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Copyright of Kant-Studien is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to study the semantics and role of color symbols in the verbal description of national heraldry, and its relevance is due to the current trend towards an increase in the number of independent states with their own national symbols. The objectives of the research include determining the semiotic specificity of the color symbol, establishing the object prototypes motivating this symbol and identifying new concepts and ideals symbolized in modern national heraldry with the help of color. The study was carried out on the material of the state emblems of countries united by a common language of blazoning, using the technique of analyzing color images. It has been established that in color symbolism there are two types of semiotic units: symbols in which the image refers to some natural standard of color that motivates color, and symbols in which the connection between the expression and the content planes of the semiotic formation turns out to be conventional and conditioned exclusively by cultural tradition. In most cases, the appearance in national heraldry of a particular color or shade of the latter is determined by the taste preferences of the compiler of the coat of arms, but sometimes the symbolic meaning of the color in the blazon is explicitly stated. The content plane of color symbols, which receive an explicit interpretation in state heraldry, is represented both by specific objects, which act here as prototypes motivating the symbol, and by concepts of one or another level of abstraction, and the connection of these concepts with color is not figuratively motivated in any way and is determined exclusively by cultural traditions. The medieval list of secular and Christian virtues, to which the main heraldic colors refer, is supplemented by modern concepts and ideals in the state heraldry of today. At the same time, the black color as a symbol of sadness and mourning does not appear in state heraldry, and there is no purple color in the studied national heraldry. The results of the study lead to the conclusion that the color symbolism reflects the national, cultural and linguistic specificity of the countries that own the state emblem.

The present article centers its focus on the conceptual clash involving selected definitions of the human and the non-human within the field of sign theory, particularly examining two nearly paradigmatic perspectives: structuralist semiology and Peircean semiotics. The text’s argumentation critically departs from the conventional viewpoint put forth by Ernest Cassirer. This perspective, widely prevalent not only in the humanities but also in the social sciences (e.g., M. Weber, T. Parsons) and even the natural sciences (e.g., T. Deacon), frequently regards the “symbol” as the defining boundary between the human and the non-human. The discussion further delves into the context of structuralist anti-humanism, which endeavors to redefine subjectivity by drawing from structural linguistics. Offering an alternative perspective to both Cassirerian and structuralist views of representation, the article introduces the semiotics of C. S. Peirce. According to John Deely, who serves as the primary source of inspiration for this paper, Peirce’s semiotics opens the door to a distinct, inferentialist, and methodologically more comprehensive understanding of the sign and the symbol, reshaping the understanding of the relationship between humans and the world inhabited by entities that, while they do not possess language, are capable of making inferences and employing signs – whether they be animals or machines. These nonlinguistic, non-representational yet communicative entities largely remained inconspicuous within structuralist semiology. Asubjective structures, seemingly waiting to be infused with human meaning, to be fully represented within the concept of language, to become subjects in a supposedly universal science of signs. At this juncture, the text departs from structuralist premises and, aligning with Peirce’s perspective, follows Deely in proposing that what sets apart human comprehension of signs from other forms of sign-interpretating agencies is the capacity to understand the sign as a sign. In essence, this represents the unique ability of human animals, even if unconscious, to engage in semiotics.

The traditional ornaments, characteristic for the Latvian and Lithuanian ethnographic regions, are an essential part of traditional Baltic culture. Since the 19th century researchers have studied their technical aspects and semiotics (Brastiņš, 1923; Dzērvīts, 1925; Celms 2007) but little attention has been paid to empirical terminology. The name is an integral part of the sign, it often carries semantic information helping to reveal its usage and significance. In Latvia, the names of traditional signs have been influenced by the work of Brastiņš and dievturi (“Keepers of Dievs”) who attributed the names of Baltic mythological deities to ornaments linking them to the manifestations of the deity mentioned in the denominations. While these denominations are very popular in Latvia, in Lithuania very similar ornaments are called and interpreted differently. This research focuses on collecting and analysing Baltic ornament nomenclature published in Latvia and Lithuania in the first half of the 20th century. It compares the ornament naming traditions in both countries and highlights the main parallels and differences. It also reviews previous research of ornament in Latvia and Lithuania where significant differences can be seen – while semiotic research dominates in Latvia, in Lithuania more attention has been paid to the nomenclature, although in both countries the nomenclature has often been viewed separately from the visual form, making the research of ornament evolution and typology difficult. It has been found that the spectrum of ornament nomenclature at the beginning of the 20th century in Latvia was more diverse than it is now; that it is common for Latvians and Lithuanians to view ornament as a pattern rather than separate graphic elements and that geometric, plant, animal, artefact and celestial body denominations dominate the nomenclature of both languages. Symbols appearing in Baltic culture are also present in ornament nomenclature.

This research aims to examine the gestures used by teachers and students in the algebra learning-teaching process and the purpose of these signs. The participants of this case study are 25 eigth graders and their mathematics teacher. The data were collected through video recordings and clinical interviews. Deductive analysis was used to analyze the data, while synchronic and diachronic analyses were utilized to analyze the signs in terms of semiotics. Findings revealed that the teacher used a bunch of iconic, metaphoric, deictic, and beat gestures during the algebra teaching process. The meaning of the iconic gestures that resulted in the study can be listed as centering and itemization, illustration of a table, constant term, preceding element, decrease, separation, base and power, rectangle and side, length, and vertical-horizontal. On the other hand, the metaphorical gestures attribute holding, equality, moving the term from one side to the other, numbers or letters, equality, distributing and hiding. The deictic gestures imply pointing out boards with fingers, board markers or hands, and indicating students and notebooks with fingers, while the beat gestures refer to lowering the hands from top to bottom, waving the fist up and down and moving the hand back and forth. It is seen that the teacher aims to strengthen her expression and support students' mathematical understanding through the gestures she uses.

Astonishingly, the trio ‚action film – Italy – tourism' has to date received little attention from the perspective of cultural studies and semiotics. The aim of this article is thus to show that communication strategies have made tourist travel a complex phenomenon of contemporary everyday culture from a semiotics perspective: conceptually, theoretically, and through a cursory examination of select examples from film. By doing so, it outlines the ways in which the combination of tourism and action films contributes to common clichés about Italy. [ABSTRACT FROM AUTHOR]

The monograph uses the material of scientific and artistic discourses, lexicography and corpus linguistics to study metaphorical transfer and symbolization in language and culture, and also analyzes the verbal embodiment of the idea of sovereignty in the national heraldry of the former USSR states, Spanish-speaking Latin American countries, English-, French- and Portuguese-speaking countries.

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

Copyright of Transfer: Zeitschrift für Kommunikation & Markenmanagement is the property of Deutsche Werbewissenschaftliche Gesellschaft and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article demonstrates the broad applicability of the concept of symbol in human communication, beyond but including verbal language. The starting point is Charles Sanders Peirce’s understanding of symbolicity as signi-fication grounded on habits. The goal is to be able to conceptualize mediality in general and media interrelations, particularly in relation to symbolicity. Informed by a multimodal view on media, the author provides a systematic overview of symbolicity within the context of communication among human minds structured around two crossing parameters: symbols being limited or widespread among people and symbols not being part of or being part of systems – languages. Based on this overview, I clarify the role of culture in language notions and conceptualize language in relation to mediality. I also suggest a way of more precisely describing similarities and differences between languages and media types, without either conflating or totally separating the two concepts. Finally, I investigate how the dependence of language and media type conceptions on culture affects the idea of intermediality. Together, these investigations and conceptualizations promote a more comprehensive understanding of symbolicity in general and a deeper knowledge of the role of symbolicity in human communication, including verbal language, and intermedial relations involving all kinds of different media types.

The purpose of the study is to determine the linguistic and cultural specifics of verbal and non-verbal means and mechanisms of multimodal communication functioning in the European Parliament speeches and to interpret them within the framework of political discourse. The material of the study was five videos with public speeches in English, posted on the websites of the European Parliament. These videos are complexly organized products of multimodal interaction between the addresser and the addressee, the specificity of multimodality here consists in the simultaneous use of different nature manifestations in the same audio-visual space from the standpoint of semiotics with the help of various sensory modalities. The article deals with verbal and non-verbal (visual and prosodic) means of manipulation in political discourse. Most often in these European public speeches, there are such verbal means of manipulation as repetitions, sabotage against logic (they are also false analogies), emotional cathexis, the enemy image; less commonly expressive strike, everyday story and reorientation of attention are used. Repetitions are most often directly or indirectly conveying an emotional assessment of language units. The reorientation of attention is used by attracting the attention of recipients by some bright or unusual facts. The active use of non-verbal means of psychological manipulation (intonation, gestures, facial expressions) indicates a manifestation of aggression rather than creating an impression of friendliness and cooperation. The general strategy of presenting information in these videos is characterized by attracting the recipient attention with capacious “bait” phrases that cause a direct emotional response.

This article is devoted to determining the role of cultural and ideological codes in advertising communication and studying the peculiarities of their use in advertising Benetton brand products. The relevance of the study is determined, in particular, by the fact that the specifics of the perception of the advertising message, including the reduced attention of recipients to the advertising text, become the cause of provocative creative decisions, which are based on a deep analysis of consumer behavior, their habits and stereotypes. The authors note that in the professional activities of advertisers, the work with ideological and cultural codes is carried out in two ways: the advertising message is based on existing stereotypical mental attitudes or contradicts them. The material of Benetton brand advertising texts through semiotic analysis examines the company’s communication policy, built on a provocative appeal to cultural and ideological semiotic codes. With the help of trigger messages and visual images built on the use of idiologmes, religiogemes, mythologemes, culturemes, Benetton advertisers have created a semiotic basis for identifying the brand that is relevant to the general public. It is also noted that as a result, the brand has developed its own acutely social direction, which has become one of the main channels of communication with potential consumers of Benetton products. With the help of the social coloring of communications, non-standard solutions and the use of the laws of semiotics, the brand in question was able to achieve important economic and communication goals - to ensure differentiation against the background of competitors, to increase the loyalty of the target audience and its purchasing activity. The research material was more than 50 multi-code advertising messages - videos, as well as texts of printed and outdoor advertising. To achieve this goal, a descriptive and analytical method, semiotic and intertextual analysis were used.

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

This paper is an attempt to analyze three horror classics - Algernon Blackwood’s “The Willows” (1907), Clark Ashton Smith’s “Genius Loci” (1936) and Ramsey Campbell’s “The Voice of the Beach” (1977) - in which the landscape is envisioned as the abode of supernatural power. The common thread between these stories is the concept of natural scenery which merges and blends the real and unreal, the mind, flesh and the phenomenal world. As landscape is a major component of the plot, rather than mere background to the stories, the authors use it to formulate certain metaphysical ideas about existence and the nature of reality itself. My objective is to historically and epistemologically contextualize these ideas, clarify them and relate them to particular recent developments in philosophy and social theory. My second aim is to examine the semantics of space particular to each narrative, the association and partition of its structural elements, and the latent level of meaning arising from the organization of the stories’ mise-en-scène.

Historical research on medieval universities is not fully capable of revealing the specifics of this unique phenomenon. The multidimensionality of reality, as well as human reactions to it, cannot be exhausted by knowledge and explanation of the material causes of the emergence of a particular cultural institution, economic and social factors of its development. For people in Middle Ages, the main way of interacting with the world was imagination, and the main tool was metaphor, which creates a vast space for the interpretation of preserved cultural evidence and artifacts. This text provides examples of such metaphors of the university, attributed to the three conditional levels of the symbolic dimension of the European Studium Generale. For all their imagery, these metaphors are surprisingly specific and refer to the fundamental values of medieval education. Исторические исследования, посвящённые средневековым университетам, не в полной мере способны выявить специфику этого уникального феномена. Многомерность реальности, как и реакций человека на неё, не может быть исчерпана знанием и объяснением материальных причин возникновения того или иного культурного института, экономических и социальных факторов его развития. Для людей Средневековья основным способом взаимодействия с миром было воображение, а основным инструментом – метафора, что создаёт обширное пространство для толкования сохранившихся культурных свидетельств и артефактов. В настоящем тексте приводятся примеры такой метафорики университета, отнесённые к трём условным уровням символического измерения европейских Studium Generale. При всей их образности, данные метафоры удивительно конкретны и отсылают к главным ценностным основаниям средневекового образования.

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

Even though the restitution of Nazi-looted property from Austrian federal museums is clearly regulated by law, dealing with objects that are still or have been returned to the collections, or with gaps in exhibitions that have resulted from restitutions, poses challenges for museum work. Through a semiotic analysis of museum media (exhibitions, audio guides, information boards as well as museum shops) in Austrian federal museums in 2020 and 2021, this article investigates whether and how the topics of Nazi-looted property, provenance research, and restitution are represented. The research revealed that these topics, which are inevitably linked to violence, are often completely ignored or only presented in exhibition sections on the histories of the museums, as if the problem belonged to the past. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Wratislaviensis. Germanica Wratislaviensia is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Deutsches Dante-Jahrbuch is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recently, due to the lockdown of the whole world after the spread of Covid 19, the significance of spatiality and the dynamic relations among space, place, and culture has now become an important approach to the humanities. In the discourse of postmodernism, place appears as a key concept in literary studies to determine the cultural dimensions of the human experience. This paper is an attempt to bring to focus the importance of place in culture-oriented literary texts. The most suitable ones for the purpose of this study are those that deal with the “international theme” of the cultural conflict between the Old and the New Worlds; one of the major themes which are found in the works of the great 19th century American novelist Henry James. He deals in his novels with a variety of cultural, social, and moral issues through stories of intercultural encounters between American and European characters. Thus, this paper studies one of his least appreciated novels, The Europeans (1878), to show that the greatness of the text lies in the aesthetic and semiotic power of its landscape which acts as an interactive medium for expressing emotions and functions as a process of signification conditioned by the American culture.

The reflections brought about in the present paper are developed along a renewed dialogue between psychoanalysis and the human sciences, in particular with semiotics understood as the science of signification, a science, according to the definition that Saussure gave in the early twentieth century, "that studies the life of signs within the framework of social life." The specific object of our reflection is understanding whether and how the mentalization abilities of modern humans have changed along with modern digital media. If what MacIver observed about "anomie" is true, namely, that anomic man "lives on the fragile thread of immediate sensations that have no past as well as no future," the specific structure of social media seems to determine psychosocial processes characterized by the flattening of an existential perspective dimension. Social media, in fact, is marked by a linear dimension, referred to by linguists as syntagmatic, and an extreme redundancy of the other fundamental dimension of language, namely the paradigmatic one. This linguistic and, in our opinion, also deeply psychological imbalance toward a horizontal superficiality "without past and without future" actually configures, in clinical experience, a contiguous-autistic dimension. Psychotherapeutic work then aims more than ever at recovering the capacity for a processual journey, session after session, in order to rebuild a vital "psycho-semio-narrative" capacity. Remembering in order to invent, then, and a "memory of the future" such that the relationship between narrative and Origins is not so much and not only the "narrative of origins," but storytelling as a deeply mental and dreamlike tool to originate a future never before imagined.

The article is devoted to the study of the use of technology in memorial museums, particularly in those related to geno-cide, with a goal to construct a theoretical framework that can be used to reflect on and analyze the use of technology in similar spaces. A multidisciplinary theoretical framework is assembled through Semiotics, Communication and Memory Studies, as well as Philosophy, in order to explain the benefits and dangers of implementing technology in memorial museums. Particularly, Peirce’s idea ofunlimited semiosis, Eco’s considerations about the multiplicity of meanings (“open text”), the existence of two narratives in memorial museums, Heidegger’s writings on technology (especially enframing and revealing) and Jakobson’s communication theory based on Buhler’s organon model are invoked with the aim of explicating the interplay between technology and memory. Proceeding inductively from the example of the Arme-nian Genocide Museum Institute (AGMI), the authors identify general dangers that should be kept in mind in the process of genocide memorialization.

The article discusses conspiracy theories concerned with the global crisis triggered by the COVID-19 pandemic in Slovenia based on material collected from the Internet and during fieldwork. Content is examined using the well-established foundations of conspiracy theories, the semiotics of the conspiracy theories, and their mythological structure. Pandemic-related conspiracy stories appear to emerge from already established conspiracy narratives, linking them to a bigger and imminent threat to the health and freedom of humanity, believed to be perpetrated by conspiring evil forces.

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This article proposes the comparison of two methods of analysis, semiotics, and hermeneutics, to address contemporary issues in ethical and political philosophy, through the study of the phenomenon of epistemic injustice. Conceptualized by Fricker (2007), epistemic injustice is synonymous with the denial of the value of knowledge that an individual possesses because of prejudices about the social group to which he or she belongs or is affiliated. When epistemic injustice is studied in the empirical world, it poses some crucial issues in terms of interpreting the meaning that the individual gives to the experience of injustice that he or she experiences. Although the interpretation of injustice is central to the understanding of the phenomenon itself, little research in ethical and political philosophy addresses these aspects, because of the failure to sufficiently mobilize analytical methods such as semiotics and hermeneutics. However, these two methods, usually used in other fields to deal with these aspects, allow us to question the treatment and the interpretative scope of the epistemic injustice by the different interlocutors involved in the interaction in which it is reconducted. The comparison of these two methods in the analysis of epistemic injustice finally allows us to argue in favor of the hermeneutic method, as defined by Gadamer and rethought by Code (2003), to enhance Gadamer's legacy through the analysis of ethical and political issues in human sciences research.

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The article is devoted to identification of the features of the Karachai-Balkarian lullaby as a text of a complex semiotic nature and determination of the role of verbal and non-verbal components in the organization of an integral communicative space. It is postulated that the difference in sign is characteristic not only of modern texts, born of scientific and technological progress, which changed the sign nature of information, but also of a lullaby. It is noted that in linguistics, the study of a lullaby as a polycode text is not one of the intensively developed ones, and in the Karachai-Balkarian language its linguistic understanding and description as a multilayered text is carried out for the first time, which determines the relevance of the work. The main method for analyzing empirical material is the semiotic method of studying the text as an integral system of interdependent signs and symbols. Elements of discourse and phonosemantic analysis are also used. The article separately examines various semiotic layers and components syncretically presented in the text of the lullaby. The article analyzes the units of the lexical-semantic and grammatical levels of the language, which represent the verbal layer, as well as non-verbal means used in addition to the language code that accompany the verbal text of the song. Refrain “ballyau-ballyau”, “bellyay-bellyay” and the dominant sounds of the text «l-l’», «б-б’» according to their acoustic and physical characteristics, they are subordinated to the main strategy of a lullaby - calming and lulling a child. Particular attention is paid to determining the role of verbal and non-verbal signs in the implementation of synsemantics of the text of a lullaby. The novelty of the research lies in the identification of the specificity of the lullaby as a text of a different-sign nature, which manifests itself in the syncretism of various semiotic components, which in the text space are in complementarity relations. The multidimensionality of vectors of interaction of verbal, paraverbal, kinetic, symbolic components in a lullaby is revealed. It has been established that the verbal layer mainly performs an informative function, non-verbal means - expressive and pictorial functions.

This paper aims at comparing the definition of ‘trademark’ in three different legal systems – EU law, international law and US common law – in order to identify the discoursal, generic and textual characteristics of definition as a genre. The selected corpus of analysis is made up of three definitions from EU Regulation 2017/1001, WTO Agreement on Trade-Related aspects of Intellectual Property Rights (TRIPS) and US Lanham Act (sec.45) and of several US cases from 1926 to 2019. The theoretical framework within which the analysis is carried out is the seminal work on definition as carried out by Richard Robinson (1954) and Harris and Hutton (2007). The approach is mainly linguistic, though a historical excursus on the concept of definition is provided as a necessary introductory premise. The findings demonstrate that EU legal texts are characterised by a hybrid style (Robertson 2010) which results from the combination of common law and civil law textual features.

Today, the dialogue is regarded as a basis for cultural being, while the dialogue of cultures has become a key notion in modern philosophical thinking. The concept of dialogue has been transformed over the past century, acquiring new meanings and changing its internal content from understanding it as an ordinary exchange of information to a complex creative interaction and mutual influence of different cultural and value consciousnesses. Not only different personalities, but entire ethnoses, cultures, and civilizations may become subjects of the dialogue, thus increasing the dialogue functionality up to the means of developing inter-cultural, inter-ethnic and inter-civilizational relations and accentuating commonality of the global historic process and cultural heritage of mankind. Appearing as a form of interpersonal relations in the ontology of M. Buber, who was one of the first to focus on the transition of relations from "subject-object" to "subject-subject", the concept of "dialogue" has become an important philosophical concept throughout the mid-XX century. Brand new turn of development of the theory of dialogue, and the entire human culture in General, was due to the concept of Semiosphere Yu.М. Lotman. The article deals with genesis of the philosophical concept of the dialogue between cultures in the 20th century. The focus is on its emergence - in the early 20th century - in M. Buber's theological concept and at the highest point of its development in Yu. M. Lotman’s semiotic philosophy.

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The article focuses on the sociocultural and semiotic aspects of the discourse of protests sparked by the rigged presidential election in Belarus, in August 2022. It mentions mass demonstrations, using symbolic items such as posters, slogans, exclamation marks, performances, posts in the social networks on the Internet have been analyzed as a type of social discourse. It also mentions emphasis is on linguistic forms of creativity, especially the protest slogans.

Problem of linguocultural types has been one of the important current directions of research. The article deals with the linguocultural types “father” (in Russian linguoculture) and “pastor” (in American linguoculture), their comparative consideration is conducted. Comparative consideration of linguo-cultural types “father” and “pastor” seems to be important for linguoculturology, linguoconcepology and general theory of discourse because it allows to add to the general theory of linguocultural types information about nationally specific types in Russian and American linguocultures. The relevance of the study can be explained, firstly, by the significance of the linguo-cultural types “father” and “pastor” for creation of a comprehensive picture of religious discourse, secondly, linguocultural types “father” and “pastor” are important not only in the sphere of a particular social institution – religious discourse – but have important place in national Russian and American linguocultures in general. It seems important to conduct comparative consideration of linguocultural types close in content and significance in different linguocultures in order to define their general characteristics and differences and, as a result to improve process of intercultural communication of the representatives of different linguocultures. The general notion for the linguocultural types under consideration is the notion “clergyman” which has general characteristics of the linguotypes considered. Comparative consideration of linguocultural types “father” and “pastor” was conducted according to such characteristics as appearance, age, gender, occupation, family, values. Study showed that linguocultural type is greatly influenced by national specifics of linguocultural type. The material was provided by samples of sermons, as well as guides to worship in Russian and English. To conduct the study methods of semantic, contextual, comparative analysis were used.

This study aims to reconstruct the impact of information theory (and cybernetics) on literary theory (semiotics) during the 1950s and 1960s, as well as the directions in which the same paradigm came to inspire 1960s Czech experimental poetry. Given the limitations of information theory vis-à-vis some crucial questions of communication, what was the foundation of this inspiration? The first part of the study concentrates on various important modifications of the paradigm in the context of information aesthetics (Max Bense), information poetics (Umberto Eco) and structuralist literary theory (Miroslav Červenka). The second part explores the position of the ‘information’ current within the context of 1960s Czech experimental poetry, including its avant-garde antecedents. The third part focuses on the experimental texts of Zdeněk Barborka, whose work is notable for being situated at the crossroads of several different tendencies. Finally, the study raises the question concerning the deeper implications of the ‘information moment’, with the suggestion that they might be found in the context of the development of media (communication) technologies as well as the genealogy of the media discourse, which emerges at this ‘moment’ from its prehistory to enter into its actual historical phase.

The present paper brings forward an analysis of the Orthodox icon, made by deploying the model of semi-logical hexade which describes the situation of creative communication. Starting with the presentation of the socio-cultural context in which the icon appears and continuing with the other parameters of the hexade – the purpose which justifies the activation of the creative act, whom is this icon addressed, who created it, what psychological mechanisms have concurred to its birth and which is the result of this creative process – our focus has been the defining and description of what the icon is.