A consideration of several regional scenarios based on actual, prolonged, outlying climatic events that have occurred recently in North America. No index. The companion volume to On Meaning (Minnesota, 1987), which focused on semiotic theory. These previously published (in French) texts provide a theoretical and methodological framework for studying discourses in the social sciences. Greimas is professor of general semantics at the Ecole des Hautes Etudes in Sciences Sociales in Paris. Annotation copyrighted by Book News, Inc., Portland, OR
This book is devoted to the topic of general semiotics. It formulates some of the central laws and parameters of the paradigm of general semiotics, and illustrates them with various examples from branch semiotics – from the systems of semiotics of that are already in use in particular fields of endeavour. These laws and illustrations will prove useful for every distinct instance of branch semiotics, both those that are already well-established and those that will appear in the future.
This book invites readers to embark on a journey into the world of agency encompassing humans, other organisms, cells, intracellular molecular agents, colonies, populations, ecological systems, and artificial autonomous systems. We combine mechanistic and non-mechanistic approaches in the analysis of the function and evolution of organisms, their subagents, and multi-organism systems, and in this way offer a theoretical platform for integrating biosemiotics with both natural science and the humanities/social sciences. Agents are autonomous systems that incorporate knowledge on how to make sense of their environment and use it to achieve their goals. The functions of all agents are supported by mechanisms at the lowest level; however, the explanatory power of mechanistic analysis is not sufficient for complex agents. Non-mechanistic methods rely on the goal-directedness of agents whose dynamics follow self-stabilized dynamic attractors. The properties of attractors depend on stable or slowly changing factors, and such dependencies can be interpreted as sign relations if they are adaptive in nature. Agents can replace or redirect mechanisms on demand in order to preserve their functions; for performing higher-level semiotic functions, mechanisms are thus only means. We assume that mechanism and semiosis are not mutually exclusive, and that simple agents can interpret signs mechanistically. This assumption allows us to extend semiotic analysis to all agents, including ribosomes in cells, computers, and robots. This book challenges established traditions in natural science and the humanities/social sciences: semiotics no longer appears as restricted to humans and rational thinking, and biology is no longer limited to rely exclusively on mechanistic reasoning.
Universe of the Mind A Semiotic Theory of Culture Yuri M. Lotman Introduction by Umberto Eco Translated by Ann Shukman A major book by one of the initiators of cultural studies. "Universe of the Mind is an ambitious, complex, and wide-ranging book that semioticians, textual critics, and those interested in cultural studies will find stimulating and immensely suggestive." --Journal of Communication "Soviet semiotics offers a distinctive, richly productive approach to literary and cultural studies and Universe of the Mind represents a summation of the intellectual career of the man who has done most to guarantee this." --Slavic and East European Journal Universe of the Mind addresses three main areas: meaning and text, culture, and history. The result is a full-scale attempt to demonstrate the workings of the semiotic space or intellectual world. Part One is concerned with the ways that texts generate meaning. Part Two addresses Lotman's central idea of the semiosphere--the domain in which all semiotic systems can function--presented through an analogy with the global biosphere. Part Three focuses on semiotics from the point of view of history. A seminal text in cultural semiotics, the book's ambitious scope also makes it applicable to disciplines outside semiotics. The book will be of great interest to those concerned with cultural studies, anthropology, Slavic studies, critical theory, philosophy, and historiography. Yuri Mikhailovich Lotman is the founder of the Moscow-Tartu School and the initiator of the discipline of cultural semiotics.
Bloomsbury Semiotics offers a state-of-the-art overview of the entire field of semiotics by revealing its influence on a wide range of disciplinary perspectives. With four volumes spanning theory, method and practice across the disciplines, this definitive reference work emphasizes and strengthens common bonds shared across intellectual cultures, and facilitates the discovery and recovery of meaning across fields. It comprises: Volume 1: History and Semiosis Volume 2: Semiotics in the Natural and Technical Sciences Volume 3: Semiotics in the Arts and Social Sciences Volume 4: Semiotic Movements Written by leading international experts, the chapters provide comprehensive overviews of the history and status of semiotic inquiry across a diverse range of traditions and disciplines. Together, they highlight key contemporary developments and debates along with ongoing research priorities. Providing the most comprehensive and united overview of the field, Bloomsbury Semiotics enables anyone, from students to seasoned practitioners, to better understand and benefit from semiotic insight and how it relates to their own area of study or research. Volume 3: Semiotics in the Arts and Social Sciences presents the state-of-the art in semiotic approaches to disciplines ranging from philosophy and anthropology to history and archaeology, from sociology and religious studies to music, dance, rhetoric, literature, and structural linguistics. Each chapter goes casts a vision for future research priorities, unanswered questions, and fresh openings for semiotic participation in these and related fields.
Originally published in French in 1991 by Les Editions du Seuil, Paris. Raises and explores such questions as: What are the necessary conditions for the existence of passion? Can passion be submitted to a logic of language? Does passion allow systemic semiotic transformations? Annotation copyright by Book News, Inc., Portland, OR
The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.
This book introduces relational thinking to political analysis. Instead of merely providing an overview of possible trajectories for articulating a relational political analysis, Peeter Selg and Andreas Ventsel put forth a concrete relational theory of the political, which has implications for research methodology, culminating in a concrete method they call political form analysis. In addition, they sketch out several applications of this theory, methodology and method. They call their approach “political semiotics” and argue that it is a fruitful way of conducting research on power, governance and democracy – the core dimensions of the political – in a manner that is envisioned in numerous discussions of the “relational turn” in the social sciences. It is the first monograph that attempts to outline an approach to the political that would be relational throughout, from its meta theoretical and theoretical premises through to its methodological implications, methods and empirical applications.
Semiotics concepts from a design perspective, offering the foundation for a coherent theory of graphic design as well as conceptual tools for practicing designers. Graphic design has been an academic discipline since the post-World War II era, but it has yet to develop a coherent theoretical foundation. Instead, it proceeds through styles, genres, and imitation, drawing on sources that range from the Bauhaus to deconstructionism. In FireSigns, Steven Skaggs offers the foundation for a semiotic theory of graphic design, exploring semiotic concepts from design and studio art perspectives and offering useful conceptual tools for practicing designers. Semiotics is the study of signs and significations; graphic design creates visual signs meant to create a certain effect in the mind (a “FireSign”). Skaggs provides a network of explicit concepts and terminology for a practice that has made implicit use of semiotics without knowing it. He offers an overview of the metaphysics of visual perception and the notion of visual entities, and, drawing on the pragmatic semiotics of the philosopher Charles Sanders Peirce, looks at visual experience as a product of the action of signs. He introduces three conceptual tools for analyzing works of graphic design—semantic profiles, the functional matrix, and the visual gamut—that allow visual “personality types” to emerge and enable a greater understanding of the range of possibilities for visual elements. Finally, he applies these tools to specific analyses of typography.
