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In Jeff VanderMeer's Annihilation, the way the Anthropocenic set of circumstances is narrated could not be easily explained away through giving precedence to either materialist or structuralist narratologists. In this sense, neither the materiality of the environment nor the arbitrary categories and models of structuralists such as Greimas could determine the ultimate narratological scheme with which one could make sense out of such set of circumstances. Only through modifying the extant narratological categories and models and exposing their arbitrariness via indicating their incapability to contain the formidable materiality of the environment, one could reach a workable semiotic framework for devising a narrative out of the anthropocenic set of circumstances. Reaching this framework would be the present study's research objective. As its findings, the study recognizes that such a framework would not give the agency of devising narration to either non -human/environmental or human entities in the anthropocene, and at the same time will be the result of the uneasy, yet workable, coupling of these entities. This framework would also acknowledge the uncontainable nature of the environment in the anthropocene, and turn both human and non -human entities into mere actants that have no particular motivation. The study uses the modified narratological models of Algirdas Greimas and Amitav Gosh proposed by critics like Hanes Bergthaller, Marco Caracciolo and Jean Paul Petitimbert to reach this semiotic framework. [ABSTRACT FROM AUTHOR]

This research aims to examine how to pursue happiness constructs Americans in the film The Pursuit of Happyness (2006). Pursuing happiness is included in one of the American Dreams which means that everyone in America deserves their happiness. To investigate the analyses, this study uses Roland Barthes' semiotic analysis to find out the happiness in Americans. The results show that pursuing happiness is categorized as one of the American myths and the American characteristics. The characteristics of freedom, happiness, and success describe the American character in pursuing happiness as the myth. In addition, pursuing happiness illustrates the similarity of the narrative when compared to the myth. It analyses in social and cultural of Americans' lives. [ABSTRACT FROM AUTHOR]

Coalitional communication is a dwelling amidst non-dominant differences that requires introspective, complex communicative philosophy and practice. My concern is with differentiation in hierarchies. They are understood and shaped by colonial modernity. They are historical logics and practices of settler colonialism, enslavement, and citizenship. My perspective is feminist, decolonial critiques of modern, capitalist social systems. The analysis is grounded in communicative philosophy in intercultural contexts where folks intend justice and equality. For example, in political democracies, localized social alliances actually harm one another being hegemonic by taking routes of familiarity through structures of linguistic and practical cultural systems. Communicative projects of liberation across oppressions (with monologic and single-axis perceptions) tend to miss intersections of our raced and gendered experiences. The result is unintelligibility among us. In this state, one can sense in the body the space of the liminal—with both a communicative impasse and opening. Rather than aligning liberation and domination in the impasse, I describe the creativity of liminal space as a communicative opening. The opening is a recognition of multiplicity and a refusal to assimilate each other's lived experiences into familiar, complex codes of habituated thought and action. Examining communication hostilities in oppressed–oppressing relations is a necessary condition for coalition. Thus, coalitional communication is a call to engage a full sense of listening to one another as relevant. Ways that decipher codes and signals of resistance come to constitute the project of creating relevant intelligibility together. Praxis as critical, dialectical, and intersectional thinking is part of this method. [ABSTRACT FROM AUTHOR]

In the 2017 Asean International Film Festival and Award, Ziarah received four awards, including Best Screenplay (BW Purba Negara), Best Actress (Ponco Sutiyem), Best Director (BW Purba Negara) and Best Film. The film is a drama genre that tells the story of a character named Mbah Sri, a 95-year-old woman who is looking for her husband (Prawiro Said) because he never came home and never even heard from him after saying goodbye to the Second Military Aggression war in 1984. The storyline is entirely based on Mbah Sri as the heir to the memory of the historical events experienced by her husband. This study uses a qualitative approach using Roland Barthes' semiotic analysis. Semiotic analysis is a way or method to analyze and give meanings to symbols that contain a package of symbols, symbols, messages or textsThis research uses a qualitative approach using Roland Barthes' semiotic analysis. In conclusion, the representation of women's loyalty values in the film Ziarah by BW Purba Negara is depicted through the actions and characteristics of couples who are still loyal even though their partners have no news. Mbah Sri still thinks about her partner and tries to find her again at all costs. He did not give up on the search process until he finally rediscovered his true love in his old age. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 majority of global population is in the cities and most tourists are concentrated in the cities. Research on the relationship between urban farming and tourism is gaining popularity in urban studies. In Malaysia, community urban farming has been identified as a solution to sustainable development to provide food in or out of the city. This study is about how the community at Desa Impian, Merbau Sempak promotes organic vegetable farming to academicians and business communities. The idea is to promote this area as a sustainable tourism hub for researchers and business communities. This study is a multimodal semiotic analysis to better understand the dynamic of community farming culture in Malaysia. Using qualitative design and multi-layered analytical framework to explore interactive meanings construed through the functionality of various semiotic resources in multimodal narratives this study reveals the dynamic multilayered nature of government, individual community members, and public voices about community farming culture from a Malaysian socio-cultural context. On a deeper level, farming at Desa Impian means self-identification and sharing of identity that gives rise to a sense of belonging. This study contributes to the knowledge of multimodal socio-semiotic and narrative theories on sustainable urban farming tourism in Malaysia. [ABSTRACT FROM AUTHOR]

Copyright of Research in Comparative Literature is the property of Razi University 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 study of linguistic landscapes (LL) examines the use of signage in public spaces, often with a focus on the use of non-majority languages. The main goals of this project are to map, quantify, and analyze signage in Spanish within Tuscaloosa County, AL, an emerging site of Spanish language use which differs from the large urban places often studied in the LL literature. Photographs of public signage in Spanish were taken and uploaded to an ArcGIS Field Maps app to allow for both geolocation of the image and tagging of the image for specific linguistic and visual characteristics, which are subsumed under multimodality. Multimodality refers to the interaction of the linguistic code with other modes of communication such as images, colors, flags, and other cultural objects to make meaning in a given LL text. Within the multimodality framework, we examine the use of Spanish by itself or with English, location of the signage, communicative functions (symbolic, informative), and the combination of multimodal resources to index the actors originating the text and their intended audience. [ABSTRACT FROM AUTHOR]

This paper presents a Semiotic Study of Sarnath Banerjee's Graphic Novels through the lens of Psychology. Sarnath Banerjee, an eminent graphic writer, is known for creating perplexing stories that investigate complex social and social topics. Using semiotic examination, this study analyzes the signs, symbols, and metaphors present in his attempts to unwind the mental elements of the characters and their connections. The investigation dives into the depiction of characters and their prototype portrayals, revealing insight into their inspirations, battles, and mental changes. Through the recognizable proof of repeating symbols and metaphors, the review plans to disclose the more profound implications and close to home effect they carry on perusers' minds. The account design of Banerjee's graphic novels is investigated to evaluate what it means for perusers' mental commitment. The utilization of flashbacks, dream arrangements, and nonlinear narrating is examined for reflecting mental states and feelings inside the narratives potential. Moreover, the examination investigates the social and social editorials inserted inside the novels, looking at their mental ramifications on perusers' points of view and feelings. The subjects of character, memory, injury, selfrevelation, and emotional wellness are broke down, trying to understand their depiction and effect on perusers' mental understanding. The profound commitment of perusers with the graphic novels is explored, taking into account how the fine art, character improvement, and narrating strategies inspire explicit close to home reactions. The review explores how the graphic novels' substance reverberates with perusers and how their mental foundations impact the translations of the works. Eventually, this semiotic investigation offers a more profound understanding of the mental elements of Sarnath Banerjee's graphic novels. By investigating the exchange of signs, symbols, and metaphors, and their mental ramifications on characters and perusers, this examination adds to a more extensive enthusiasm for the mental profundity of graphic stories and their effect on perusers' brains. [ABSTRACT FROM AUTHOR]

This article uses a qualitative approach to examine how the semiotic symbols and signs associated with Ellen Soebiantoro's tenure as Indonesia's first Muslim female Deputy Attorney General influenced public perception and reflected social and gender dynamics. Semiotics is a discipline that studies the signs and meanings contained in them to influence public narratives. These signs can be words, images, symbols, or even behaviours that have a specific meaning in a cultural or social context. The semiotics examination conducted in this article reveals that the appointment of Ellen Soebiantoro as the first Muslim female Deputy Attorney General in Indonesia not only has practical implications in the field of law but also carries a very important symbolic meaning in the social and cultural context. As a visual and verbal representation of change and progress in the legal field, Ellen Soebiantoro became a symbol of hope for Muslim women who aspire to achieve high leadership positions in the country. A positive image of herself helps shape public perceptions of Muslim women's abilities in previously male-dominated positions. [ABSTRACT FROM AUTHOR]

This paper focus on the problem posed by the rigidity of categories to the translation/transaction operation of the intercultural approach to law. This rigidity holds subjects back from leaving the more structured paradigms (moral, social, cultural, legal) of their culture. The first methodological issue this paper seeks to clarify is to place the problem of categories within a narrowly delimited research horizon in which this issue can be treated with an appropriate degree of scientific rigor. This need seems to find a solution in a shift from the strictly legal plane to the linguistic plane. In linguistic terms, one could observe categories as the articulation of certain linguistic signs (signifier/signified) to a high degree of abstraction and fixity of meaning. The question, then, is whether and how it is possible to overcome the resistance of this elementary unit of language. This opens to the legal-theoretical problem a strictly linguistic (semiological and semiotic) line of inquiry. The research idea of this contribution is that the linguistic sign has spaces of resilience that remain unknown to the semiological view but visible to a semiotic view. A 'bridge' between the abstraction of the semiotic level and the concreteness of the legal level can be find in the most recent developments of cultural anthropology, which will be used here. Following this approach and these tools the aim of this paper is to show the potential of the sign observed from a semiotic perspective in drawing intersubjective and even interspecific semiotic lines useful to intercultural law. The method adopted here consists of an epistemological pluralism that holds together semiotics, anthropology and law, thus showing the fruitfulness of an openly interdisciplinary approach. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design 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.)

Dimensions of unintentionality: Jan Mukařovský — Julia Kristeva — Georges didi-Huberman. --- This article focuses on the concepts of intentionality and unintentionality introduced into the semiotics of the Prague Structural School by Jan Mukařovský. These terms are considered in the context of two other conceptual pairs: 1) the semiotic (lesémiotique) and the symbolic (le symbolique) by Julia Kristeva; and 2) the visual (le visuel) and the visible (le visible) by Georges Didi-Huberman. These concepts, created on the basis of French humanities, can be treated as a development on and complement to Mukařovský’s aesthetic theory.

This essay reads Maryse Condé's 1999récit d'enfance, Le Cœur à rire et à pleurer, as a "generational text"; a text that is both about the unresolved and ambivalent feelings aroused by writing about the dead mother, and also about this loss as the site and source of (literary) generation. Le Cœur defiantly rewrites the classic narrative of Antillean matrifocality, and yet, although the mother's death is relegated to a single line, maternal loss suffuses the entire narrative. Moreover, the text is a reflection on language, writing and literature more generally, and can be read as an exploration of the painful transition from preoedipal to symbolic. Words in this text are destructive entities that wound and distort all relationships, but especially the relationship with the mother, igniting a sustained yearning to return to the security of the prelinguistic pre-oedipal. [ABSTRACT FROM AUTHOR]

Architecture and music have a potential to trigger similar psychological effects in people due to commonalities in artistic and structural properties. Current studies exploring the relationship between architecture and music have often focused on analyzing how music can inspire architectural design, but there have been a lack of studies exploring artistic and structural commonalities between architecture and music in such a context. Therefore, this study adopts semiotics and analogy as an interdisciplinary approach aiming to comprehensively investigate connections and commonalities between architecture and music, particularly in terms of design forms and organization patterns. Using the architecture of the Forbidden City, and the musical piece Palace Memories, as selected cases for this study, this research demonstrates how both of the cases' artistic forms can be translated into structural similarities in terms of both architecture and music. The results of this study reveal significant commonalities in forms and patterns across the fields of architecture and music for the selected cases. This study provides new perspectives for better understanding potential connections between the two fields, and how each may shed new light and provide surprising insights on the other. [ABSTRACT FROM AUTHOR]

This article examines the complex psychological and social struggles of characters in Eugene O'Neill's Strange Interlude, J.M. Synge's The Well of the Saints, and William Faulkner's As I Lay Dying. By applying Jungian, Kristevan, and Williams' cultural and psychoanalytic concepts, the study explores how these characters' inner lives are shaped and constrained by dominant cultural norms, often leading to tragic outcomes. Ultimately, it argues that the characters' attempts to assert their autonomy and challenge societal values result in their psychological and social downfall.

For designers, the body is the main instrument for creating design works that indirectly reflect social reality. In social interpretation, body issues affect the relationship between men and women. Furthermore, these issues influence the aesthetic discourse of modern design, which is formed in the form of a binary opposition with the logic of “form follows function”. Women are associated with form, while men are associated with function. However, the unique experience of women designers indirectly reflects social reality in their design work. This unique experience is referred to as embodiment. Previous research on the influence of embodiment, especially in the work of women designers in Indonesia, is still relatively scarce, except in the field of art. The embodiment of women designers is often limited to the representation of designs inspired by the woman body, which prolongs the objectification of women. Therefore, this study focuses on the influence of the embodiment of women designers in their work, which has not yet been explored. This study analyses three design works by Indonesian designers, namely Yolanda Santosa, Nita Darsono and Patricia Untario, which raise the issue of woman embodiment as a representation of social relations in society. This study uses semiotic analysis by tracing the levels of denotative and connotative meanings that later develop into myths or ideologies that appear in signs, both visual and written. This study aims to find the influence of embodiment reflected in the design of women designers in Indonesia. The findings of this study reveal the influence of women's embodiment as a reflection of social construction in the design of the three women designers. Women designers offer representations of women by challenging stereotypes of women in the form of binary oppositions that are often subordinated and objectified in media and design. The representation shows a claim and rearrangement of established semiotic elements in the binary opposition system as a form of counter-discourse in representing women based on their embodied experience. [ABSTRACT FROM AUTHOR]

In learning mathematics in the 21st century and after the Covid-19 pandemic, a multimodal role in the process of drawing conclusions involving mathematical symbols or signs is very much needed. This process is called multimodal semiotic reasoning. This research aims to study the literature on multimodal semiotic reasoning research articles. Until April 2023, there were 32 articles on the keyword multimodal semiotic reasoning with the subject of mathematics in the Scopus, Science Direct, and ERIC databases. Furthermore, it is identified based on a) suitability of criteria; b) the similarity of the articles in the three databases. Finally obtained 24 articles that meet the requirements for further research. A literature review on multimodal semiotic reasoning is explored based on a) kinds of mathematical reasoning involving symbols and signs using multimodal, b) multimodal used in research, c) the most researched mathematical concepts and the mathematization process that occurs, d) the role of multimodal semiotic reasoning in mathematics education. The results showed that a) the most dominant type of mathematical reasoning involving objects, symbols, and signs using multimodal was Algorithmic Reasoning (AR), b) the most multimodal source was verbal answers, c) the concept of geometry through a process of vertical-horizontal mathematization was the most researched, and 4) the biggest role of multimodal semiotic reasoning for the benefit of knowledge of mathematics education. In conclusion, multimodal semiotic reasoning has had a major impact on mathematics education and research on this multimodal semiotic reasoning will continue to thrive in the future. [ABSTRACT FROM AUTHOR]

Copyright of Recherches en Langue et Littérature Françaises is the property of University of Tabriz 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 Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Part of a larger doctoral research focusing on audiobooks and their multiple aspects from the perspective of Intermedial Studies, this study aims to analyze how the semiotic hybridization that constitutes comics as a type of media is transmediated into the auditory signs of audio comics. In other words, how panels, dialogue balloons, and other visual elements are transformed and transferred (Elleström, 2021) into vocal performances, music and sound effects. Through this examination, we sought to demonstrate how these auditory media are capable of mediating different formats of audio comics. To illustrate this, we took examples from the audio comics The Boys (2020) and The Sandman (2020), with the former serving as an alternative way to access the content of the graphic novel by acting as an audio description, while the latter resembles a film without synchronized moving images. Finally, we discussed possible reasons why audio comics are still relatively unexplored in Brazil, despite the country's rich tradition of printed comics. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid 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 Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 Medkom: Jurnal Media dan Komunikasi is the property of Universitas Airlangga 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 aim of the article is to discuss the relationship between the meaning of a gesture and the meaning of an idiom which is a literal description of this gesture, i. e. the so-called gestural phraseme (e. g. machnąć na coś ręką [literally: wave your hand at something; metaphorically: give up something], zacierać ręce [rub your hands], rozkładać ręce [throw up one's hands]). Selected examples of gestures and their phraseological equivalents were discussed, also taking into account their meanings created in direct dialogue. This is particularly important because the meaning of many gestures, which are part of human communicative activity, depends on the context, which, in this case, is the speaker's entire utterance. Moreover, analyzing gestures and idioms in the dialogue allows us to trace possible ways of co-occurring of these two semiotic modes, which, in turn, sheds some light on the functions of nonverbal behaviour in creating the meaning of utterances. Thus, the research material will contain recordings of TV programs which show politicians' speeches and utterances of other famous people, thanks to which it is possible to watch spontaneous gesticulation accompanying speech. Conclusions from qualitative research tend to distinguish three types of relationships between a gesture and its idiomatic description: a gesture with a phraseological description accompanies an utterance which it can complement semantically; the gesture precedes the statement, announcing its content; the gesture occurs simultaneously with the idiom that describes it. [ABSTRACT FROM AUTHOR]

Semiotics, or semiotics as it is commonly known, is an interdisciplinary research field that examines the sign strings of studies in many fields such as music, sociology and linguistics. Today, semiotics, which makes metaphorical analysis of various disciplinary fields such as literature, art, music and cinema and has a wide range as a field of study, has been an important communication tool in this sense. The science of semiotics, which has both a principled and free movement environment due to its multidisciplinary structure, has explained objects, figures and situations in this way by revealing the meaning and establishing a connection with the place of that meaning in society. Among these fields, especially in music, graphic designs used in the creation of album covers, concert posters, posters have an important role in conveying the message that the musical product wants to convey. In this research, it is aimed to make a semiotic analysis of the cover images of the ten most listened songs in the field of Turkish pop music in the Spotify 2021 list. Within the scope of the purpose of the study, cover images were evaluated semiotically in terms of elements such as writing styles, color preferences, use of figures and objects. In this case, questions such as how the current album cover designs examined are, what kind of differences they have with the album covers of the past, how the effects, colors, figures, etc. used in the design of the album covers are, whether the album covers are meaningfully compatible with the title of the album. According to this analysis, ten cover images determined by scanning reliable sites on the internet were reached. The covers were analyzed semiotically in four groups with the criteria of object, human, digital photograph and color under the elements of signified and signifier according to the sign method created by F. Saussure. In addition to these examinations, the content of the lyrics in the albums was also evaluated and it was determined whether they were meaningfully compatible with the album title and cover image. In the light of the evaluations made, it has been concluded that some of the album covers are compatible with the name of the album and some are not. It has been observed that the design of the album covers is influenced by the general fashion sense of the global music industry, and for this reason, they are far from the old album covers in terms of design and meaning.

This paper discusses (1) Roland Barthes' semiotic theory; and (2) its application in finding the Sufistic meaning of the signs of the word ism (noun) in nahwu science in the Alfiyah book by Ibn Malik. This research is a qualitative descriptive literature (library) with Roland Barthes's semiotic approach, in which the text is considered autonomous from its author (the dead of author), and the meaning is divided into how many levels. Therefore, this study concludes that (1) Roland Barthes' semiotic theory opens opportunities for multilevel meanings, where the first level is called denotation, and the second level is called connotation. The meaning of each is influenced by the imagination and feelings as well as socio-historical and mythological readers; and (2) the autonomization of the text makes the meaning which originally meant "nahwu" change into the meaning of tasawuf, which is a way of achieving privilege before Allah by applying the signs of ism, namely by (1) jarr (religious/ humble). ); (2) tanwi>n (having a strong desire, strong intention and consistent value in obedience); (3) nida>' (consistent recitation/remembrance of Allah physically and mentally); (4) alif + lam "al" (thinking positively and managing the heart from negative influences and gaining knowledge; and (5) musnad ilah (real charity and establishing good relations with fellow human beings, the universe, and the creator).

This article tried to find out the hidden meaning in the song Kun Fa Yakoon, written by Mohammad bin Dhahi, one of the most popular songs in the Muslim world during the pandemic Covid-19, not only due to the imitation of one of the current most popular Western songs, Memories by Maroon, but the acapella is also interesting due to the overwhelming symbols within the lyrics. Thus, new meanings need to produce to comprehend the song and its cultural context. This article aimed to deepen the comprehension of the song's message to result in an increased appreciation for art and a better understanding of the circumstances during the difficult times of the pandemic. The type of research conducted is qualitative research. In analysis, researchers used Riffaterre's Semiotics theory by identifying the Semiotic elements of the song, such as the use of metaphors and repetitions, then conducting heuristic reading and interpretation, and producing meaning through hermeneutic reading. The research findings indicate the discovery of meaning shifts in the form of metaphors and the creation of meaning through repetitions. In the heuristic analysis, ungrammatical elements like "من" (who) interrogative in conjunction with "إلاّ" (except) yield a new meaning that signifies a firm statement: "I bear witness." The global situation currently being affected by the COVID-19 pandemic also generates the meaning of earnestness in prayer and the high demand placed upon it. This represents the songwriter's response to the anxiety prevailing in society and signifies an increase in faith.

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

Coalitional communication is a dwelling amidst non-dominant differences that requires introspective, complex communicative philosophy and practice. My concern is with differentiation in hierarchies. They are understood and shaped by colonial modernity. They are historical logics and practices of settler colonialism, enslavement, and citizenship. My perspective is feminist, decolonial critiques of modern, capitalist social systems. The analysis is grounded in communicative philosophy in intercultural contexts where folks intend justice and equality. For example, in political democracies, localized social alliances actually harm one another being hegemonic by taking routes of familiarity through structures of linguistic and practical cultural systems. Communicative projects of liberation across oppressions (with monologic and single-axis perceptions) tend to miss intersections of our raced and gendered experiences. The result is unintelligibility among us. In this state, one can sense in the body the space of the liminal—with both a communicative impasse and opening. Rather than aligning liberation and domination in the impasse, I describe the creativity of liminal space as a communicative opening. The opening is a recognition of multiplicity and a refusal to assimilate each other’s lived experiences into familiar, complex codes of habituated thought and action. Examining communication hostilities in oppressed–oppressing relations is a necessary condition for coalition. Thus, coalitional communication is a call to engage a full sense of listening to one another as relevant. Ways that decipher codes and signals of resistance come to constitute the project of creating relevant intelligibility together. Praxis as critical, dialectical, and intersectional thinking is part of this method.

The study of linguistic landscapes (LL) examines the use of signage in public spaces, often with a focus on the use of non-majority languages. The main goals of this project are to map, quantify, and analyze signage in Spanish within Tuscaloosa County, AL, an emerging site of Spanish language use which differs from the large urban places often studied in the LL literature. Photographs of public signage in Spanish were taken and uploaded to an ArcGIS Field Maps app to allow for both geolocation of the image and tagging of the image for specific linguistic and visual characteristics, which are subsumed under multimodality. Multimodality refers to the interaction of the linguistic code with other modes of communication such as images, colors, flags, and other cultural objects to make meaning in a given LL text. Within the multimodality framework, we examine the use of Spanish by itself or with English, location of the signage, communicative functions (symbolic, informative), and the combination of multimodal resources to index the actors originating the text and their intended audience.

This is common to represent the life society through the movie show. This article studied the ideology of emancipation that appears through the utterances or behaviors which are performed by the actors in the film entitled Habibie Ainun 3- A film by Hanung Bramantyo. This study has the aim to scrutinize and represent the ideology of emancipation where becomes the representation of society. This study applied qualitative research using the semiotic approach. Moreover, the methodology that is used by the researcher is the annotation step to gather the data and the Semiotic theory by John Fiske (television codes) in investigating the data which has the three levels: a). the reality level, b). the representation level, and c). the ideology level. The results of this study delineated that the utterances and behaviours are divided into two types, and those are bad manner and good manner with the interpretation of each data which covered the ideology of emancipation.

The purpose of this research is to describe and examine the semiotic process and the message that implied on Sam Smith ft Kim Petras' performance of "Unholy Song" in Grammy Awards 2023. The semiotic approach is used to identify and to analyze the data which focuses on Sign/Representment (icon, index, symbol), Object (Qualisign, Sinsign, Legisign) and Interpretant (Rheme-Decisign, Argument). This study employed qualitative research with a descriptive design as the data were collected in the form of several images. In analysing data, the writer watched the performances' videos, captured the videoclips into the 31 images, and analyzed the data with the triangle meaning of Pierce's theory. Based on the result finding, there are 15 icons, 6 indexes, 29 symbols, 31 qualisigns, 16 singings, 20 legisigns, 21 rhymes, 5 decisions and 2 arguments. The writer can conclude that the most prominent aspect is qualisign, especially for the colour, red and black. Red represents anger and black represents power and darkness. Qualisign is the dominant aspect because Sam Smith use colour more to convey messages and signs to people. [ABSTRACT FROM AUTHOR]

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This study explores the aesthetic manifestation of mono no aware, a term in Japanese philosophy and thought, in Japanese animation productions. This research explicates whether this concept is present within Japanese animations, and if so, in what manifestations. These issues are in the heart of the present research. Understanding this Japanese philosophical concept and examining its presence in Japanese animations can contribute to a better comprehension of the worldview that governs these animations. The primary objective of this research is to explain the meaning of mono no aware in philosophy and aesthetics, and then to analyze the representation of this concept in Japanese animations. The study also delves into how the dramatic effect and manifestation of mono no aware are formed in Japanese animation. In addition, this research investigates how this concept manifests in the scene graphic and musical aspects of the investigated works. Furthermore, the present study examines the function of mono no aware in shaping the characters of the animation's personages. The approach used in this research is descriptive-analytical utilizing library sources. The opinions of thinkers such as Motoori Norinaga and Onishi Yoshinori are examined to explain the main features of the mono no aware concept. Subsequently, two animations, To the Forest of Firefly Lights and Wolf Children, are analyzed using a semiotic approach. Images from these scenes are incorporated into the research for better clarification. The research findings are presented in two charts depicting the manifestation of the concept in each examined work. Despite the qualitative nature of this research, charts are included to illustrate a relative comparison between the two animations. These charts display the obtained scales of examined parts, including characterization, dramatic effect, scene graphic, and music. The research results indicate that in both animations, mono no aware is present to varying degrees, with a predominant manifestation in characterization and scene graphic, respectively. It is also evident, to some extent, in dramatic effect and music. The influence of narrative on all these aspects is crucial for obtaining these results. A significant secondary finding suggests that mono no aware is sometimes manifested in metaphors and legends within Japanese animation stories, such as Gin's fading in To the Forest of Firefly Lights or the death of the werewolf in Wolf Children. Sometimes manifestation of mono no aware is in the verbal literature and the behavior of the characters. Furthermore, according to the research findings, it has a fundamental role in the dramatization of a number of Japanese animations. These aspects not only provide a new perspective for the audience but also contribute to enriching and added layers of the narrative. Thus, it is apparent that mono no aware can be manifested in Japanese animation, whether subtly or profoundly, over short or extended durations. Understanding the concept of mono no aware proves valuable for comprehending the stories of Japanese animations and the art and culture of that region. Consequently, an enhanced realization of Japanese philosophy leads to a deeper understanding of the meaning of Japanese animations, suggesting a connection between mono no aware and Japanese animations. [ABSTRACT FROM AUTHOR]

Popular culture is a product created for many people. The audience's tastes are essential in production. Besides that, popular culture can also describe a culture that exists in society. One popular product that people like is film. Along with the times, the world of cinema also has more exciting story plots and various characters. One is an American film called Venom: Let There Be Carnage. The film shows signs of the violent formula usually used in American cinema. Therefore, this journal discusses Venom, who is an anti-hero who uses much violence to deliver his existence but has a heroic soul, and also Eddie Brock, an ordinary human who acts as a host who has contradictory traits with Venom even though they live in one body--coupled with conflicts with other villains characters such as Carnage and Cletus Kasady. Researchers present signs of violence using dialogues and movie posters as data references. Also, the characteristics of the heroes used using semiotic analysis supported by John Cawelty's Myth of Violence theory. With this method, the researcher also describes the culture of violence in American society. [ABSTRACT FROM AUTHOR]

Communication and semiotics share the area of primacy of meaning but are disjointed on the methodological and epistemological background. A symbolic activity with multimodal functioning, communication seeks to identify the pragmatic meaning by invoking ― roughly speaking ― the sociopsychological parameters of the transmission of information. Semiotic communication ― or semiotics for short; we break a spear for greimassism ―, meanwhile, dwells communication. Semiotic. on what is, for the human sciences, a postulate: meaning. Understood as an ontology of meaning, Greimassian semiotics designs the Generative Path of discourse and puts its into practice. Through a rigorous approach and by virtue of the structural principle of immanence, it describes the conditions of the generation of effects of meaning from a generative and transformational perspective. Notwithstanding, the genesis of Greimassism was, from its original beginnings, stamped with a second requirement, that of reality. It appears that semiotic doing set up a phenomenological foundation, this refers proprioceptivity where the sensitive grasp of meaning is accomplished through de intercession of the act of perception, or rather... apperception. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)