvärinen, Hatavara & Rautajoki, 2021) para conocer cómo los entrevistados construyen su identidad dentro del campo semiótico. Los resultados muestran posicionamientos relacionados con dos macrocontextos discursivos: 1) el contexto sociopolítico actual de Brasil y, 2) un discurso experiencial que predomina entre semiólogos de diferentes países y que tematiza la percepción de laborar en un campo académico marginalizado. Este macrodiscurso también es denominado como el “D-discurso de la semiótica” (Chávez Herrera, 2022a)., Neste artigo discutimos como um grupo de seis semiólogos brasileiros se posiciona narrativamente sobre a construção de sua identidade acadêmica. Suas posições de identidade foram analisadas em entrevistas em profundidade usando uma sinergia entre vários ramos da teoria da posição narrativa (Bamberg & Georgakopoulou, 2008; De Fina, 2013; Deppermann, 2015, Hyvärinen, Hatavara & Rautajoki, 2021) para descobrir como os entrevistados eles constroem sua identidade dentro do campo semiótico. Os resultados mostram posicionamentos relacionados a dois macrocontextos discursivos: 1) o atual contexto sociopolítico do Brasil e, 2) um discurso experiencial que predomina entre semiólogos de diferentes países e que tematiza a perceção de trabalhar em um campo acadêmico marginalizado. Esse macrodiscurso também é conhecido como “Discurso Semiótico” (Chávez Herrera, 2022a).

This thesis discusses prominent musical elements found in anime (Japanese animation). The resulting analyses show that several elements contribute to extramusical expression (emotion, storytelling) and meaning (aesthetics, sociocultural values, identity). The research material in this thesis situates anime music in both the topics of global pop music theory and media studies, particularly Japanese aesthetics in entertainment multimedia. Analyses and discussions presented in this thesis benefited from academic discourse in the field of music theory, specifically pop music theory (Peres 2016, Biamonte 2010, Duinker 2019) and semiotics (Greimas 1970, Simeon 1996). To aid the unfamiliar reader, the first chapter (Introduction) should give sufficient background before tackling the three subsequent theoretical chapters. Prominent musical aspects in anime music, such as the opening sequence format (“OP format”), and the timbrally bright pre-introduction (“call section”) within the OP format, are both products of my research and analysis. Other musical aspects already discussed academically or in public music theory are further analysed here, such as the “Royal Road” progression and the “Japanese augmented sixth.” Readers from wider expertise within music, such as composition and global studies, should find in this thesis an introduction to the world of media music from across the globe.

Komunikasi keluarga yang efektif menjadi dasar untuk terciptanya keluarga yang baik. Keluarga yang gagal dalam menciptakan pola komunikasi yang baik dapat memunculkan ketidakseimbangan dalam komunikasi antar anggota keluarga tersebut. Hal ini memicu adanya alone together seperti yang direpresentasikan oleh keluarga dalam film “Nanti Kita Cerita Tentang Hari Ini”. Penelitian ini bertujuan untuk mengkaji adanya fenomena alone together tersebut dalam film “Nanti Kita Cerita Tentang Hari Ini”. Alone together sendiri merupakan keadaan di mana seseorang akan merasa sendirian meskipun sedang berada di tengah keramaian. Manfaat dari penelitian ini yaitu untuk mempelajari fenomena alone together yang ada di sekitar kita, terutama dalam keluarga. Penelitian ini menguak representasi film dengan menggunakan metode penelitian kualitatif, yaitu semiotika oleh John Fiske. Analisis semiotika ini memiliki tiga level, yaitu level realitas, level representasi, dan level ideologi. Hasil analisis dari ketiga level tersebut adalah rupanya film “Nanti Kita Cerita Tentang Hari Ini” menunjukkan fenomena alone together yang dialami oleh beberapa anggota keluarga. Perasaan alone together ini dipicu oleh pola komunikasi keluarga monopoli atau otoriter.

Reklam sembolik bir mesajdır ve göstergebilim klasik bir yöntem olarak, reklamcılık alanında özellikle de mesajları oluşturma ve analiz süreçlerinde yaygın olarak kullanılmaktadır. Reklamların etkili olabilmesi için stratejiler geliştirilirken işaretler, sembolizm ve tüketici davranışı gibi konulardan faydalanılmaktadır. Reklam göstergebilimi, pazardaki iletişim ve anlamı incelemek için en zengin kaynaklardan biridir. Göstergebilim işletmelere iletişim açısından da fırsatlar sunmaktadır. Çalışmada Lipton’un #konuşalımartık reklam kampanyasına ait reklam afişleri örnek olarak seçilmiştir. Bu kampanyada ideolojik açıdan aktarılmak istenen mesajın sembolik göndermelerle nasıl aktarıldığı “iletişimsel bir bakış açısı” ile incelenmiştir. Göstergebilimde öncü olan Ferdinand de Saussure’nin teorileri temel alınarak her bir afiş için analiz yapılmıştır. Yapılan analiz neticesinde belirli simgesel mesajların tutarlı bir şekilde tekrarlandığı, bu sayede hedef kitleye mesajın ideolojik olarak benimsetilmesinin kolaylaştığı görülmüştür. Kültürel simgelerin ve sembolik göstergelerin kendinden beklenen anlam aktarma işlevini başarı ile yerine getirdiği, ayrıca metin ve görsel unsurların birbirini desteklerken aynı zamanda anlamı da pekiştirdiği sonucuna varılmıştır., Advertising is a symbolic message and semiotics, as a classical method, is widely used in advertising, especially in the processes of creating and analyzing messages. While developing strategies for advertisements to be effective, subjects such as signs, symbolism and consumer behavior are used. Advertising semiotics is one of the richest resources for studying communication and meaning in the marketplace. Semiotics also offers businesses opportunities in terms of communication. In the study, advertisement posters of Lipton's #konusalimartik ad campaign were chosen as an example. In this campaign, how the message that is wanted to be conveyed from an ideological point of view is conveyed through symbolic references has been examined with a "communicative perspective". Based on the theories of Ferdinand de Saussure, a pioneer in semiotics, analysis was made for each poster. As a result of the analysis, it was seen that certain symbolic messages were repeated consistently, thus making it easier for the target audience to adopt the message ideologically. It has been concluded that cultural symbols and symbolic signs successfully fulfill the expected meaning-transfer function, and that text and visual elements reinforce each other while at the same time reinforcing the meaning.

This volume includes texts by authors who are explicitly inspired by the ecosophical pragmatics of Félix Guattari or who resonate with it. Published in a blend of English and Spanish, the thirteen articles were written by researchers, artists, art historians, philosophers, and schizoanalysts from Asia, America, and Europe. Their methods, ideas, and approaches highlight the ability of creative practice to map and engender complex, relational, singularized, transversal, and constitutive forms of life. Departing from bold analyses of capitalism’s mechanisms of subjection, their contributions describe how art is able to resist the repressive politics of dominant representations and mobilize processes of existential heterogenesis through molecular becomings. The origin of this publication is the IV International Symposium Mutant ecologies in contemporary art: machinic capitalism, molecular beings, and subsistence territories that took place online on November 25-26, 2020, which had as special guest the philosopher and art theorist Gerald Raunig. This special issue of the Journal of Global Studies and Contemporary Art builds on the project started with the book Mutating Ecologies in Contemporary Art (Edicions de la Universitat de Barcelona) which investigated the conjunction of the ecological turn in contemporary art and Guattarian ecosophy to inquire about the role of art in light of the challenges posed by the environmental degradation and the socio-political crises of today. Thirty years after Guattari’s death and the publication of Chaosmosis (1992), this collection of texts testifies that Guattari’s clinical and critical analyses continue to infuse artistic, ecological, and political practice with a revolutionary potential.

A cikk a szemiotikai ekvivalencia kérdését járja körül a korlátozott fordítás szemszögéből. Kiindulópontként Mona Baker In Other Words kötetének az első (és legtöbbet hivatkozott, 1992-es) és a legújabb, harmadik (2018-as) kiadá- sa közötti fő különbséget vizsgálja. A különbség egy új fejezet: Szemiotikai ekvivalencia. Ennek alapján a cikk a korlátozott fordítás területeit mutatja be: az audiovizuális fordítást és a képregények fordítását. A szemiotikai ekvivalencia mindkettő esetében rendkívül fontos. Ezt követően megismerjük, hogy Baker hogyan határozza meg a szemiotikai ekvivelanciát, és milyen kérdéseket vet fel, valamint milyen lehetséges megoldásokat javasol az In Other Words 2018-as kiadásában. Hogy bemutassa a szemiotika fontosságát a fordításban, a cikk a manapság igen népszerű japán képregények, a mangák szemiotikai jellegzetességeit is leírja, valamint hogy ezek hogyan érintik a fordítást. Végül néhány mangából vett képpel illusztrál egy-egy szemiotikai jelenséget.

Cette recherche a été menée dans trois classes du cycle 1 dans le canton de Vaud en Suisse. Basée sur le processus créatif de Wallas (2003) et les facteurs identifiés de la créativité (Lubart, 2003), elle propose d'inscrire la posture de créateur·rice dans une perspective sémiotique sociale en employant la narration multimodale de l’album comme objet médiateur. Support pédagogique de choix, notamment en raison de la richesse de l'offre, la dimension affective des images et de la narration, l'album est un objet composite dont la complexité sémiotique contraint à un processus de fabrication de sens métaphorique qualifié de hautement créatif (Kress, 2010). Comme la motivation du fabricant de signes dépend de ses intérêts (Kress, 2010), la participation à une trame narrative qui doit trouver son dénouement place l'élève en position de cré-acteur·rice de son apprentissage. Le média multimodal sert ici de matériau de (re)conceptualisation dans lequel la transmédiation (Suhor, 1984, cité dans Sullivan, 2017) est mise au service de la posture de créateur·rice. L'objet produit peut alors prendre un rôle actif dans la construction de sens (Bowker & Star, 2000), faisant du processus une pratique transformatrice (Conne, 2008) pour l'apprenant·e. Renvoyant à la sémiotique sociale, l'apprentissage est ici envisagé avant tout comme un processus de création de sens située (Budach, 2018 ; Mottier Lopez, 2016) dans une perspective anthropologique de l’éducation (Ingold, 2018)., This research was conducted in three cycle 1 classes in the canton of Vaud in Switzerland. Based on the creative process of Wallas (2003) and the identified factors of creativity (Lubart, 2003), it proposes to put the posture of creator in a social semiotic perspective by using the multimodal narration of the album as a mediating object. As pedagogical support of choice, notably because of the richness of the offer, the affective dimension of the images and the narration, the album is a composite object whose semiotic complexity forces a process of metaphorical meaning-making described as highly creative (Kress, 2010). As the motivation of the sign-maker depends on his or her interests (Kress, 2010), participation in a narrative that has to find its conclusion places the student in the position of creator-actor of his or her learning. The multimodal medium serves here as a material for (re)conceptualisation in which transmediation (Suhor, 1984, cited in Sullivan, 2017) is put at the service of the creator's posture. The object produced can then take an active role in the construction of meaning (Bowker & Star, 2000), making the process a transformative practice (Conne, 2008) for the learner. Referring back to social semiotics, learning is here considered above all as a process of situated meaning-making (Budach, 2018; Mottier Lopez, 2016) in an anthropological perspective of education (Ingold, 2018).

Inspired by Terry Newman’s literary and sartorial analysis of writers in her book Legendary Authors and the Clothes They Wore, I analyze James Baldwin’s literary and sartorial style using excerpts from his works and archival photography. I also add a signifier/signified analysis using social semiotic theory. According to De Saussure, there are two main parts to any sign, the signifier, which connotes any material thing, and the signified, which is the meaning that is made of that thing by the receiver. Social semiotics changes the focus from the sign to the way people use semiotic resources to produce communicative artifacts, collectively. In the semiotic tradition, I extend the literary text (Go Tell it on the Mountain, Another Country, and Just Above My Head) to a larger reading of the culture in which it was created and to the more universal structures that are inherent within it. Clothing is also considered a critical semiotic resource because it is viewed as a sign that signifies a particular meaning. In my analysis, I illuminate how Baldwin’s sartorial style is a mirror (signifier) to reflect his literary style and reflects the creative and spiritual (signified) essence of his work, connected to and with collective Black narratives of style.

Спостереження стосовно знаків здійснювано ще в давні часи, знаки потра пляли в поле зору мислителів Середньовіччя, Відродження, Просвітництва, проте неабиякий розквіт семіотика отримала у XX столітті. У науковий обіг внесено суттєвий обшир семіотичних понять, методів, які до сьогодні не мали істотного розповсюдження і побутування. У статті окреслено різні підходи семіотичної теорії до акту комунікації, який розглянуто як обмін еквівалентними сутностями, знаками у структурі семіотичних спілкувань. У контексті комунікації розуміємо тут поведінку, що вона впливає, фор мує, визначає настрої, очікування, сподівання інших. Визначено, що культура у внутрішньому русі постійно і цілеспрямовано примножує механізми, які уск ладнюють процес передачі інформації. Розвиток культури здійснюється за прин ципом діалогу і трактується як засіб передачі інформації між закодованими сис темами. Аналіз дискурсу передбачає узагальнення текстів культури, визначення спільної, наративної граматики текстів, виявлення типових засобів вираження, джерел, чинної системи цінностей. Семіотика сьогодні знаходить доволі широке застосування в культурології, фі лософії, журналістиці. Нею активно послуговується теорія масової комунікації — де вона сприймається як підхід, що дозволяє структурувати, організувати та подати інформацію з максимальною для медіа ефективністю, як інструмент по шуку певного рівня сприйняття текстових, візуальних, звукових знаків, як спосіб впливу на свідомість або й маніпулювання свідомістю реципієнта. Це свідчить, що семіотика як міждисциплінарний, метамовний дискурс, унікальний аналітичний метод пропонує достатньо ефективний інструментарій, дозволяє максимально точно і послідовно проаналізувати різноманітні феномени комунікації, окреслити парадигматичні зв’язки та вибудувати струнку логічну систему. The study of signs was done in ancient times, moreover signs came into the Middle Ages, Renaissance, Enlightenment thinkers’ field of vision, but the semiotics flourished only in the XX century. A significant amount of semiotic concepts and methods have been included into scientific turnover, which have not been widely spread and used to date. The article outlines different approaches of semiotic theory to the act of communication, which is considered as an exchange of equivalent entities, signs in the structure of semiotic conversations. In the context of communication, we understand the behavior that influences, forms, determines the attitudes, expectations, hopes of others. It is defined that the culture in the internal movement constantly and directly multiplies the mechanisms that complicate the process of information transfer. The development of culture is carried out on the principle of dialogue and is interpreted as a means of information transfer between coded systems. Discourse analysis involves the generalization of cultural texts, the definition of common features, narrative grammar of texts, the identification of typical means of expression, sources, the current system of values. Semiotics today is widely used in culturology, philosophy, journalism. It is actively used by the theory of mass communication — where it is perceived as an approach that allows you to structure, organize and present information with maximum efficiency for the media, as a tool to find a certain level of perception of textual, visual, sound signs, as a way to influence consciousness. This shows that semiotics as an interdisciplinary, metalanguage discourse, a unique analytical method offers a fairly effective toolkit, allows you to accurately and consistently analyze the various phenomena of communication, outline paradigmatic relationships and build a coherent logical system.

Playing fields are “spaces where the communitas suspends its everyday life and structures” and “The internal logic of sporting games is connected to values from the social context” (Parlebas, Pierre. 2013. Motor praxeology: A new scientific paradigm. In Mariann Vaczi (ed.), Playing fields: Power, practice, and passion in sport, 127–144. Reno: University of Nevada Press). But what about the space in between? What kind of semiotics organisation can be detected in the membrane between player and liminal space where spectators are not allowed yet specific characters needed to carry out an event? We can therefore identify a liminality that can be connected either to the controlled or the wild playing field and depending on which of the two is the case can be analysed according to the degree of regulated system of signs which they produce. This implies different pathways and rituals: as matches are played, a variety of bodily activities may be taking place concurrently. Furthermore, it is inevitable that these activities attract the attention of the audience or alternately lead a player to interact with a non-player. In this article, I will first try to identify certain semiotics features, especially connected to Eco’s Peircian concept of Encyclopedia, that characterize the status of liminal space around the playing field. Then I will focus on liminality in soccer, investigating what kinds of interaction exist outside the playing area.

L’exemplarité de l’Estonie, pays balte de langue fennique (finno-ougrien), se reflète à bien des égards sur le plan sociolinguistique et culturel. Nous mettrons ici en valeur les « leçons » qu’on peut tirer de choix novateurs observables au cours de l’histoire contemporaine de ce pays, aussi bien dans l’élaboration du corpus de l’estonien, qui n’est vraiment sorti de la diglossie qu’il y a un peu plus d’un siècle seulement, que dans la promotion de son statut au titre de langue nationale. À partir d’une analyse de sémiotique structurale et narrative et d’une observation participative (ateliers LabexEFL 2018), notre exposé procèdera en trois points : (1) réforme radicale de la langue (Johannes Aavik), (2) sémiotique décalée (F.R. Kreutzwald), (3) résurgence polynomique des langues collatérales (mulgi, võro, setu, kihnu). The exemplarity of Estonia, a Baltic country whose Finnic language has gained, lost and regained official status out of diglossia several times in less than one century, is awesome, from the standpoint of sociolinguistics. Here we will highlight the « lessons » that can be learned from the choices made by of Estonia in the course contemporary history, both in the development of the Estonian language corpus -including promotion of small akin varieties and languages, as võro and mulgi or Kihnu We’ll hint at Estonian exemplarity through three prospects: (1) radical language reform, of the monolectal and artefactual type (Johannes Aavik), (2) elegantly disruptive semiotics (F.R. Kreutzwald), (3) polynomic resurgence of akin languages and dialects alongside with the official language (mulgi, võro, setu, kihnu), reversing the monolectal doctrine of the first language reform. Adaptability and reflexivity are main assets in this sociolinguistic « success story ».

The Digital Age has significantly changed how people communicate. Thanks to technology, people have a large variety of communication tools to choose from, such as emails or instant messaging applications, that allows communication to be easier, quicker and, to a certain extent, more efficient. In this technological scenario, emojis play a fundamental role as a kind of universal form of communication. Furthermore, thanks to translation, which acts as a bridge for people from different linguistic and cultural backgrounds, communication can cross national barriers and spread worldwide. Communication and translation share a common goal that is ‘mutual understanding’. What happens, therefore, when translation meets both technology and emojis in the Digital Age? A new form of communication through translation has emerged, that is emoji translation. The aim of this paper is to show, through a series of examples, how emojis have been recently employed in communication and translation in an attempt to establish whether their use, besides creativity, can be universally accepted and understood worldwide.

Introduction. Forecasting and predication are influenced by the conventional perception of a reality that has been engulfed by a reaction to austerity and scarcity. Forecasting and linear projection toward the future are problem-solving trajectories that aim at maintaining the status quo. The future is inventable, not inevitable. A desired future cannot be achieved through forecasting and prediction, whether in dystopian fiction or utopian fancy, but can be accomplished through an imaginative future memory and by design. Memory is a phantasmagorical phenomenon, where present reality is constructed by past memory, it can also be transformed by future memory. Future memory requires a shift from being trapped by the gravity of the present to the weightless imaginary future and the freedom of toying with the real. Past memory is recalled to augment strategies for solving current problems, but future memory is imagined to explore design alternatives. Whereas memory of the past becomes our familiar path to forecasting the future, memory of thefuture provides a meaningful way to access a wide range of unfamiliar options for imagining a desired future.Purpose. The paper aims at explaining the possible ways of interpreting the language of future as semiology, which can be located within the larger scope of semiotics. Under this larger scope, there are three major semiotic systems: linguistics, kinesics, and objects.Methods. In cognitive semiotic perspective the paper highlights the methods of interpreting the semiological concept of future in literary text focusing on psychological and sociological data.Results. Going faster and acquiring material, physical things are considered winning the game of forecasting and projection. It is clear that postmodernity has been superseded by transmodernity. The core value of transmodernity, which embodies many integrative qualities and undissolved differences, emphasizes transparency between pre-modern, modern, and postmodern realities. Not only does transmodernity discard modernity’s insistence on autonomy and absoluteness, it also transcends modernism and postmodernity’s inclination toward dualistic rationality and an either-or position. A desired future in the transmodern world can be created through phantasmagorical memory and communicated by the notating and scoring process. Such future possibilities are emergent outcomes of the design process that teleologically reveals unlimited options.Conclusion. Notating the imagination of phantasmagorical memory transforms the status quo into a visceral experience of a desirable future in our transmodern world. This is the way we can transform the present reality into a desired future reality. Without such memory, it would be difficult to avoid the despair about the status quo and to go beyond utopianism and dystopianism. To imagine the future is to transform absoluteness and to participate in a process that seeks meaningful change. Imagining a desired future in the transmodern world is essential for rejuvenating cultural practices and renewing natural environments. And notating imagination – the unseen forces behind physical manifestations – reveals an integrated consciousness that highlights the reciprocal relationship between cultural ethos and environmental ethics.

Expert signs and expert evidence generate a justification problem in legal factfinding: factfinders cannot form a justified belief about the relevant matter, nor justify the acceptance of an expert testimony, insofar as they do not understand it. The different profiles of factfinders in different legal systems (with jury trial or not) do not make a substantial difference for the point addressed, namely the epistemic or doxastic impasse generated by the inability to understand expert signs, for this occurs everywhere. However, legal systems have a way out of the impasse: burdens of proof. Burden rules govern the outcome of a case. If a burden is not discharged, decision must be against the burdened party. After discussing various aspects of the “Daubert trilogy” and performing a semiotic analysis of one case in particular (Kumho), the paper explores the impact that legal burdens have on expert evidence issues.

Cet article s’attache à l’expression de la douleur dans l’une des rares monographies consacrées à cette question à l’époque moderne : les Caractères de la douleur, quatrième volume des monumentaux Caractères des passions publiés par le médecin Marin Cureau de La Chambre entre 1640 et 1662. En conjuguant les apports de la rhétorique à ceux de la philosophie scolastique et de la médecine, Cureau est conduit à donner une ampleur inédite à la description des signes de la douleur – qu’il s’agisse des mimiques, comportements, changements physiologiques ou des « façons de parler ». Il accorde à ces dernières une place de premier plan et les comprend comme des « hyperboles ». Le terme ne vise cependant pas à disqualifier la plainte, comme nous le montrons ici. Cureau justifie l’hyperbole par l’effet qu’elle cherche à produire chez autrui : compenser la sous-estimation habituelle de la douleur de l’autre afin de susciter un sentiment de compassion et un comportement d’entraide à la hauteur de la douleur ressentie. This article examines the problem of the expression of pain in an Early Modern book dedicated to this issue: The Characters of Pain, fourth volume of The Characters of the Passions, published by the physician Marin Cureau de La Chambre between 1640 and 1662. By combining rhetoric with scholastic philosophy and medicine, Cureau develops to an unprecedented scale the description of the different signs of pain – whether they are identified with behaviors, physiological changes or “ways of speaking”. He gives to these “ways of speaking” a prominent place and understands them as “hyperboles”. However, Cureau does not intend to discredit the complaint of people who express their pain by exaggerating it. On the contrary, Cureau justifies the use of “hyperbole” by the effect that the one who is pain seeks to provoke in others: to counterbalance the usual under-estimation of the pain by others, in order to create a feeling of compassion and a helping behavior that would correspond to the felt intensity of the pain.

Reseña de Barthes en cuestión. Paul de Man, Judith Podlubne. Leandro Bohnhoff (trad.) Rosario/Santiago: Nube Negra Ediciones/Bulk editores, 2020

C’est au contact de la pensée du philosophe et sémioticien belge Herman Parret que nous est venue l’idée de bâtir le présent numéro du Cygne noir autour du thème des sutures sémiotiques, reprenant à notre compte le titre et le thème de son ouvrage paru en 2006. Le concept de suture enserre la possibilité d’un effacement du discontinu, sans que ne disparaisse pour autant la différence, qui reste observable dans la ligature opérée. Deux niveaux de sutures nous ont paru devoir être envisagés. Le premier concerne la relation des choses aux mots, et des mots aux discours. La double articulation du langage symbolique nous paraît former un terreau riche pour penser les fondements suturaux des systèmes sémiotiques complexes. Le second niveau sutural envisagé est épistémologique et s’insère dans une réflexion disciplinaire.

Cet article se propose de revoir le débat classique en histoire des idées politiques entre Leo Strauss (et les « straussiens ») et l’école de Cambridge, en particulier Quentin Skinner, sous l’angle du mystère, du secret et de la chasse aux signes. La notion de « chasse », comprise à la fois comme cynégétique du pouvoir et pratique textuelle de la pensée politique, permet de comparer une méthode interprétative, celle de Strauss, qui prétend retrouver les questions essentielles de la philosophie dans une démarche mystérieuse de lecture « entre les lignes » avec celle du « contextualisme » de l’école de Cambridge qui propose plutôt la mise au jour du vouloir-dire de l’auteur au moyen d’une étude du contexte dans lequel il a écrit. À partir de cette comparaison, nous proposons de mettre à l’épreuve les affirmations des deux écoles par l’« onomasiologie » de leurs pratiques intellectuelles (traduction et commentaire de textes). En conclusion, nous proposons de voir ce débat comme le lieu d’une décision quant au mystère : en dévoiler la vérité ultime ou l’entretenir pour les générations à venir.

C’est au problème de distribution, de désignation et de discrétisation de la séquence d’inférence abductive ainsi qu’à ses conséquences sur nos systèmes de connaissance que je consacre cet article. Charles S. Peirce a fait de l’abduction la dynamique inférentielle unique de la créativité. Par elle seule advient toute idée nouvelle. Son importance dans l’épistémologie peircienne est donc considérable, mais la compréhension de son fonctionnement réel n’est pas sans poser quelques problèmes à notre entendement, à commencer par le mystère que représente son origine et la difficulté qu’il y a à saisir la portée réelle de son action. Pourtant, l’abduction est au coeur des processus inférentiels qui structurent notre expérience épistémique ordinaire. Contre l’hypothèse intuitionniste, je défends l’argument évolutionniste ; contre une explication logique, je fais valoir la nature sémiosique de l’expérience abductive. Pour étayer ma compréhension du phénomène et des problèmes qui lui sont inhérents, il me faut élargir le spectre de l’analyse à un ensemble plus vaste que l’abduction seule et considérer ce que j’appelle l’instruction. En m’appuyant sur une hypothèse de Mihhail Lotman, j’invite à considérer le caractère « homofinal » de l’instruction : telle que je la définis, elle est à la fois à l’origine et le résultat de l’abduction en tant que telle. Les conclusions fournies ici sont d’abord méthodologiques : à défaut de pouvoir résoudre le mystère de l’abduction, elles en précisent la nature.

Literate Lahu, speakers of a Tibeto-Burman language in the ethnically and linguistically diverse uplands of Southeast Asia and southwest China, inscribe their language in an ecology of literacies shaped by the imbrication of a number of ideologies. As members of the larger category of chao khao or mountain people, the Lahu belong to a group which is persistently labeled as Other. (Laungaramsri 2001: 43-4). Lahu are also a people-without-writing (Pine 1999), despite the fact that at least three writing systems exist for Lahu, with a fourth in somewhat limited use and at least one other system in development. The ideological diversity of the entextualization of Lahu benefits seeing it within a particular historical and ecological context. This paper historicizes particular literacy practices within the context of the development of a particular form of written Lahu. It also traces the influence of a phenomenon termed "proprietary orthographies" which permeates the ecology of literacies in mainland Southeast Asia and, I argue, has a significant impact on Lahu language literacy practices. Focusing on a subtle issue of the representation of tone, and also drawing on self-reporting of literacy, as well as making use of Keane's concept of "semiotic ideologies", I argue that orthographies enjoy a complex form of indexicality in this region which differs in small, but important, ways from other areas.

The grounds of authority for the Catalan language have shifted from authenticity to anonymity, as Catalan becomes redefined as a public language. The “model of language” of the Catalan press reflects this shift, with an emphasis on neutral, transparent Catalan. This article examines original and published letters to the editor in a Catalan-medium newspaper in Barcelona. I argue that standardization of language, page design and signatures in the letters to the editor erases the social indexicality that attaches the original letters to their socially positioned authors. This process of standardization in linguistic and other semiotic modes allows the published letters to index a unified Catalan national “public” rather than their distinct authors.

This article seeks to advance the usage-based discourse research that investigates meanings and processes of meaning construction in interaction by elaboratingan empirically grounded interdisciplinary model. The paradigmatic and sequential analysis employed here brings together linguistic discourse analysis with an ethnomethodological perspective, and presents an innovative take on category organization in talk,explaininghow to capture knowledge resources such as asymmetrical category contrast pairs in talk. In analyzing in detail the speaker’s taxonomy constructionin a sample conversation, the papersystematicallyexploresthefollowing two topicsrelated to the speaker: what category characteristic he is orientingto as a resource for his present talkandwhat socialmeaning the speaker’s taxonomizing isconsistentlycommunicatingin the flow of talk. The proposed model captures a color binary–used to categorize people–of the ‘colored’versus the ‘white’, entailed in theexpression ‘a so-called yellowcolored people’,and reveals that the category pair is used as an organizational device in the speaker’s argument.The paper claims that taxonomy analysis in sequence is useful to examine the selected words in relation to their semiotic resources.

Departing from a short overview on pragmatic gestures specialized for the expression of refusal and negation, the article presents first results of a study on those gestures in Savosavo, a Papuan language spoken in the Solomon Islands in the Southwest Pacific. The paper focuses on two partly conventionalized gestures (sweeping and holding away) and shows that speakers of Savosavo use the gestures in a very similar way as speakers of German, English or French, for example. The article shows how a linguistic and semiotic analysis might serve to uncover proto-morpho-semantic structures in a manual mode of communication and contributes to a better understanding of the conventional nature and cross-linguistic distribution of gestures. Moreover, by examining partly conventionalized gestures in a small, little known and endangered language, it presents a particular approach to the analysis of multimodality in the field of language documentation.

This study examines how boys from San Antonio Aguas Calientes, Guatemala develop their own perspective about what it means to be moral human beings in the world via discursive practices that contrast enregistered voices within an emergent performance genre that simultaneously doubles as sociodramatic play-frame. This emergent genre exhibits both mimesis and alterity; children have appropriated a popular adult genre, within which their participation, originally, was highly circumscribed. In their own productions, however, they occupy the main character roles and enact re-accented “voices” of king and kin in highly competitive, proselytizing discourse. The resulting performance is a subversion of the social order where ‘the challenge’ of good defeating evil is undone, reflecting a child-centric critical stance. To wit, the boys refuse to be convinced by the authority of an overly patriarchal-colonial moral order. I build upon Sawyers’ (1995) model of play-as-improvisation to develop a synthetic framework in analyzing indigenous children’s play and childhood(s). The approach I espouse draws upon ethnographically informed studies of peer talk-in-interaction, verbal art as performance, and semiotic functionalism to examine how children “do heteroglossia” in and out-of-play frames of interaction as they construct selves capable of confronting the social order. Keywords: Voicing contrasts; Enregisterment; Verbal art as performance; Socio-dramatic play; Kaqchikel Maya children.

What does it mean to represent events from the Holocaust in a graphic novel? And what if this is done not in the stark design of Art Spiegelman’s Maus but in the light ligne claire (known from Tintin)? This paper explores the discursive practices surrounding The Search, a graphic novel produced specifically to teach children and young adults about the Holocaust. It asks how (novel) forms of subjectivation are articulated in the everyday, mundane practices of educational media workers. Drawing on poststructuralist theories of the subject and close micro-analysis of language (and semiotic) practices, the paper presents extracts from ethnographic observations of a team of authors designing teaching and learning materials to accompany The Search. These materials – and their practices of production – are participating in transforming memories of the Holocaust and thus (co)producing forms of globalisation. Findings suggest that while the Holocaust has traditionally been seen as a matter of ‘national’ responsibility, The Search and its teaching materials invite readers to see it as (global/universal) ‘individualised’ responsibility. Students are subjectivated as global subjects: Firstly, as universal-ethical subjects and, secondly, as contingency-tolerant subjects. These materials thus constitute a mundane, everyday element shaping new ways of being.

Barbadian ways of speaking draw their stylistic richness from intertwined and differentially valued resources of Creole (Bajan) and Barbadian English. Barbadians (and linguists) interpret this formal diversity through two ideological paradigms. One (labeled in Bajan, “adjusting to suit”) corresponds to linguist’s “register”. By attending to laminations of individual repertoires and to skills of their selective contextual deployment, the paradigm indexes the richness of speakers’ resources. The other paradigm interprets the stylistic diversity of speakers’ repertoires in essentializing, “sociolectal” terms that iconically link social categories and polarized language varieties. By exaggerating the distinctiveness of language varieties and by turning them into unambiguous indices of fixed social personae, the paradigm colludes with the hierarchies of linguistic and social prestige. These paradigms and hierarchies can be approached in terms of historical processes that defined their social and linguistic targets. Such a framework, however, neglects institutional sites pivotal in the continued production of cultural orders of language - the literature, media, and theater. Within these sites, characterized by hightened metadiscursive awareness, ideological tensions surrounding language and its couplings with social, racial, and national identities are scripted and launched into public domain. Macrohistorical explanations also neglect the processes that turn specific linguistic forms into emblems of Barbadian language varieties while erasing others. By considering strategies and practices of (re)allocation of linguistic styles to characters in literature, journalism, and theater, I explore sociocultural and semiotic underpinnings of drawing Creole and Barbadian English forms into production of linguistically marked social identities and socially marked language varieties.

The identity test imposed by the Gileadites on the Ephraimite fugitives at the passages of Jordan suggests that the recognition of ways and means of speaking as indices of social categories has a venerable history. After the passage of several millenia, much the same associational understanding of the relationship between language and identity employed to such violent ends by the Gileadites guides the contemporary - and one would hope more benign line of sociolinguistic inquiry that centers on the investigation of ethnicity or region or gender or age or occupation as “sociolinguistic variables” (see, e.g., Coulmas 1997). The addition of a third term, performance, to the nexus of language and identity, however, occasions a reorientation of analytical perspective. If we take performance in the sense of linguistic practice - situated, interactional, communicatively motivated - our investigative focus shifts from correlational sociolinguistics to the pragmatically oriented exploration of “when and how identities are interactively invoked by sociocultural actors” through the discursive deployment of linguistic resources (Kroskrity 1993: 222). In this perspective, identity is an emergent construction, the situated outcome of a rhetorical and interpretive process in which interactants make situationally motivated selections from socially constituted repertoires of identificational and affiliational resources and craft these semiotic resources into identity claims for presentation to others. This is clearly a productive line of inquiry, and one to which all of the contributors to this issue would subscribe. While acknowledging and exploiting the analytical power of this practice-centered perspective, however, the authors of the papers collected here have taken an additional step into less well charted investigative territory, guided by a more marked conception of verbal performance. Here, performance is understood as a special mode of situated communicative practice, resting on the assumption of accountability to an audience for a display of communicative skill and efficacy. In this sense of performance, the act of expression is put on display, objectified, marked out to a degree from its discursive surroundings and opened up to interpretive scrutiny and evaluation by an audience. Performance foregrounds form-functionmeaning interrelationships through verbal display (Bauman 1977; Hymes 1975). The six casestudies that follow suggest some of the ways that an orientation to this mode of performance

This paper explores grassroots historiographical writing from Congo in the context of globalization. The authors are both sub-elite writers, producing text for First-World readers, and they spend enormous efforts at producing a generically regimented text, based on borrowed models of text and textuality that are seen to offer spaces for identity-construction. Performing such models of text and textuality is a construction of Self vis-à-vis history. But in order to understand such moves into identity-constructing spaces, we need to take account of different economies of meanings and signs. The identity construction only works in one particular economy of meanings and signs, but loses ‘meaning’ as soon as it is being inserted into other economies. The shift from one frame into another involves relocations of referential and indexical meanings attached to signs, a phenomenon of semiotic mobility that needs to be addressed sociolinguistically. Detached from their local semiotic environment, such texts become ‘orthopractic’: Performances of shape detached from locally valid indexicalities.

This paper presents an ethnographically sensitive account of a family of modal constructions in Sakapultek, a Mayan language spoken in highland Guatemala. The constructions in question share many characteristics with those that have been analyzed as ironic in English and are dubbed “moral irony,” due both to their similarities to irony in other languages and to their primary interactional function. The morphosyntactic composition and semiotic processes involved in moral irony are described and the proposed account of these semiotic properties makes use of Goffman’s distinction between author, animator and principal as dimensions of the speaker role. The indexical properties of moral irony are demonstrated and it is argued that they play a greater role in determining ironic meaning than speaker intentions. Using extended examples from naturally-occurring talk, the paper also demonstrates how irony functions in evaluative stance-taking in Sakapultek. Such examples illustrate both the relatively presupposing and entailing aspects of moral irony’s indexical meaning. Moral irony is argued to be modal in that it projects hypothetical or unreal possible worlds and ironic in that it indirectly and negatively evaluates the stances of an imagined principal. Finally, on the ethnographic level, moral irony is examined in light of what it reveals about Sakapultek notions of moral personhood.

Semiotics is a language of signs, semiotics is widely used as a tool to translate something, one of which is the post office logo, the purpose of this study is to see how the semiotic language developed by Roland Barthes can represent the post office logo in the form of a bird and lines and colors. unified, Roland Barthes theorized semiotics is between signs and signs, besides that there are also levels in the meaning of this semiotic theory, this research approach is Semiotic analysis is a qualitative data analysis technique whose goal is to find or systematically analyze symbols or signs in a text , from the results of this study there is a distortion of myth, as a marker is a dove which has a meaning or a sign that a bird has a strong myth as a means of sending letters in historical times, so that the use of Roland Barthes' semiotics can analyze the semiotic language of a h the post office logo, the thing that must be emphasized is the important role of the reader, in the sense that the meaning of a work depends on the person who is of course influenced by many factors both internal and external.Keywords: semiotics, roland barthes, post office. AbstrakSemiotika merupakan Bahasa tanda, semiotika banyak digunakan sebagai alat untuk menerjemahkan sesuatu, salah satunya ialah logo kantor pos, tujuan penelitian ini ialah melihat bagaimana Bahasa semiotika yang di kembangkan oleh roland barthes ini, dapat merepresentasikkan logo kantor pos yang berupa burung dan garis Tarik serta warna yang tersatukkan , roland barthes berteori semiotika ialah antara tanda dan pertanda, disamping itu juga ada tingkatan dalam pemaknaan dari teori semiotika ini, pendekatan penelitian ini ialah Analisis semiotika adalah teknik analisis data kualitatif yang tujuannya untuk menemukan atau menganalisis secara sistematis simbol atau tanda dalam sebuah teks, dari hasil peneltian ini terdapat distorsi pada mitos, sebagai penanda ialah burung merpati yang memiliki makna atau pertanda burung memiliki mitos yang kuat ikatannya sebagai alat pengiriman surat pada zaman sejarah, sehingga penggunaan semiotika roland barthes dapat menganalisis Bahasa semiotika dari sebuah logo kantor pos, hal yag harus ditekankan ialah pentingnya peran dari pembaca, dalam artian pemaknaan suatu karya tergantung dari personal yang tentunya dipengaruhi oleh banyak faktor baik internal ataupun eksternal.Kata Kunci: semiotika, roland barthes, kantor pos. Authors:Ahmad Riyadi Swandhani : Institut Teknologi BandungDeddy Wahjudi : Institut Teknologi BandungLukitaningsih : Universitas Negeri MedanReferences:Aulia, F., Afriawan, H., & Faisal, D. (2022). Konsistensi Logo Dalam Membangun Sistem Indentitas. Gorga: Jurnal Seni Rupa,11(2), 439-444.Barthes, R. (1964). Rhetoric of the Image. Communication 4, 40-51.Barthes, R. (1967). Element of Semiology. New York: Hill & Wang.Barthes, R. (1972). Mytholgies: New York The Noonday Press Cooper, J.C (2013). An Illustrated Encyclopedia of Traditional Symbols. London: Thames & Hudson.Barthes, R. (2010). Membedah Mitos-Mitos Budaya Massa. Yogyakarta: Jalasutra.Saussure, F. D. (1988). Course in General Linguistics. Yogyakarta: Gajah Mada Univesity Press.Direktorat Jendral Pos dan Telekomunikasi. (1980). Sejarah Pos dan Telekomunikasi di Indonesia Jilid IV Masa Demokrasi Terpimpin. Jakarta: Cahaya Makmur.Gunalan, S., & Hasbullah, H. (2020). Analisis pemaknaan semiotika pada karya iklan layanan masyarakat. Jurnal Nawala Visual, 2(2), 44-51. https://doi.org/10.35886/nawalavisual.v2i2.117.Gunalan, S., Haryono, H., & Yasa, I. N. M. (2022). Analisis Pemaknaan dan Tanda Pada Desain Logo GP Mandalika Series. Gorga: Jurnal Seni Rupa, 11(1), 212-219. https://doi.org/10.24114/gr.v11i1.34285Hartoko, D. (1991). Manusia dan Seni. Jakarta: Kansius.Khairi, A. I., & Hafiz, A. (2022). Kajian Estetika Lukisan Realis Kontemporer Drs. Irwan, M. Sn. yang Berjudul di Ujung Tanduk. Gorga: Jurnal Seni Rupa, 11(1), 138-146. https://doi.org/10.24114/gr.v11i2.39802.Liliweri, A. (2003). Dasar-Dasar Komunikasi Antar Budaya. Yogyakarta : Pustaka Pelajar.Linschoten, J., & Mansyur. (1983). Pengantar Ilmu Jiwa. Bandung: Jemmars.Miswar, M., Rian, R., Muler, Y., & Rajudin, R. Studi Warna Dan Gaya Pada Karya Yazid. Gorga: Jurnal Seni Rupa, 11(2), 370-378. https://doi.org/10.24114/gr.v11i2.38384.Mudjiyanto, B., & Nur, E. (2013). Semiotics In Research Method of Communication [Semiotika Dalam Metode Penelitian Komunikasi]. Jurnal Pekommas, 16(1), 73-82. https://doi.org/10.30818/jpkm.2013.1160108.Piliang, Y. A. (2004). Semiotika Teks: Sebuah Pendekatan Analisis Teks. Mediator: Jurnal Komunikasi, 5(2), 189-198. https://doi.org/10.29313/mediator.v5i2.1156.Prang, L. (1876). The Theory of Colour. Boston: Massachusetts.Purbasari, M., & Jakti, R. A. (2014). Warna Dingin Si Pemberi Nyaman. Humaniora 5(1), 357. https://doi.org/10.29313/mediator.v5i2.1156.Richards, J., Platt, J., & Weber , H. (1985). Longman Dictionary of Applied Linguistics. Harlow: Longman.Rustan, S. (2009). Mendesain Logo. Jakarta: PT Gramedia Pustaka Utama.Tinarbuko, & Sumbo. (2008). Semiotika Komunikasi Visual. Yogyakarta: Jalasutra.Zakiy, R. A. (2020). Analisis Semiotika Iklan Cetak LA Lights "Jangan mau diadu" Versi Ayam. Gorga: Jurnal Seni Rupa, 9(2), 232-235. https://doi.org/10.24114/gr.v9i2.19551.

What do we mean by the assertion "it is proved that"? The main argument of this article is that it is a problem of probative significance, whose proper understanding goes through the central concept of intentionality, about which we found many problems, we need to distinguish semiotic dimensions and specify a constellation of logical notions. The purpose of this article is to discuss these issues, based on an approach that mobilizes arguments from the philosophy of mind and language, especially found in the theories of J. R. Searle. In the end, we hope to make it clear that the evidential meaning, although it presupposes a mind and is found in procedural language, consists of a specific intermediate intentionality, which can theoretically benefit from the two conceptual bases, and thus make evident everything that is assumed in the assertion “it is proven that”., O que queremos dizer com a asserção “está provado que”? O argumento principal deste artigo é que se trata de um problema de significação probatória, cuja devida compreensão passa pelo conceito central de intencionalidade, acerca do qual encontramos muitos problemas, precisamos distinguir dimensões semióticas e especificar uma constelação de noções lógicas. O objetivo deste artigo consiste em discutir essas questões, com base em uma abordagem que mobiliza argumentos da filosofia da mente e da linguagem, especialmente encontrados nas teorias de J. R. Searle. Ao final, esperamos tornar claro que a significação probatória, embora pressuponha uma mente e se encontre em linguagem processual, consiste em uma específica intencionalidade intermediária, que se pode beneficiar teoricamente das duas bases conceituais, e assim tornar evidente tudo que se supõe na asserção “está provado que”.

Through a case study of images generated by Swedish artist Steph Maj Swanson using an AI text-to-image (T2I) model, this article explores the strategy of negative weight prompting in T2I models as a phenomenon of apophasis. Apophasis is a linguistic strategy commonly deployed in texts of mystical theology to express the ineffability of God through negative concepts. In this article, a comparison of apophatic strategies in mystical texts and T2I models is engaged to highlight the mutual benefit of theorising AI with the help of religious theory and concepts. With this, the article builds on previous work on the New Visibility of Religion, enchantment, and post-secularism—especially the research of Beth Singler on religious continuities in representations of AI. Recent work on AI prompt engineering, computational linguistics, and computational geometry is invoked to explain the linguistic processes of T2I models. Poststructuralist semiotics is then employed to theorise the search for the Transcendental Signified in apophatic theology. The article concludes that linguistic theology can help to elucidate technological use cases, subsequently arguing for further dialogue between scholars in artificial intelligence and religious studies, and for a revaluation of religion in the technological sphere.

Το διακείμενο, μετά από έρευνες διακεκριμένων γλωσσολόγων, φιλοσόφων και σημειολόγων, έχει ενταχθεί ως κειμενικό ολοκλήρωμα στη θεωρία των αλληλεπιδράσεων και των δανεισμών. Με άλλα λόγια, η διακειμενική διάσταση ενός έργου εξετάζεται υπό το πρίσμα εγγενών περιοχών της γραφής μέσα από τις οποίες αναδεικνύεται ο βαθύτερος μύθος που συνδέει το ‘εκεί και τότε’ με το ‘εδώ και τώρα’. Στην ουσία, το διακείμενο αποτελεί μορφή χάρις στην οποία επανέρχεται στο προσκήνιο της επικαιρότητας το υλικό εκείνο που καταγράφεται ως μη έχον προηγούμενο. Συνεπώς ο μύθος μεταποιείται, μετουσιώνεται και μεταλλάσσεται, ακολουθώντας τους βηματισμούς της περιρρέουσας ατμόσφαιρας. Η παρούσα εισήγηση πρόκειται να εστιάσει στους μηχανισμούς και τη δομή των μετασχηματισμών της “συνομιλίας” του μπεκετικού έργου Περιμένοντας τον Γκοντώ με το θεατρικό έργο του φιλόσοφου και πανεπιστημιακού Θεοδόση Πελεγρίνη Λάκης και Μάκης μέσα από μία σημειολογική ανάγνωση. Ειδικότερα, με γνώμονα τις θεωρίες του διακειμένου και της πρόσληψης, πρόκειται να μελετήσουμε σημειολογικά, στηριζόμενοι σε έννοιες και όρους του Algirdas Julien Greimas καθώς και άλλων Σημειολόγων όπως Anne Ubersfeld και Patrice Pavis, τα προαναφερθέντα θεατρικά έργα, προκειμένου να αναδειχθούν προβληματισμοί γύρω από τα ζητήματα του τραγικού και του παραλόγου της ανθρώπινης ύπαρξης, της επικοινωνίας και της μη επικοινωνίας με τον Έτερο. The intext, after researches by distinguished linguists, philosophers and semiologists, has been integrated as a textual integral into the theory of interactions and borrowings. In other words, the intertextual dimension of a theatrical play is examined in the light of native areas of writing through which the deeper myth that connects the ‘there and then’ with the ‘here and now’ is pointed out. In essence, the intertext is a form thanks to which the material that is recorded as not having a precedent returns in the limelight. The myth is therefore transformed, transubstantiated and mutated, following the footsteps of the surrounding atmosphere. This paper is going to focus on the mechanisms and structure of the transformations of the "conversation" between the Samuel Beckett’s play "Waiting for Godot" and the theatrical work of the Professor and philosopher Theodosis Pellegrinis “Lakis and Makis” through a semiotics reading. In particular, based on the theories of intertextuality and reception, we are going to study semiologically, based on semiotics concepts and terms of Algirdas Julien Greimas as well as other Semiologists such as Anne Ubersfeld and Patrice Pavis, the aforementioned plays, in order to highlight concerns around the issues of the tragic and absurd of human existence, as well as of communication and non-communication with the Other., iNTERCULTURAL tRANSLATION iNTERSEMIOTIC, Vol 12, No 2 (2023)

The paper examines the destination marketing opportunities of film tourism through a case study of the Franco-Portuguese movie The Gilded Cage, partly set in the Douro region, in Portugal. The movie, directed by Ruben Alves, was a large box office success in various countries. With this being said, a content analysis was undertaken based on pre-developed categories drawing on discourse analysis of the characters’ statements, descriptions and information provided concerning Portugal and France, as tourism destinations, as well as the study of multimodal language and symbols through images presented. Regarding the predominance of visual communication identified in movies, Kress e van Leeuwen (2001; 2006) refer that this form of communication is another way of interpreting linguistic structures. Given the power of multimodal texts in the dissemination of images and representations of destinations/places, this paper also aims at analysing the audience, tourism markets, film genre, the 3 Ps of film tourism (place, performance and personality), places visited, icons, incorporation of the destinations with the script, the end credits, support provided and audience opinions. Thus, it was found that the film The Guilded Cage (2013) offers diverse destination marketing opportunities that could help increase the potential of the destinations’ visitor markets (Schofield, 2006)., El artículo examina las oportunidades de comercialización de destinos mediante el cineturismo a través de un estudio de caso de la película franco-portuguesa La jaula dorada, ambientada en parte en la región portuguesa del Duero. La película, dirigida por Rúben Alves, fue un gran éxito de taquilla en varios países. Por ello, se llevó a cabo un análisis de contenido basado en categorías predefinidas en las que subyace el análisis del discurso de las frases de los personajes, las descripciones y la información relativa a Portugal y Francia, como destinos turísticos, así como el estudio del lenguaje multimodal y de los símbolos a través de las imágenes presentadas. En cuanto al predominio de la comunicación visual identificado en las películas, Kress y van Leeuwen (2001; 2006) refieren que esta forma de comunicación constituye otra manera de interpretar las estructuras lingüísticas. Teniendo en cuenta el poder de los textos multimodales en la difusión de imágenes y representaciones de destinos/territorios, este artículo también pretende analizar la audiencia, los mercados turísticos, el género cinematográfico, las 3 P del cineturismo (lugar, trama y personajes), los lugares visitados, los iconos, la incorporación de los destinos en el guión, los créditos finales, el apoyo prestado y las opiniones de la audiencia. Así, se constató que la película The Gilded Cage (2013) ofrece varias oportunidades de marketing, a nivel de destino, que pueden ayudar a elevar el potencial de los mercados turísticos del destino (Schofield, 2006)., O artigo examina as oportunidades de marketing de destinos pelo cineturismo através de um estudo de caso do filme franco-português A Gaiola Dourada, situado, em parte, na região do Douro, em Portugal. O filme, realizado por Rúben Alves, foi um grande sucesso de bilheteira em vários países. Assim sendo, foi efetuada uma análise de conteúdo com base em categorias predefinidas subjacentes à análise do discurso das falas das personagens, descrições e informações relativas a Portugal e França, como destinos turísticos, bem como o estudo da linguagem multimodal e símbolos através das imagens apresentadas. Em relação à predominância de comunicação visual identificada nos filmes, Kress e van Leeuwen (2001; 2006) referem que esta forma de comunicação constitui uma outra maneira de interpretar as estruturas linguísticas. Tendo em conta o poder de textos multimodais na difusão de imagens e representações de destinos/territórios, este artigo visa também analisar o público, os mercados de turismo, o género de filme, os 3 Ps do cineturismo (lugar, enredo e personagens), lugares visitados, ícones, incorporação dos destinos no guião, os endcredits, o apoio fornecido e as opiniões do público. Assim, verificou-se que o filme A Gaiola Dourada (2013) oferece diversas oportunidades de marketing, ao nível do destino, que podem ajudar a elevar o potencial dos mercados turísticos do destino (Schofield, 2006).

During a pandemic like this, Indonesians are more active at home. Apart from work and study, entertainment is also presented on the monitor screen, from films to video games. Many content provider companies are competing to produce and sell their content. Like Netflix, a company that focuses on digital streaming media service providers, has become one of the best-selling digital content provider companies today. On the basis of internet channels, it is clear that it is very profitable for Netflix to sell its services and products which can be accessed by everyone in this hemisphere as long as they use internet access. In a film there is often a message conveyed implicitly. Indonesian film with the title "Selesai", 82 minutes in total duration and a husband and wife who have problems in their relationship. “Selesai” will be released in 2021. This research examines the relationship between camera point of view in influencing the moral communicated by a film and how cinematography is used as visual rhetoric. The study was conducted qualitatively with a film semiotic analysis approach. The "Done" film data is grouped into 4 structures, namely Visual Structure, Verbal Structure (Character, Language, Time, Setting), Narrative Structure and Audio Structure. Diachronically examined by using the views of the signifier and the signified (Signifier and Signified). Like any other research, this research uncovers facts from the film “Selesai” both stated and implied, both good and bad meanings. There are 3 points that lead to the conclusion of this study, namely 1) Infidelity is a Familiar Thing in Indonesia, 2) The Percentage of Mental Disorders in Indonesia is Quite High, 3) The Problem of the Covid-19 Pandemic Has an Impact on Home Harmony.Keywords: done, semiotics, pandemic, family. AbstrakSaat pandemi seperti ini, penduduk Indonesia lebih banyak beraktivitas di dalam rumah. Selain bekerja dan belajar, hiburan pun banyak tersaji melalui layar monitor dari Film hingga Video Game. Banyak perusahaan penyedia konten yang berlomba-lomba untuk menghasilkan dan menjual konten-konten mereka.Seperti Netflix, perusahaan yang fokus pada penyedia layanan media streaming digital, menjadi salah 1 perusahaan penyedia konten digital terlaris saat ini. Dengan basis jalur internet, jelas sangat menguntungkan Netflix untuk menjual jasa maupun produknya yang dapat diakses oleh setiap orang di belahan bumi ini selama memakai akses internet. Pada suatu film acapkali terdapat pesan yang disampaikan secara tersirat. Film Indonesia dengan judul “Selesai”, 82 menit total durasinya dan pasangan suami istri yang bermasalah dalam hubungan mereka. “Selesai” dirilis pada tahun 2021. Penelitian ini mengkaji kaitan sudut pandang kamera dalam mempengaruhi moral yang dikomunikasikan oleh suatu film dan bagaimana sinematografi dipakai sebagai retorika visual. Kajian dilakukan secara kualitatif dengan pendekatan analisa semiotika film. Data Film “Selesai” dikelompokan dalam 4 struktur, yaitu Struktur Visual, Struktur Verbal ( Karakter ,Bahasa, Waktu ,Setting), Struktur Naratif dan Struktur Audio. Dikaji secara diakronik dengan menggunakan pandangan penanda dan petanda (Signifier dan Signified). Seperti penelitian umumnya, penelitian ini menyibak fakta-fakta dari film “Selesai” baik yang tersurat maupun yang tersirat, baik bermakna baik maupun buruk. Terdapat 3 poin yang menghasilkan kesimpulan dari penelitian ini, yaitu 1) Perselingkuhan Merupakan Hal Yang Tidak Asing Di Indonesia, 2) Tingkat Persentase Gangguan Kejiwaan Di Indonesia Cukup Tinggi, 3) Masalah Pandemi Covid-19 Berdampak Terhadap Keharmonisan Rumah Tangga.Kata Kunci: selesai, semiotika, pandemi, keluarga. Authors:Bobby Halim : Universitas Indo Global MandiriYosef Yulius : Universitas Indo Global Mandiri References: Budiman, K. (2011). Semiotika Visual: Konsep, Isu, dan Problem Ikonisitas. Yogyakarta: Jalasutra.Herawati, E., & Rosidah, R. (2013). Tanda-Tanda dalam Iklan Komersial di Televisi (Analisis Semiotika pada Iklan Susu Sgm Eksplor Presinutri 3). Humaniora, 4(1), 71-81.Liliweri, A. (2003). Makna Budaya Dalam Komunikasi Antarbudaya. Yogyakarta: Lkis Pelangi Aksara.Tinarbuko, S. (2008). Semiotika Komunikasi Visual: Metode Analisis Tanda dan Makna pada Karya Desain Komunikasi Visual. Yogyakarta: Jalasutra.Tinarbuko, S. (2017). Semiotika Tanda Verbal dan Tanda Visual Iklan Layanan Masyarakat. Panggung, 26(2).

This chapter sketches ways in which semiotics can reach out to history, providing the latter with theoretical fundamentals. The author presents an analysis of human semiosis in terms of its basic structure and strategies, arguing that insight in the complex dynamic structure of this process allows for the empirical study of our sense of time, different time scales, the chrono-logic underlying long-term cultural evolution, as well as methods and styles of historiography.

Typically, when raising the dead, it is first important to pray intently, though oftentimes in the field, we may find that simply the grace of the Lord Jehovah manifesting as synchronistic phenomenon is sufficient. Please consider that the manifested light takes form as a spiritual phenomenon called, "mana," or bread from heaven. Believing fully in the reality of the phenomenon of a group of perceivers is of paramount importance. When the psycho-spiritual miracles begin, make sure to grab them as real things, fully believing in their divine reality. The intent of this paper is not some magic spell. The intent of this paer is to show that 1) The Lord can and does raise the dead, and believing so is perfectly rational 2) The spirit of the Lord Jehovah can raise the dead in any location by going into the nature of the, "space." However, understanding as much, raising the dead is very much encouraged, and if this helps you, so be it. I met Jehovah in 2007 at a festival when my car spun out of control, I called on his name to rescue us, and when we got there, the Lord Jehovah was preaching the gospel in the spirit and in Aramaic language, speaking to the sky as if his mother was talking to him and the angels. In this paper, $$\Omega_\Lambda$ is indicative of the, "highest energy level."

Herein, we show how inputting basic topological n solutions into the OS yields new mathematical statements

This paper illustrates the KXP and MIL functors operating within the infinity balancing expression. The existence of a oneness at a balancing of infinity meanings is a living reality. I'm not debating that. There is a oneness at intersections, unions, equilibriums and other forms of logical, algebraic, phenomenological spontaneities. However, mathematics is also a language that notates differentiation between identifiable, significant phenomena. This theory of, "energy numbers," is a priori to the so-called, misnomered, "real numbers," and may or may not be philosophically mappable to the real numbers in a legitimate way. This area is an incipient area for linguistic research. These Energy Numbers are entanglements of quasi-quanta notations, which linguistically combine to deliver the expression of Energy Numbers from a semantic notation of oneness geometry, in fact. Furthermore, the oneness is evidentiary in the, "congruency method," for performing the integral to E, or... synonymously, F sub Lambda. See: Semantics in Tensor Calculus Applications to Set Theory: https://zenodo.org/record/7710307

The research analyzed the refusal catcalling strategy by women in Makassar. Furthermore, with the catcalling topic still being addressed by Makassar residents, this research delves deeper into the link between signs and the refusal strategy of catcalling on women in Makassar and those who regard it as harassing conduct. The research aims to explore strategies used by females in dealing with the refusal sign of catcalling in Makassar. In addition, the research examines Ferdinand Saussure's theory in analyzing sign such as signifier and signified theory in arranging refusal strategy of catcalling. The results of the research is the women must have strategies to overcome the refusal of catcalling such as ignoring to the perpetrator, fighting to the perpetrator, reporting to the police, leave, places prone to catcalling, pretending to call family, and reprimanding with sound loudly.

This paper centers at the construction of the senses in the short story “Despertar” by Guy de Maupassant. The methodological theoretical grounds is based in the Semiotics of French tradition, also called Discursive or Greimasian. The objective was to demonstrate that the senses that emerges from a semantic opposition in the fundamental level manifest themselves in the discursive level through themes and images that shows a character divided between two worlds, one is the world of reality and the other the world of fantasy. In this analysis, it is noted that the transition between these two worlds relate to changes in space, witch one of then corresponding to a specific world. Concludes that the socials coercions overlap to the individual drives., O artigo tem por tema a construção dos sentidos do conto “Despertar”, de Guy de Maupassant. A fundamentação teórico-metodológica é a semiótica de linha francesa, também dita discursiva ou greimasiana. O objetivo é mostrar que os sentidos que emergem da oposição semântica de base do nível fundamental se manifestam no nível discursivo por meio de temas e figuras que mostram uma personagem cindida entre dois mundos, o da realidade e o da fantasia. Na análise, destaca-se que a passagem de um mundo a outro relaciona-se a mudanças de espaço, cada um deles correspondendo a um mundo particular. Conclui-se que as coerções sociais se sobrepõem às pulsões individuais.

Lexical semantics argues that, in communication, there is a linguistic code that, when encrypted, allows us to understand how the meanings of a word are structured and act according to its level of arbitrariness. Now, this article deals with the meanings and uses of the word ghost, which is the result of a metaoperation that is constituted in an image (cognitive base), as it becomes an image (communicative operation) between the signifier and the signified. The conceptualization of our ghosts reveals, with respect to our common sense, a response of their significance in the brain associated with ideas that in language are conceived from a positive, neutral, or negative character. Therefore, invisibility is a possible response to their magical contact with nature and to a superstitious knowledge that opposes the dominant power of linguistically organized knowledge. The purpose of this article is to explore, from psychoanalysis, a way of looking at ghosts as a signifying creation in language (from the outside, inwards), especially as a point of attachment to the semiotic processes that allow the creation of cultural terminologies from an anthropological, artistic, and emotionally aesthetic perspective., La semántica léxica defiende que, en la comunicación, existe un código lingüístico que al ser cifrado permite entender cómo se estructuran y actúan los significados de una palabra según su nivel de arbitrariedad. Ahora bien, en este artículo se aborda los sentidos y usos de la palabra fantasma, la cual es el resultado de una metaoperación que se constituye en una imagen (de base cognitiva), en tanto que esta se hace imagen (operación comunicativa) entre el significante y el significado. La conceptualización de nuestros fantasmas revela, respecto a nuestro sentido común, una respuesta de su significación en el cerebro asociado a ideas que en el lenguaje se conciben desde un carácter positivo, neutro o negativo. Por ende, la invisibilidad es una respuesta posible a su contacto mágico con la naturaleza y a un saber supersticioso que se opone al poder dominante del saber organizado en lo lingüístico. La finalidad de este artículo es explorar, a partir del psicoanálisis, una manera de observar a los fantasmas como una creación significante en el lenguaje (desde afuera, hacia adentro), sobre todo como punto de unión a los procesos semióticos que permiten crear terminologías culturales desde una perspectiva antropológica, artística y emocionalmente estética., A semântica lexical argumenta que, na comunicação, existe um código linguístico que, quando encriptado, nos permite compreender como os significados de uma palavra são estruturados e agir de acordo com o seu nível de arbitrariedade. Agora, este artigo trata dos significados e usos da palavra fantasma, que é o resultado de uma meta-operação que se constitui numa imagem (base cognitiva), na medida em que se torna uma imagem (operação comunicativa) entre o significante e o significado. A conceptualização dos nossos fantasmas revela, em relação ao nosso senso comum, uma resposta do seu significado no cérebro associada a ideias que, na linguagem, são concebidas a partir de um carácter positivo, neutro ou negativo. A invisibilidade é assim uma resposta possível ao seu contacto mágico com a natureza e a um conhecimento supersticioso que se opõe ao poder dominante do conhecimento linguisticamente organizado. O objectivo deste artigo é explorar, a partir da psicanálise, uma forma de ver os fantasmas como uma criação significante na linguagem (do exterior, para dentro), especialmente como um ponto de apego aos processos semióticos que permitem a criação de terminologias culturais a partir de uma perspectiva antropológica, artística e emocionalmente estética.

Resumen La semántica léxica defiende que, en la comunicación, existe un código lingüístico que al ser cifrado permite entender cómo se estructuran y actúan los significados de una palabra según su nivel de arbitrariedad. Ahora bien, en este artículo se aborda los sentidos y usos de la palabra fantasma, la cual es el resultado de una metaoperación que se constituye en una imagen (de base cognitiva), en tanto que esta se hace imagen (operación comunicativa) entre el significante y el significado. La conceptualización de nuestros fantasmas revela, respecto a nuestro sentido común, una respuesta de su significación en el cerebro asociado a ideas que en el lenguaje se conciben desde un carácter positivo, neutro o negativo. Por ende, la invisibilidad es una respuesta posible a su contacto mágico con la naturaleza y a un saber supersticioso que se opone al poder dominante del saber organizado en lo lingüístico. La finalidad de este artículo es explorar, a partir del psicoanálisis, una manera de observar a los fantasmas como una creación significante en el lenguaje (desde afuera, hacia adentro), sobre todo como punto de unión a los procesos semióticos que permiten crear terminologías culturales desde una perspectiva antropológica, artística y emocionalmente estética. Abstract Lexical semantics argues that, in communication, there is a linguistic code that, when encrypted, allows us to understand how the meanings of a word are structured and act according to its level of arbitrariness. Now, this article deals with the meanings and uses of the word ghost, which is the result of a metaoperation that is constituted in an image (cognitive base), as it becomes an image (communicative operation) between the signifier and the signified. The conceptualization of our ghosts reveals, with respect to our common sense, a response of their significance in the brain associated with ideas that in language are conceived from a positive, neutral, or negative character. Therefore, invisibility is a possible response to their magical contact with nature and to a superstitious knowledge that opposes the dominant power of linguistically organized knowledge. The purpose of this article is to explore, from psychoanalysis, a way of looking at ghosts as a signifying creation in language (from the outside, inwards), especially as a point of attachment to the semiotic processes that allow the creation of cultural terminologies from an anthropological, artistic, and emotionally aesthetic perspective. Resumo A semântica lexical argumenta que, na comunicação, existe um código linguístico que, quando encriptado, nos permite compreender como os significados de uma palavra são estruturados e agir de acordo com o seu nível de arbitrariedade. Agora, este artigo trata dos significados e usos da palavra fantasma, que é o resultado de uma meta-operação que se constitui numa imagem (base cognitiva), na medida em que se torna uma imagem (operação comunicativa) entre o significante e o significado. A conceptualização dos nossos fantasmas revela, em relação ao nosso senso comum, uma resposta do seu significado no cérebro associada a ideias que, na linguagem, são concebidas a partir de um carácter positivo, neutro ou negativo. A invisibilidade é assim uma resposta possível ao seu contacto mágico com a natureza e a um conhecimento supersticioso que se opõe ao poder dominante do conhecimento linguisticamente organizado. O objectivo deste artigo é explorar, a partir da psicanálise, uma forma de ver os fantasmas como uma criação significante na linguagem (do exterior, para dentro), especialmente como um ponto de apego aos processos semióticos que permitem a criação de terminologias culturais a partir de uma perspectiva antropológica, artística e emocionalmente estética.

In the eight seasons of Showtime’s television show Homeland, leading character Carrie suffers from a bipolar disorder which repeatedly results in psychotic episodes. During these psychotic breakdowns, her grip on reality is disturbed by delusions. However, her psychotic disposition also leads to abilities and insights that make her a valuable agent in international secret agencies such as the CIA. This essay examines how the productivity of Carrie’s psychoses can be related to the political, military-industrial order within which she operates as a spy fighting terrorism and other threats to national and international security. What does the fact that a person suffering from psychoses is able to comprehend complex international political processes tell us about these processes and the context in which they occur? To answer this question, I turn to two scholars, both of whom have theorized subjectivity in relation to psychosis: psychoanalyst Jacques Lacan and philosopher Mauricio Lazzarato. The radically different notions of Lacan and Lazzarato lead to different interpretations of Homeland. However, although Lazzarato is a critical opponent of Lacanian psychoanalysis, I demonstrate that Lacan’s psychoanalytical ideas and Lazzarato’s machine theories can to some extent be read as complementary in an analysis of Homeland, for what the two distinct theorists have in common is that they both relate subjectivity to sign systems—to the emergence and assignment of meaning, as well as to the suspension and absence thereof. This paper argues that the psychoses of Homeland’s lead character produce political meanings because of the condition’s specific relation to meaninglessness.