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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Semiology</h1><div class="u-tcGrayDark">21,912 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Semiology</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Semiology">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiology/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiology/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiology/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Semiology">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_302251" data-work_id="302251" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/302251/GENDER_SIGNS_IN_MAGAZINE_ADVERTISEMENTS_A_Compared_Semiotic_Analysis_of_FHM_and_Cosmopolitan_Advertisements">GENDER SIGNS IN MAGAZINE ADVERTISEMENTS: A Compared Semiotic Analysis of FHM and Cosmopolitan Advertisements</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this study, in order to analyze how gender roles and stereotypes are built in magazine advertisements, overall 230 advertisements of men's magazine FHM and women's magazine Cosmopolitan, published in 2004, were surveyed. To do this,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_302251" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this study, in order to analyze how gender roles and stereotypes are built in magazine advertisements, overall 230 advertisements of men's magazine FHM and women's magazine Cosmopolitan, published in 2004, were surveyed. To do this, four volumes for each magazine could be reached and the selected advertisements were analyzed comparatively by the references of gender studies. During the process not only semiological analysis, but also content analysis, which is supposed to support and strengthen the results, established the method of the study. Within the framework of the references about idealization of modernity, by which consumption is promoted and gender stereotypes are reproduced as well, the results firstly showed that stereotypes of femininity in Cosmopolitan advertisements present variety in consideration of FHM advertisements. While it was not found any obvious sexual intercourse signs in FHM advertisements, they were detected, on the other hand, in Cosmopolitan advertisements. Not only traditional, subordinated women, but also modern women who are self-confident, independent representations were found. There are also male representations within the framework of hegemonic, dominated and affective manhood while some “new manhood” who is more moderate, gentle and more feminine were indicated.  It was also found that both of the magazines include signs, which associate with fetishism and sexual fantasies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/302251" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="31866bafdac004a48600ef955bcd4497" rel="nofollow" data-download="{"attachment_id":32759772,"asset_id":302251,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32759772/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="235606" href="https://karabuk.academia.edu/SIRMAOYATEKVAR">SIRMA OYA TEKVAR</a><script data-card-contents-for-user="235606" type="text/json">{"id":235606,"first_name":"SIRMA OYA","last_name":"TEKVAR","domain_name":"karabuk","page_name":"SIRMAOYATEKVAR","display_name":"SIRMA OYA TEKVAR","profile_url":"https://karabuk.academia.edu/SIRMAOYATEKVAR?f_ri=95130","photo":"https://0.academia-photos.com/235606/51764/6909571/s65_sirma_oya.tekvar.jpg"}</script></span></span></li><li class="js-paper-rank-work_302251 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="302251"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 302251, container: ".js-paper-rank-work_302251", }); 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$(".js-view-count[data-work-id=302251]").text(description); $(".js-view-count-work_302251").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_302251").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="302251"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1379" rel="nofollow" href="https://www.academia.edu/Documents/in/3D_TV_Magazine_Ads_Theatres_and_New_Viewings_Composings">3D TV, Magazine Ads, Theatres & New Viewings/Composings</a>, <script data-card-contents-for-ri="1379" type="text/json">{"id":1379,"name":"3D TV, Magazine Ads, Theatres \u0026 New Viewings/Composings","url":"https://www.academia.edu/Documents/in/3D_TV_Magazine_Ads_Theatres_and_New_Viewings_Composings?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7024" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender">Gender</a>, <script data-card-contents-for-ri="7024" type="text/json">{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15334" rel="nofollow" href="https://www.academia.edu/Documents/in/Advertising_and_Gender">Advertising and Gender</a>, <script data-card-contents-for-ri="15334" type="text/json">{"id":15334,"name":"Advertising and Gender","url":"https://www.academia.edu/Documents/in/Advertising_and_Gender?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="95130" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiology">Semiology</a><script data-card-contents-for-ri="95130" type="text/json">{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=302251]'), work: {"id":302251,"title":"GENDER SIGNS IN MAGAZINE ADVERTISEMENTS: A Compared Semiotic Analysis of FHM and Cosmopolitan Advertisements","created_at":"2010-08-19T18:04:41.382-07:00","url":"https://www.academia.edu/302251/GENDER_SIGNS_IN_MAGAZINE_ADVERTISEMENTS_A_Compared_Semiotic_Analysis_of_FHM_and_Cosmopolitan_Advertisements?f_ri=95130","dom_id":"work_302251","summary":"In this study, in order to analyze how gender roles and stereotypes are built in magazine advertisements, overall 230 advertisements of men's magazine FHM and women's magazine Cosmopolitan, published in 2004, were surveyed. To do this, four volumes for each magazine could be reached and the selected advertisements were analyzed comparatively by the references of gender studies. During the process not only semiological analysis, but also content analysis, which is supposed to support and strengthen the results, established the method of the study. Within the framework of the references about idealization of modernity, by which consumption is promoted and gender stereotypes are reproduced as well, the results firstly showed that stereotypes of femininity in Cosmopolitan advertisements present variety in consideration of FHM advertisements. While it was not found any obvious sexual intercourse signs in FHM advertisements, they were detected, on the other hand, in Cosmopolitan advertisements. Not only traditional, subordinated women, but also modern women who are self-confident, independent representations were found. There are also male representations within the framework of hegemonic, dominated and affective manhood while some “new manhood” who is more moderate, gentle and more feminine were indicated. It was also found that both of the magazines include signs, which associate with fetishism and sexual fantasies.","downloadable_attachments":[{"id":32759772,"asset_id":302251,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":235606,"first_name":"SIRMA OYA","last_name":"TEKVAR","domain_name":"karabuk","page_name":"SIRMAOYATEKVAR","display_name":"SIRMA OYA TEKVAR","profile_url":"https://karabuk.academia.edu/SIRMAOYATEKVAR?f_ri=95130","photo":"https://0.academia-photos.com/235606/51764/6909571/s65_sirma_oya.tekvar.jpg"}],"research_interests":[{"id":1379,"name":"3D TV, Magazine Ads, Theatres \u0026 New Viewings/Composings","url":"https://www.academia.edu/Documents/in/3D_TV_Magazine_Ads_Theatres_and_New_Viewings_Composings?f_ri=95130","nofollow":true},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender?f_ri=95130","nofollow":true},{"id":15334,"name":"Advertising and Gender","url":"https://www.academia.edu/Documents/in/Advertising_and_Gender?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36497998" data-work_id="36497998" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36497998/2018_The_Semiotics_of_the_Face_in_the_Digital_Era_Perspectives_Short_Version">2018 - The Semiotics of the Face in the Digital Era - Perspectives Short Version</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36497998" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36497998" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a4b048c31f8e63b03f1ad5e830ee37f4" rel="nofollow" data-download="{"attachment_id":56417871,"asset_id":36497998,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56417871/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_36497998 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36497998"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36497998, container: ".js-paper-rank-work_36497998", }); 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$(".js-view-count[data-work-id=36497998]").text(description); $(".js-view-count-work_36497998").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36497998").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36497998"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3903" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a>, <script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5110" rel="nofollow" href="https://www.academia.edu/Documents/in/Face_Recognition">Face Recognition</a><script data-card-contents-for-ri="5110" type="text/json">{"id":5110,"name":"Face Recognition","url":"https://www.academia.edu/Documents/in/Face_Recognition?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36497998]'), work: {"id":36497998,"title":"2018 - The Semiotics of the Face in the Digital Era - Perspectives Short Version","created_at":"2018-04-25T09:14:07.374-07:00","url":"https://www.academia.edu/36497998/2018_The_Semiotics_of_the_Face_in_the_Digital_Era_Perspectives_Short_Version?f_ri=95130","dom_id":"work_36497998","summary":"The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.","downloadable_attachments":[{"id":56417871,"asset_id":36497998,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true},{"id":5110,"name":"Face Recognition","url":"https://www.academia.edu/Documents/in/Face_Recognition?f_ri=95130","nofollow":true},{"id":13872,"name":"Facebook","url":"https://www.academia.edu/Documents/in/Facebook?f_ri=95130"},{"id":14022,"name":"Film Semiotics","url":"https://www.academia.edu/Documents/in/Film_Semiotics?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":38364,"name":"Peircean Semiotics","url":"https://www.academia.edu/Documents/in/Peircean_Semiotics?f_ri=95130"},{"id":58119,"name":"Facebook Studies","url":"https://www.academia.edu/Documents/in/Facebook_Studies?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":343010,"name":"Semiotika Roland Barthes","url":"https://www.academia.edu/Documents/in/Semiotika_Roland_Barthes?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37905812" data-work_id="37905812" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37905812/MEANING_IN_PHOTOGRAPHY_Step_by_Step_Method_of_Semiological_Analysis">MEANING IN PHOTOGRAPHY, Step by Step Method of Semiological Analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37905812" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for  photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37905812" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f4291813caa35c1dc153545e2ce834c5" rel="nofollow" data-download="{"attachment_id":57916313,"asset_id":37905812,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57916313/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25879282" href="https://esav.academia.edu/SalvadorLeon">Salvador Leon</a><script data-card-contents-for-user="25879282" type="text/json">{"id":25879282,"first_name":"Salvador","last_name":"Leon","domain_name":"esav","page_name":"SalvadorLeon","display_name":"Salvador Leon","profile_url":"https://esav.academia.edu/SalvadorLeon?f_ri=95130","photo":"https://0.academia-photos.com/25879282/8107735/56440032/s65_salvador.leon.jpg"}</script></span></span></li><li class="js-paper-rank-work_37905812 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37905812"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37905812, container: ".js-paper-rank-work_37905812", }); });</script></li><li class="js-percentile-work_37905812 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37905812; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37905812"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37905812 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37905812"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37905812; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37905812]").text(description); $(".js-view-count-work_37905812").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37905812").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37905812"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10503" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a><script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37905812]'), work: {"id":37905812,"title":"MEANING IN PHOTOGRAPHY, Step by Step Method of Semiological Analysis","created_at":"2018-12-03T15:19:12.107-08:00","url":"https://www.academia.edu/37905812/MEANING_IN_PHOTOGRAPHY_Step_by_Step_Method_of_Semiological_Analysis?f_ri=95130","dom_id":"work_37905812","summary":"how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.","downloadable_attachments":[{"id":57916313,"asset_id":37905812,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25879282,"first_name":"Salvador","last_name":"Leon","domain_name":"esav","page_name":"SalvadorLeon","display_name":"Salvador Leon","profile_url":"https://esav.academia.edu/SalvadorLeon?f_ri=95130","photo":"https://0.academia-photos.com/25879282/8107735/56440032/s65_salvador.leon.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=95130","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=95130","nofollow":true},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=95130"},{"id":29586,"name":"Semiology of the work of art","url":"https://www.academia.edu/Documents/in/Semiology_of_the_work_of_art?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":2348883,"name":"Arsology","url":"https://www.academia.edu/Documents/in/Arsology?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35283426" data-work_id="35283426" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35283426/2017_The_Semiotics_of_the_Face_in_the_Digital_Era">2017 - The Semiotics of the Face in the Digital Era</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35283426" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35283426" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6fad543c9553a79e449db69831422529" rel="nofollow" data-download="{"attachment_id":55143773,"asset_id":35283426,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55143773/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35283426 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35283426"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35283426, container: ".js-paper-rank-work_35283426", }); });</script></li><li class="js-percentile-work_35283426 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35283426; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35283426"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35283426 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35283426"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35283426; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35283426]").text(description); $(".js-view-count-work_35283426").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35283426").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35283426"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">27</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1233" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Networks">Social Networks</a>, <script data-card-contents-for-ri="1233" type="text/json">{"id":1233,"name":"Social Networks","url":"https://www.academia.edu/Documents/in/Social_Networks?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1759" rel="nofollow" href="https://www.academia.edu/Documents/in/Internet_Studies">Internet Studies</a>, <script data-card-contents-for-ri="1759" type="text/json">{"id":1759,"name":"Internet Studies","url":"https://www.academia.edu/Documents/in/Internet_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2553" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Networking">Social Networking</a><script data-card-contents-for-ri="2553" type="text/json">{"id":2553,"name":"Social Networking","url":"https://www.academia.edu/Documents/in/Social_Networking?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35283426]'), work: {"id":35283426,"title":"2017 - The Semiotics of the Face in the Digital Era","created_at":"2017-11-28T23:26:28.717-08:00","url":"https://www.academia.edu/35283426/2017_The_Semiotics_of_the_Face_in_the_Digital_Era?f_ri=95130","dom_id":"work_35283426","summary":"The semiotics of the face studies the meaning of the human face in contemporary visual cultures. There are two complementary research foci: widespread practices of face exhibition in social networks like Facebook, Instagram, Snapchat, and Tinder; and minority practices of occultation, including the mask in anti-establishment political activism (Anonymous) and the veil in religious dressing codes. The meaning of the human face is currently changing on a global scale: through the invention and diffusion of new visual technologies (digital photography, visual filters, as well as software for automatic face recognition); through the creation and establishment of novel genres of face representation (the selfie); and through new approaches to face perception, reading, and memorization (e.g., the ‘scrolling’ of faces on Tinder). Cognitions, emotions, and actions that people attach to the interaction with one’s and others’ faces are undergoing dramatic shifts. In the semiotics of the face, an interdisciplinary but focused approach combines visual history, semiotics, phenomenology, visual anthropology, but also face perception studies and collection and analysis of big data, so as to study the social and technological causes of these changes and their effects in terms of alterations in self-perception and communicative interaction. In the tension between, on the one hand, political and economic agencies pressing for increasing disclosure, detection, and marketing of the human face (for reasons of security and control, for commercial or bureaucratic purposes) and, on the other hand, the counter-trends of face occultation (parents ‘hiding’ their children from the Internet, political activists concealing their faces, religious or aesthetic veils, writers and artists like Bansky or Ferrante choosing not to reveal their identity), the visual syntax, the semantics, and the pragmatics of the human face are rapidly evolving. The semiotics of the face carries on a comprehensive survey of this socio-cultural phenomenon.","downloadable_attachments":[{"id":55143773,"asset_id":35283426,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":1233,"name":"Social Networks","url":"https://www.academia.edu/Documents/in/Social_Networks?f_ri=95130","nofollow":true},{"id":1759,"name":"Internet Studies","url":"https://www.academia.edu/Documents/in/Internet_Studies?f_ri=95130","nofollow":true},{"id":2553,"name":"Social Networking","url":"https://www.academia.edu/Documents/in/Social_Networking?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130"},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130"},{"id":5110,"name":"Face Recognition","url":"https://www.academia.edu/Documents/in/Face_Recognition?f_ri=95130"},{"id":5392,"name":"Internet research methods","url":"https://www.academia.edu/Documents/in/Internet_research_methods?f_ri=95130"},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130"},{"id":13872,"name":"Facebook","url":"https://www.academia.edu/Documents/in/Facebook?f_ri=95130"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130"},{"id":28499,"name":"Face perception","url":"https://www.academia.edu/Documents/in/Face_perception?f_ri=95130"},{"id":30947,"name":"The Internet","url":"https://www.academia.edu/Documents/in/The_Internet?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":43971,"name":"Face Detection","url":"https://www.academia.edu/Documents/in/Face_Detection?f_ri=95130"},{"id":58119,"name":"Facebook Studies","url":"https://www.academia.edu/Documents/in/Facebook_Studies?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":256465,"name":"Social Networking \u0026 Social Media","url":"https://www.academia.edu/Documents/in/Social_Networking_and_Social_Media?f_ri=95130"},{"id":432017,"name":"Semiotika","url":"https://www.academia.edu/Documents/in/Semiotika?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8664468" data-work_id="8664468" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8664468/Different_Discretized_Structures_in_Chopin_s_Last_Style">Different Discretized Structures in Chopin’s Last Style</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8664468" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research about Chopin’s last style is to be situated. I use a combination of classical and narrative analysis to consider these two different but complementary aspects of a musical work. The musical work is divided into significant unities (discretization by segmentation) according to the topics and narratives actors use. By so doing, I want to integrate elements from the musical signification into the structural dimension of the work. However, this distinction allows us to go further and to bring to light the different narrative identities, by the relation and interactions of the discretized unities and their rhythmic states: complex course, simple course, less contrasted course, etc. Thus, these unities become entirely comprehensible by the global observation of the path and enable us to understand the construction and tracking of the work. Then, these elements can be used for the study of the interpretation at the level of the sound object (tempi and dynamics) and for the study of the choices made by performers. It will be asked if these unities are still relevant for the sound object and if they have an impact on the performance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8664468" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a9095a0bf5ae2f5a599747295eff4743" rel="nofollow" data-download="{"attachment_id":53665791,"asset_id":8664468,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53665791/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_8664468 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8664468"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8664468, container: ".js-paper-rank-work_8664468", }); 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It is in this wide analytical context that my research about Chopin’s last style is to be situated. I use a combination of classical and narrative analysis to consider these two different but complementary aspects of a musical work. The musical work is divided into significant unities (discretization by segmentation) according to the topics and narratives actors use. By so doing, I want to integrate elements from the musical signification into the structural dimension of the work. However, this distinction allows us to go further and to bring to light the different narrative identities, by the relation and interactions of the discretized unities and their rhythmic states: complex course, simple course, less contrasted course, etc. Thus, these unities become entirely comprehensible by the global observation of the path and enable us to understand the construction and tracking of the work. Then, these elements can be used for the study of the interpretation at the level of the sound object (tempi and dynamics) and for the study of the choices made by performers. It will be asked if these unities are still relevant for the sound object and if they have an impact on the performance.","downloadable_attachments":[{"id":53665791,"asset_id":8664468,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto 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js-work-card work_4771675" data-work_id="4771675" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4771675/The_difference_between_semiotics_and_semiology">The difference between semiotics and semiology</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4771675" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ab4321b3f6b4b31bfc3ee62b0c5cafde" rel="nofollow" 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in Chopin's last style</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9525917" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper is about a methodology which wants to represent in an innovative way the musical work’s narrativity and expression according to the moments of tension and detente created by the relations between the different topics. These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9525917" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="200da1b002771a5e431b2c0855cf1598" rel="nofollow" data-download="{"attachment_id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35762524/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_9525917 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9525917"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9525917, container: ".js-paper-rank-work_9525917", }); 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These unities are characteristic figures coming from the historical and social musical legacy and refer to genres and musical styles (march, dances, hymn, etc.). In line with the publications of Robert Hatten, Eero Tarasti, Márta Grabócz and many others, our narrative analyses try to understand the stylistic evolution and the different strategies of Chopin’s compositions. The evolution and concatenation of the topics reveal different identities and itineraries called “narrative structures”. Three models emerge from our analyses: the “complex” structure, the “simple” structure and the and “non-contrasted” structure which characterized all the 21 pieces of our corpus, composed after 1841 and linked to the last style.","downloadable_attachments":[{"id":35762524,"asset_id":9525917,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=95130","nofollow":true},{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=95130","nofollow":true},{"id":18880,"name":"Narrative Analysis","url":"https://www.academia.edu/Documents/in/Narrative_Analysis?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=95130"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=95130"},{"id":373896,"name":"Naratology","url":"https://www.academia.edu/Documents/in/Naratology?f_ri=95130"},{"id":829070,"name":"Musical Topics","url":"https://www.academia.edu/Documents/in/Musical_Topics?f_ri=95130"},{"id":957759,"name":"Tópico Musical","url":"https://www.academia.edu/Documents/in/Topico_Musical?f_ri=95130"},{"id":1199454,"name":"Tension","url":"https://www.academia.edu/Documents/in/Tension?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24211841" data-work_id="24211841" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49">A typical romantic strategy: the case of the Fantasy op. 49</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone. (Letter to J. Fontana, 20th October 1841) Musical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24211841" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.<br /> (Letter to J. Fontana, 20th October 1841)<br /><br />Musical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. <br /> In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.<br />However, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. <br />This kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper "La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique" noticed a totally inverse narrative strategy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24211841" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="17e011eed091cbc36bfb1463662bfd95" rel="nofollow" data-download="{"attachment_id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44542338/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_24211841 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24211841"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24211841, container: ".js-paper-rank-work_24211841", }); 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$(".js-view-count[data-work-id=24211841]").text(description); $(".js-view-count-work_24211841").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24211841").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24211841"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a><script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24211841]'), work: {"id":24211841,"title":"A typical romantic strategy: the case of the Fantasy op. 49","created_at":"2016-04-08T08:48:14.030-07:00","url":"https://www.academia.edu/24211841/A_typical_romantic_strategy_the_case_of_the_Fantasy_op_49?f_ri=95130","dom_id":"work_24211841","summary":"Today I finished the Fantasy – and the sky is beautiful, there’s a sadness in my heart – but that’s alright. If it were otherwise, perhaps my existence would be worth nothing to anyone.\n (Letter to J. Fontana, 20th October 1841)\n\nMusical narratology is an important item to highlight and understand the narrative strategies of musical works by the study of the concatenation of the expressive unities it contains. In the 19th century, the narrative strategy is often built as a “path which leads the listener from dysphoric elements till the transcendental level (euphoric) through several steps […]. This itinerary often corresponds to the coming-of-age novel or imaginary or initiatory journey […]” (Grabocz, 2009, p. 33). This is also possible in music by the choice of the protagonists, their relationships and their evolution into the musical piece. \n In our thesis, which focuses on Chopin’s last style, we study 21 works of the 1840’s to reach a definition of this late stylistic period. Among our corpus, the Fantasy op. 49 in F minor is particularly interesting. In fact, this piece was rather badly received by the contemporary critics, considering “a lack of unity and cohesion” according to Lenz while Schumann found it “full of genius traits, although the whole hasn’t felt to have being bound by a formal harmonious framework”.\nHowever, we consider that this work is a very good illustration of a real mastery of the formal construction and the narrative strategy proposed by Chopin and revealed by the narrative analysis. Composed in the beginnings of the 40’s, two themes serve as a basis of all the progression: the first is dramatic and more and more powerful all along its repetitions which put us deeper into the dramaturgy. The second is more transitional, in an improvised style and presents two kinds of appearance, totally opposite, which carries the auditor into two different atmospheres. The interactions between these two protagonists will build the “plot” of the piece, anchored in this romantic aesthetic, as we will try to show it in our presentation. \nThis kind of narrative strategy will also be compared with other works of our corpus which present the same kind of strategy but also totally contrary, like the Ballade op. 52 in f minor whose analysis in our forthcoming paper \"La Ballade op. 52: une « épopée dramatique ». Entre analyse formelle, narrative et thymique\" noticed a totally inverse narrative strategy. \n\n","downloadable_attachments":[{"id":44542338,"asset_id":24211841,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=95130","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=95130","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=95130"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=95130"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=95130"},{"id":207891,"name":"Fantasia","url":"https://www.academia.edu/Documents/in/Fantasia?f_ri=95130"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=95130"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16255119" data-work_id="16255119" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16255119/La_Polonaise_op_53_comme_manifeste_du_dernier_style_de_Chopin">La Polonaise op. 53 comme manifeste du dernier style de Chopin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16255119" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet article propose une étude approfondie de la Polonaise en la bémol majeur op. 53 de Chopin afin de mettre en avant des caractéristiques essentielles du dernier style de Chopin, qui s'exprime dans les années 1840, période difficile avant son décès. La Polonaise "héroïque", investie de manière plus traditionnelle mais également par le biais d'une approche plus narrative met en avant une évolution de la forme tripartite, déjà amorcée dans la Polonaise op. 44 et qui aboutira également à la forme téléologique de la Polonaise Fantaisie op .61 qui clot ce répertoire. En effet, l'usage des topiques et de leur concaténation sont particulièrement intéréssants pour comprendre une part de l'évolution stylistique du compositeur dans les dernières années.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16255119" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9ba1cc6cddf996b3f224280ff0151ace" rel="nofollow" data-download="{"attachment_id":38913028,"asset_id":16255119,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38913028/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_16255119 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16255119"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16255119, container: ".js-paper-rank-work_16255119", }); 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La Polonaise \"héroïque\", investie de manière plus traditionnelle mais également par le biais d'une approche plus narrative met en avant une évolution de la forme tripartite, déjà amorcée dans la Polonaise op. 44 et qui aboutira également à la forme téléologique de la Polonaise Fantaisie op .61 qui clot ce répertoire. En effet, l'usage des topiques et de leur concaténation sont particulièrement intéréssants pour comprendre une part de l'évolution stylistique du compositeur dans les dernières années.","downloadable_attachments":[{"id":38913028,"asset_id":16255119,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=95130","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=95130","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=95130"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=95130"},{"id":29586,"name":"Semiology of the work of art","url":"https://www.academia.edu/Documents/in/Semiology_of_the_work_of_art?f_ri=95130"},{"id":66846,"name":"Late Style","url":"https://www.academia.edu/Documents/in/Late_Style?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=95130"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=95130"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=95130"},{"id":749303,"name":"Analyse Musicale","url":"https://www.academia.edu/Documents/in/Analyse_Musicale?f_ri=95130"},{"id":1255994,"name":"Music Styles","url":"https://www.academia.edu/Documents/in/Music_Styles?f_ri=95130"},{"id":1532875,"name":"Polonaise","url":"https://www.academia.edu/Documents/in/Polonaise?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39000326" data-work_id="39000326" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39000326/LA_BALLADE_OP_52_DE_CHOPIN_UNE_%C3%89POP%C3%89E_DRAMATIQUE_ENTRE_ANALYSE_FORMELLE_NARRATIVE_ET_THYMIQUE">LA BALLADE OP. 52 DE CHOPIN : UNE « ÉPOPÉE DRAMATIQUE ». ENTRE ANALYSE FORMELLE, NARRATIVE ET THYMIQUE</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Le présent article propose une analyse musicale de la Ballade op. 52 en fa mineur de Frédéric Chopin. De nombreuses méthodologies existent pour investir l'oeuvre musicale, mais l'auteure défend l'importance et la complémentarité de deux... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39000326" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Le présent article propose une analyse musicale de la Ballade op. 52 en fa mineur de Frédéric Chopin. De nombreuses méthodologies existent pour investir l'oeuvre musicale, mais l'auteure défend l'importance et la complémentarité de deux niveaux essentiels que sont la partition et son langage technique ainsi que l'expressivité de la pièce, qui peuvent s'assimiler au couple signifiant/signifié de la sémiotique générale. Par la détection des unités signifiantes (appelées topiques) et l'étude de leur concaténation, Julie Walker tente de démontrer que la pièce présente une stratégie narrative complexe qui sera également mise en avant par l'interprète musical.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39000326" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="249c30d4f1a6945ae6f5524fc497f597" rel="nofollow" data-download="{"attachment_id":59107774,"asset_id":39000326,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59107774/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2515772" href="https://unistra.academia.edu/JulieWalker">Julie Moretto Walker</a><script data-card-contents-for-user="2515772" type="text/json">{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_39000326 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39000326"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39000326, container: ".js-paper-rank-work_39000326", }); 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$(".js-view-count[data-work-id=39000326]").text(description); $(".js-view-count-work_39000326").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39000326").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39000326"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1258" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanticism">Romanticism</a>, <script data-card-contents-for-ri="1258" type="text/json">{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" rel="nofollow" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a>, <script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="40893" rel="nofollow" href="https://www.academia.edu/Documents/in/S%C3%A9miotique">Sémiotique</a><script data-card-contents-for-ri="40893" type="text/json">{"id":40893,"name":"Sémiotique","url":"https://www.academia.edu/Documents/in/S%C3%A9miotique?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39000326]'), work: {"id":39000326,"title":"LA BALLADE OP. 52 DE CHOPIN : UNE « ÉPOPÉE DRAMATIQUE ». ENTRE ANALYSE FORMELLE, NARRATIVE ET THYMIQUE","created_at":"2019-05-02T02:52:09.460-07:00","url":"https://www.academia.edu/39000326/LA_BALLADE_OP_52_DE_CHOPIN_UNE_%C3%89POP%C3%89E_DRAMATIQUE_ENTRE_ANALYSE_FORMELLE_NARRATIVE_ET_THYMIQUE?f_ri=95130","dom_id":"work_39000326","summary":"Le présent article propose une analyse musicale de la Ballade op. 52 en fa mineur de Frédéric Chopin. De nombreuses méthodologies existent pour investir l'oeuvre musicale, mais l'auteure défend l'importance et la complémentarité de deux niveaux essentiels que sont la partition et son langage technique ainsi que l'expressivité de la pièce, qui peuvent s'assimiler au couple signifiant/signifié de la sémiotique générale. Par la détection des unités signifiantes (appelées topiques) et l'étude de leur concaténation, Julie Walker tente de démontrer que la pièce présente une stratégie narrative complexe qui sera également mise en avant par l'interprète musical.","downloadable_attachments":[{"id":59107774,"asset_id":39000326,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2515772,"first_name":"Julie","last_name":"Moretto Walker","domain_name":"unistra","page_name":"JulieWalker","display_name":"Julie Moretto Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=95130","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=95130","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=95130","nofollow":true},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=95130","nofollow":true},{"id":40893,"name":"Sémiotique","url":"https://www.academia.edu/Documents/in/S%C3%A9miotique?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=95130"},{"id":381764,"name":"Musique Et Musicologie","url":"https://www.academia.edu/Documents/in/Musique_Et_Musicologie?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36572654" data-work_id="36572654" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36572654/FOTO%C4%9ERAF%C4%B0_VE_S%C4%B0NEMATOGRAF%C4%B0N%C4%B0N_G%C3%96RSELL%C4%B0K_%C4%B0L%C4%B0%C5%9EK%C4%B0S%C4%B0">FOTOĞRAFİ VE SİNEMATOGRAFİNİN GÖRSELLİK İLİŞKİSİ</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ÖZET Baslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36572654" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ÖZET <br />Baslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri daha yüksek hızlarda kaydetme ugrasısı içinde olmustur.Hızın kaydı konusundaki tüm bu gelişmelerde, insanlığın endüstri devrimi ile yaşadığı gelişmeler etkili olmuştur. Hızın kaydı sonucu ortaya çıkan birtakım mekanik gerçekler bilim , sanat ve felsefe adamlarının yaşamı daha farklı sorgulamasına yol açmış, bu sorgulamalar sonucunda elde edilen veriler hem klasik sanat anlayışının hem de sinemanın ve onu var eden teknolojinin gelişmesine yol açmıştır. <br />Gelişim süreci içinde sinemaya,sanatsal kaygılar ve fotoğraf kadar, toplumsal olaylar ve savaşlar da etki etmiştir. Estetik arayışların ortaya çıkardığı ve geliştirdiği “aydınlatma” hem teknolojiden hem de toplumsal düşünce değişimlerinin sinemaya yansıtılması kaygısından etkilenmiştir.Toplum hayatı değiştikçe birtakım tarzlar gelişmiş , onların ifadesi için teknolojik yöntemler ilerletilmiştir. <br />Tabi sinemayı sinema yapanın, “kurgu” öğesi olduğu asla unutulmamalıdır.Ancak yine de kurgu sonucunda ortaya izlenebilir bir görüntüler topluluğu çıkabilmesi için ışığı, kamera devinimi, kompozisyonu tam görüntüler elde etmek gerekir.Aynı zamanda fotoğraf ile sinemanın kesiştiği öyle noktalar vardır ki, nerdeyse artık sinematografi tamamen fotoğraf makinası ile oluşturulur. <br />Final bölümünde ise fotoğraftan en çok faydalandığına inandığımız kendisi de başarılı bir fotoğrafçı olan Alman yönetmen Wim Wenders'in “Paris-Texas” filmine değinmek, tüm bu işbirliğini nereye dayandırmak istediğimizi, daha doğrusu bu iki teknolojinin nasıl dayanışmaya devam ettiğini açıklamak için iyi bir örnek oldu. <br />ANAHTAR KELİMELER:Sinematografi,Görüntü Yönetmeni, Yeni Dalga, Yeni Gerçekçilik,Alman dışavurumcu Sineması, WimWenders, Kara Film, Fotoğrafi <br /><br /><br /><br /><br />SUMMARY <br />From the beginning of their invention until today, there's always been similarities, between photographic and cinematographic progress in both aestethic and technological issues. From the day which first chemical photographic prodress has been done, there has always been progress in the issue of speed which photographers took its care by the invention of the shutter. There's another effective issue on the thought of speed which named “Industrial Revolution”. And with the results of “catching the speed of movement” there appears a lot of facts that influenced the thoughts of scientists, artists and philosophers about the daily life.After the questioning about the daily life , there has been extremely radical changes in classic art, science and social life which basis of cinematographic progress has been aranged on. <br />Cinematographic process ,effected by social life and by the wars, as much as aestethical and tecnological issues in its duration. Also the issue of “illumination” effected by the change of social life , that came with facts of war which also made changes on aestethic concerns. <br />It must be never forgotten that cinematoraphy owed its existence to “editing”. But there has never been a film which observed “good editing but bad photography”. If there's no good photography there will never be good editing after the film has been shot. <br />In the final , I have tried to prove my thesis with the best example which I ever thought.German director Wim Wender's film “Paris-Texas” is the best example which we can ever find, when we try to look for a analogy between the photography and cinematography. <br />KEYWORDS:Cinematography, Cinematographer, New Wave,Neo Realismo,German Expressionist Cinema, Wim Wenders, Film Noir, Photography</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36572654" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fe4c05a85ceb4afd3ed6422577d0a43a" rel="nofollow" data-download="{"attachment_id":56498938,"asset_id":36572654,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56498938/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="81414893" href="https://mimarsinan.academia.edu/TunaUysal">Tuna Uysal</a><script data-card-contents-for-user="81414893" type="text/json">{"id":81414893,"first_name":"Tuna","last_name":"Uysal","domain_name":"mimarsinan","page_name":"TunaUysal","display_name":"Tuna Uysal","profile_url":"https://mimarsinan.academia.edu/TunaUysal?f_ri=95130","photo":"https://0.academia-photos.com/81414893/20052991/118037777/s65_tuna.uysal.jpg"}</script></span></span></li><li class="js-paper-rank-work_36572654 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36572654"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36572654, container: ".js-paper-rank-work_36572654", }); 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$(".js-view-count[data-work-id=36572654]").text(description); $(".js-view-count-work_36572654").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36572654").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36572654"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2852" rel="nofollow" href="https://www.academia.edu/Documents/in/Narrative">Narrative</a>, <script data-card-contents-for-ri="2852" type="text/json">{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="38769" rel="nofollow" href="https://www.academia.edu/Documents/in/Cinematography">Cinematography</a><script data-card-contents-for-ri="38769" type="text/json">{"id":38769,"name":"Cinematography","url":"https://www.academia.edu/Documents/in/Cinematography?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36572654]'), work: {"id":36572654,"title":"FOTOĞRAFİ VE SİNEMATOGRAFİNİN GÖRSELLİK İLİŞKİSİ","created_at":"2018-05-06T01:25:56.643-07:00","url":"https://www.academia.edu/36572654/FOTO%C4%9ERAF%C4%B0_VE_S%C4%B0NEMATOGRAF%C4%B0N%C4%B0N_G%C3%96RSELL%C4%B0K_%C4%B0L%C4%B0%C5%9EK%C4%B0S%C4%B0?f_ri=95130","dom_id":"work_36572654","summary":"ÖZET \nBaslangıcından günümüze kadar sinemanın gelişme süreci,gerek estetik gerekse teknolojik alanlarda fotograf ile benzerlikler gösterir.Kimyasal olarak ilk görüntü sabitlendiğinden beri, perde'nin de keşfiyle, insanoğlu görüntüleri daha yüksek hızlarda kaydetme ugrasısı içinde olmustur.Hızın kaydı konusundaki tüm bu gelişmelerde, insanlığın endüstri devrimi ile yaşadığı gelişmeler etkili olmuştur. Hızın kaydı sonucu ortaya çıkan birtakım mekanik gerçekler bilim , sanat ve felsefe adamlarının yaşamı daha farklı sorgulamasına yol açmış, bu sorgulamalar sonucunda elde edilen veriler hem klasik sanat anlayışının hem de sinemanın ve onu var eden teknolojinin gelişmesine yol açmıştır. \nGelişim süreci içinde sinemaya,sanatsal kaygılar ve fotoğraf kadar, toplumsal olaylar ve savaşlar da etki etmiştir. Estetik arayışların ortaya çıkardığı ve geliştirdiği “aydınlatma” hem teknolojiden hem de toplumsal düşünce değişimlerinin sinemaya yansıtılması kaygısından etkilenmiştir.Toplum hayatı değiştikçe birtakım tarzlar gelişmiş , onların ifadesi için teknolojik yöntemler ilerletilmiştir. \nTabi sinemayı sinema yapanın, “kurgu” öğesi olduğu asla unutulmamalıdır.Ancak yine de kurgu sonucunda ortaya izlenebilir bir görüntüler topluluğu çıkabilmesi için ışığı, kamera devinimi, kompozisyonu tam görüntüler elde etmek gerekir.Aynı zamanda fotoğraf ile sinemanın kesiştiği öyle noktalar vardır ki, nerdeyse artık sinematografi tamamen fotoğraf makinası ile oluşturulur. \nFinal bölümünde ise fotoğraftan en çok faydalandığına inandığımız kendisi de başarılı bir fotoğrafçı olan Alman yönetmen Wim Wenders'in “Paris-Texas” filmine değinmek, tüm bu işbirliğini nereye dayandırmak istediğimizi, daha doğrusu bu iki teknolojinin nasıl dayanışmaya devam ettiğini açıklamak için iyi bir örnek oldu. \nANAHTAR KELİMELER:Sinematografi,Görüntü Yönetmeni, Yeni Dalga, Yeni Gerçekçilik,Alman dışavurumcu Sineması, WimWenders, Kara Film, Fotoğrafi \n\n\n\n\nSUMMARY \nFrom the beginning of their invention until today, there's always been similarities, between photographic and cinematographic progress in both aestethic and technological issues. From the day which first chemical photographic prodress has been done, there has always been progress in the issue of speed which photographers took its care by the invention of the shutter. There's another effective issue on the thought of speed which named “Industrial Revolution”. And with the results of “catching the speed of movement” there appears a lot of facts that influenced the thoughts of scientists, artists and philosophers about the daily life.After the questioning about the daily life , there has been extremely radical changes in classic art, science and social life which basis of cinematographic progress has been aranged on. \nCinematographic process ,effected by social life and by the wars, as much as aestethical and tecnological issues in its duration. Also the issue of “illumination” effected by the change of social life , that came with facts of war which also made changes on aestethic concerns. \nIt must be never forgotten that cinematoraphy owed its existence to “editing”. But there has never been a film which observed “good editing but bad photography”. If there's no good photography there will never be good editing after the film has been shot. \nIn the final , I have tried to prove my thesis with the best example which I ever thought.German director Wim Wender's film “Paris-Texas” is the best example which we can ever find, when we try to look for a analogy between the photography and cinematography. \nKEYWORDS:Cinematography, Cinematographer, New Wave,Neo Realismo,German Expressionist Cinema, Wim Wenders, Film Noir, Photography \n\n","downloadable_attachments":[{"id":56498938,"asset_id":36572654,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":81414893,"first_name":"Tuna","last_name":"Uysal","domain_name":"mimarsinan","page_name":"TunaUysal","display_name":"Tuna Uysal","profile_url":"https://mimarsinan.academia.edu/TunaUysal?f_ri=95130","photo":"https://0.academia-photos.com/81414893/20052991/118037777/s65_tuna.uysal.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=95130","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=95130","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=95130","nofollow":true},{"id":38769,"name":"Cinematography","url":"https://www.academia.edu/Documents/in/Cinematography?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45078114" data-work_id="45078114" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45078114/Bringing_back_the_live_into_the_digital_Semiotics_on_the_emergence_of_live_VR_in_music_concerts">Bringing back the 'live' into the digital: Semiotics on the emergence of live VR in music concerts</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In five steps this text tries to convey a semiotic analysis of the phenomenon of ‘live VR music concerts’.Through this paper it becomes clear that the meaning of live music and virtual live music is not always clear. Virtual does not... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45078114" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In five steps this text tries to convey a semiotic analysis of the phenomenon of  ‘live VR music concerts’.Through this paper it becomes clear that the meaning of live music and virtual live music is not always clear. Virtual does not want to be like the real. It does not intend to create the same music experience. It is a globalising trend that seeks to go beyond. In contrast, maybe the real becomes more like the virtual. Experimenting with virtual experiences results eventually in the dissolving of the boundaries between the real and the virtual. The meaning of live music is changing and is strongly interpreted in the context of culture. Pandemic culture insinuated the interpretation that VR is just arriving, but actually it was already here for a while. With the semiotic square we analysed the virtual and real through the ‘here and now’. It is the ‘here and now’ (authenticity?) that gets questioned in live virtual concerts. It is legit to present a live concert in other ways, because that is one of the aims of VR. The virtual concert does not necessarily want to substitute real-life concerts. Peircian interpretations led into new kinds of music experience and new music industries/business models. A virtual concert experience constructs experience of identities of experience of collectivity that are real. Even in a manipulated or determined world the emotions that music creates are real. ‘Liveness’ shows the (intersubjective) power of music.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45078114" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a186ce1462c215d0c2b7cf4357534c99" rel="nofollow" data-download="{"attachment_id":65636049,"asset_id":45078114,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65636049/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35436273" href="https://independent.academia.edu/JenskeSampson">Jenske Sampson</a><script data-card-contents-for-user="35436273" type="text/json">{"id":35436273,"first_name":"Jenske","last_name":"Sampson","domain_name":"independent","page_name":"JenskeSampson","display_name":"Jenske Sampson","profile_url":"https://independent.academia.edu/JenskeSampson?f_ri=95130","photo":"https://0.academia-photos.com/35436273/10295380/49101502/s65_jenske.sampson.jpg"}</script></span></span></li><li class="js-paper-rank-work_45078114 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45078114"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45078114, container: ".js-paper-rank-work_45078114", }); 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Peircian interpretations led into new kinds of music experience and new music industries/business models. A virtual concert experience constructs experience of identities of experience of collectivity that are real. 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Mu","url":"https://www.academia.edu/Documents/in/Groupe_Mu?f_ri=95130"},{"id":2510455,"name":"jacques fontanille","url":"https://www.academia.edu/Documents/in/jacques_fontanille?f_ri=95130"},{"id":3119016,"name":"Fortnite Game","url":"https://www.academia.edu/Documents/in/Fortnite_Game?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37533665 coauthored" data-work_id="37533665" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37533665/%D8%A2%D9%81%D8%B1%DB%8C%D9%86%D8%B4_%D8%B4%D8%A7%D8%B9%D8%B1%D8%A7%D9%86%D9%87_%D8%AF%D8%B1_%D9%81%D8%B6%D8%A7%DB%8C_%D8%B4%D9%87%D8%B1%DB%8C_%D9%88%D8%A7%DA%A9%D8%A7%D9%88%DB%8C_%D9%86%D8%B4%D8%A7%D9%86%D9%87_%D8%B4%D9%86%D8%A7%D8%AE%D8%AA%DB%8C_%D9%81%D8%B6%D8%A7%DB%8C_%D8%B4%D9%87%D8%B1%DB%8C_%D8%A8%D8%A7%D8%BA_%D8%A8%D9%84%D9%86%D8%AF_%D8%B4%DB%8C%D8%B1%D8%A7%D8%B2_Poetics_in_Urban_Space_a_Semiotics_Analysis_of_Bagh_e_Boland_in_Shiraz_City">آفرینش شاعرانه در فضای شهری ‬ (واکاوی نشانه شناختی فضای شهری باغ بلند شیراز) Poetics in Urban Space: a Semiotics Analysis of Bagh-e-Boland in Shiraz City</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37533665" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که به واکاوی معنای فضای شهر می‌پردازد. این پژوهش در پی یافتن فنون و روش‌هایی است که می‌تواند منجر به فضاهای شاعرانه در شهر شود. ازاین‌رو با روش نشانه‌شناسی به واکاوی یک نمونه فضای شهری که دارای این ویژگی بوده پرداخته‌شده است. درنهایت پژوهش به بررسی مفاهیم نشانه‌شناختی مانند برجسته‌سازی ادبی، هنجار‌گریزی، خودکارشدگی و قاعده افزایی در یک نمونه موردی فضای شهری، باغ بلند شیراز، اثر مهرداد ایروانیان پرداخته است. در پایان پژوهش به روش‌هایی که وی برای ایجاد فضای شاعرانه به کار بسته است مانند <br />آشنایی‌زدایی به‌واسطه‌ انحراف از زبان معیار، ایجاد تعلیق و ایهام از طریق تصرف در محور هم‌نشینی دست‌یافته است.<br />According to Aristotle, poetics and art, were considered an imitation of reality but according to Bachelard, they were phenomenology of the imagination. Bachelard showed how houses are receptive to human characteristics and complexities, a house and its occupants usually match the architectural space, and residential space gives excellence to geometric space. House, in his opinion is a sheltered nest of dreams and imagination. Poetic imagination is always "text" and thus be interpreted and in reading the meaning of architecture and the city, both are studied as text. Thus poetics of urban space and architecture can be investigated from phenomenological, ethnographic and semiotics (Semio-logical) methods. Urban spaces in a semiotics approach, usually emphasize on the aspects of semantic systems. The city is filled with semantic significations which is encoded by both designers and citizens and then is decoded by the citizens. The city can be understood as a text by considering varying semiotics natures of the urban space. The question is, How to create a poetic urban space.<br />The aim of this research is to find techniques that can lead to poetical features in urban spaces. The urban semiology is a method to linguistic analysis meaning of urban space. The article analysed a case study of urban space that has this features by semiology approach. The case study is Bagh-e Boland (Chamran Park) in Shiraz city, designed by Mehrdad Iravanian (b. 1957). Bagh-e Boland is an urban space which allows its audience to interpret and explore the meanings. After an introduction to urban and architectural semiotics, a sociosemiotic analysis is carried out to uncover the meaning system of this built environment. In this case, the park is viewed as structured by poetical characteristics and as a text. The park has been investigated by syntagmatic and paradigmatic, synchronic analysis.<br />At the level of the design strategy, Iravanian has used three strategies to create a poetic space: intertextuality, defamiliarization, and metaphor. For intertextuality he linked his text with non-architectural texts such as sculptures or history of site. He has deviated from the standard language, has changed automatized meaning of the space and thereby has defamiliarized space. He has done this by increasing the scale forms, creating synchronicity spatial elements, and change in composition of the constructions. In addition, multiple meanings have been added to the space by using the architectural metaphor, amphiboly and metonymy. He suspended architectural elements and applied familiar construction and building materials in another way. He has provided metaphor by naming spaces, captured in the axis of the syntagmatic of spaces and usage of dual oppositions. Urban spaces are highlighted by exaggerating the textures used in floor, walls and furniture. It should be noted at the end that this spaces can be analyzed with other approaches, however looking at the language of this article is merely an urban space. Also intertextuality vision to text can disclose techniques of createing new meaning in space. 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Bachelard showed how houses are receptive to human characteristics and complexities, a house and its occupants usually match the architectural space, and residential space gives excellence to geometric space. House, in his opinion is a sheltered nest of dreams and imagination. Poetic imagination is always \"text\" and thus be interpreted and in reading the meaning of architecture and the city, both are studied as text. Thus poetics of urban space and architecture can be investigated from phenomenological, ethnographic and semiotics (Semio-logical) methods. Urban spaces in a semiotics approach, usually emphasize on the aspects of semantic systems. The city is filled with semantic significations which is encoded by both designers and citizens and then is decoded by the citizens. The city can be understood as a text by considering varying semiotics natures of the urban space. The question is, How to create a poetic urban space.\nThe aim of this research is to find techniques that can lead to poetical features in urban spaces. The urban semiology is a method to linguistic analysis meaning of urban space. The article analysed a case study of urban space that has this features by semiology approach. The case study is Bagh-e Boland (Chamran Park) in Shiraz city, designed by Mehrdad Iravanian (b. 1957). Bagh-e Boland is an urban space which allows its audience to interpret and explore the meanings. After an introduction to urban and architectural semiotics, a sociosemiotic analysis is carried out to uncover the meaning system of this built environment. In this case, the park is viewed as structured by poetical characteristics and as a text. The park has been investigated by syntagmatic and paradigmatic, synchronic analysis.\nAt the level of the design strategy, Iravanian has used three strategies to create a poetic space: intertextuality, defamiliarization, and metaphor. For intertextuality he linked his text with non-architectural texts such as sculptures or history of site. He has deviated from the standard language, has changed automatized meaning of the space and thereby has defamiliarized space. He has done this by increasing the scale forms, creating synchronicity spatial elements, and change in composition of the constructions. In addition, multiple meanings have been added to the space by using the architectural metaphor, amphiboly and metonymy. He suspended architectural elements and applied familiar construction and building materials in another way. He has provided metaphor by naming spaces, captured in the axis of the syntagmatic of spaces and usage of dual oppositions. Urban spaces are highlighted by exaggerating the textures used in floor, walls and furniture. It should be noted at the end that this spaces can be analyzed with other approaches, however looking at the language of this article is merely an urban space. Also intertextuality vision to text can disclose techniques of createing new meaning in space. Thus, an urban space, can help in motivation of thought, the audience, and the pleasure of discovery.","downloadable_attachments":[{"id":57507354,"asset_id":37533665,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":274112,"first_name":"Manouchehr","last_name":"Foroutan","domain_name":"iauh","page_name":"ManouchehrForoutan","display_name":"Manouchehr Foroutan","profile_url":"https://iauh.academia.edu/ManouchehrForoutan?f_ri=95130","photo":"https://0.academia-photos.com/274112/56780/94746289/s65_manouchehr.foroutan.jpg"},{"id":96036340,"first_name":"Mohammad","last_name":"Sarmastani","domain_name":"independent","page_name":"MohammadSarmastani","display_name":"Mohammad Sarmastani","profile_url":"https://independent.academia.edu/MohammadSarmastani?f_ri=95130","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=95130","nofollow":true},{"id":976,"name":"Composition and Rhetoric","url":"https://www.academia.edu/Documents/in/Composition_and_Rhetoric?f_ri=95130","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=95130","nofollow":true},{"id":6922,"name":"Poetics","url":"https://www.academia.edu/Documents/in/Poetics?f_ri=95130"},{"id":14410,"name":"Visual And Material Rhetoric","url":"https://www.academia.edu/Documents/in/Visual_And_Material_Rhetoric?f_ri=95130"},{"id":51026,"name":"Visual Rhetorics","url":"https://www.academia.edu/Documents/in/Visual_Rhetorics?f_ri=95130"},{"id":61835,"name":"Urban Design","url":"https://www.academia.edu/Documents/in/Urban_Design?f_ri=95130"},{"id":68890,"name":"Urban Parks","url":"https://www.academia.edu/Documents/in/Urban_Parks?f_ri=95130"},{"id":86708,"name":"Theme Parks","url":"https://www.academia.edu/Documents/in/Theme_Parks?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":157036,"name":"Urban Space","url":"https://www.academia.edu/Documents/in/Urban_Space?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30638202" data-work_id="30638202" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30638202/The_goal_oriented_design_of_agent_systems_a_refinement_of_Prometheus_and_its_evaluation">The goal-oriented design of agent systems: a refinement of Prometheus and its evaluation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The initial step of any software engineering methodology is to form requirements. Recently, a goal-oriented approach to requirements has been proposed and argued to be beneficial. Goals also play a key role in the implementation of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30638202" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The initial step of any software engineering methodology is to form requirements. Recently, a goal-oriented approach to requirements has been proposed and argued to be beneficial. Goals also play a key role in the implementation of proactive software agents. However, although some agent-oriented software engineering methodologies have incorporated (aspects of) goal-oriented requirements engineering, and although they target agent platforms that provide goals as an implementation construct, none of the methodologies provide a goal-oriented design process. We present three modifications to the Prometheus methodology which aim to make it more goal-oriented in its design phases: we introduce a goal coupling diagram, as an adjunct to the existing data coupling diagram; we modify the temporal design artefacts to include goals; and we introduce a number of goal-related consistency checks. Finally, we report on an experimental evaluation comparing the effectiveness of the original and refined methodologies.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30638202" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="53ea9f04a97423918a7cb698ace5cb89" rel="nofollow" data-download="{"attachment_id":51081842,"asset_id":30638202,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51081842/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="58322735" href="https://monash.academia.edu/MichaelGeorgeff">Michael Georgeff</a><script data-card-contents-for-user="58322735" type="text/json">{"id":58322735,"first_name":"Michael","last_name":"Georgeff","domain_name":"monash","page_name":"MichaelGeorgeff","display_name":"Michael Georgeff","profile_url":"https://monash.academia.edu/MichaelGeorgeff?f_ri=95130","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_30638202 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30638202"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30638202, container: ".js-paper-rank-work_30638202", }); 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class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40882066" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura dell’in-volto, dell’in-viso, da una parola nutrimento a una parola escremento, e non quello della sua eiezione naturale ma quello di una parola-vomito, borborigma che parla a sé stesso, che inverte la traiettoria del bolo dal dentro al fuori. Ma ventriloquo è anche colui che parla al ventre, nel senso che non si rivolge al viso, alle orecchie, alla bocca, al volto dell’altro, ma spinge l’interlocutore a dismettere il proprio volto per farsi ventre, per rimanere nel chiuso del proprio io, nel rimuginare la parola ricevuta dal ventriloquo finché essa non diviene a sua volta sterco, e non viene eietta come natura vorrebbe ma vomitata verso il volto altrui, negandone la purezza fenomenologica, frustrandone la funzione di volto, oppure spingendolo a diventare anch’esso pancia, in una asemiosi illimitata che spegne il senso invece di accenderlo, che chiude l’esistenza nell’angolo buio dell’essere, che restituisce i corpi alla natura e li rende ferini, invisi gli uni agli altri, nemici, barbari.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40882066" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="25b1b5e5702155fc79994f30df5c20b2" rel="nofollow" data-download="{"attachment_id":61186746,"asset_id":40882066,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61186746/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_40882066 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40882066"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40882066, container: ".js-paper-rank-work_40882066", }); 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$(".js-view-count[data-work-id=40882066]").text(description); $(".js-view-count-work_40882066").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40882066").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40882066"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3903" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a>, <script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13074" rel="nofollow" href="https://www.academia.edu/Documents/in/Cognitive_Semiotics">Cognitive Semiotics</a><script data-card-contents-for-ri="13074" type="text/json">{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40882066]'), work: {"id":40882066,"title":"2019 - Sulla ventriloquia","created_at":"2019-11-08T23:19:02.475-08:00","url":"https://www.academia.edu/40882066/2019_Sulla_ventriloquia?f_ri=95130","dom_id":"work_40882066","summary":"Ventriloquo è colui che parla col ventre, che simula uno slittamento della voce dalla bocca allo stomaco, da un’interiorità che si apre all’altro attraverso l’inter-faccia del volto, a un’intestinità che nega l’altro nella figura dell’in-volto, dell’in-viso, da una parola nutrimento a una parola escremento, e non quello della sua eiezione naturale ma quello di una parola-vomito, borborigma che parla a sé stesso, che inverte la traiettoria del bolo dal dentro al fuori. Ma ventriloquo è anche colui che parla al ventre, nel senso che non si rivolge al viso, alle orecchie, alla bocca, al volto dell’altro, ma spinge l’interlocutore a dismettere il proprio volto per farsi ventre, per rimanere nel chiuso del proprio io, nel rimuginare la parola ricevuta dal ventriloquo finché essa non diviene a sua volta sterco, e non viene eietta come natura vorrebbe ma vomitata verso il volto altrui, negandone la purezza fenomenologica, frustrandone la funzione di volto, oppure spingendolo a diventare anch’esso pancia, in una asemiosi illimitata che spegne il senso invece di accenderlo, che chiude l’esistenza nell’angolo buio dell’essere, che restituisce i corpi alla natura e li rende ferini, invisi gli uni agli altri, nemici, barbari.","downloadable_attachments":[{"id":61186746,"asset_id":40882066,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130","nofollow":true},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":38364,"name":"Peircean Semiotics","url":"https://www.academia.edu/Documents/in/Peircean_Semiotics?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":271382,"name":"Art and Ventriloquism","url":"https://www.academia.edu/Documents/in/Art_and_Ventriloquism?f_ri=95130"},{"id":285571,"name":"Ventriloquism","url":"https://www.academia.edu/Documents/in/Ventriloquism?f_ri=95130"},{"id":432017,"name":"Semiotika","url":"https://www.academia.edu/Documents/in/Semiotika?f_ri=95130"},{"id":515125,"name":"Puppetry, Ventriloquism, Voice and Objects.","url":"https://www.academia.edu/Documents/in/Puppetry_Ventriloquism_Voice_and_Objects?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43804576" data-work_id="43804576" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43804576/Semiology_and_Epileptic_Networks">Semiology and Epileptic Networks</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">KEY POINTS Seizure semiology represents the dynamic clinical expression of seizures and is an important data source providing clues to cerebral organization. Seizure semiology is produced through interactions between seizure onset and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43804576" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">KEY POINTS<br /> Seizure semiology represents the dynamic clinical expression of seizures and is an important data<br />source providing clues to cerebral organization.<br /> Seizure semiology is produced through interactions between seizure onset and propagation within<br />physiologic and pathologic brain networks.<br /> Semiology can be described in spatial and temporal terms, and depends on both spatial and temporal<br />characteristics of cerebral electrical activity.<br /> Stereoelectroencephalography studies of electroclinical correlations, including with quantified<br />signal analysis, have helped elucidate several semiological patterns.<br /> Future research could help improve pattern recognition of complex semiological patterns, possibly<br />using deep learning methods in a multiscale, multimodal modelization framework.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43804576" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a810d30df00e2b4ad033685222ade44f" rel="nofollow" data-download="{"attachment_id":64122025,"asset_id":43804576,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64122025/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40533467" href="https://uq.academia.edu/AileenMcGonigal">Aileen McGonigal</a><script data-card-contents-for-user="40533467" type="text/json">{"id":40533467,"first_name":"Aileen","last_name":"McGonigal","domain_name":"uq","page_name":"AileenMcGonigal","display_name":"Aileen McGonigal","profile_url":"https://uq.academia.edu/AileenMcGonigal?f_ri=95130","photo":"https://0.academia-photos.com/40533467/46496361/66792811/s65_aileen.mcgonigal.jpeg"}</script></span></span></li><li class="js-paper-rank-work_43804576 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43804576"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43804576, container: ".js-paper-rank-work_43804576", }); });</script></li><li class="js-percentile-work_43804576 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43804576; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43804576"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43804576 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43804576"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43804576; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43804576]").text(description); $(".js-view-count-work_43804576").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43804576").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43804576"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="7648" rel="nofollow" href="https://www.academia.edu/Documents/in/Epilepsy">Epilepsy</a>, <script data-card-contents-for-ri="7648" type="text/json">{"id":7648,"name":"Epilepsy","url":"https://www.academia.edu/Documents/in/Epilepsy?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11598" rel="nofollow" href="https://www.academia.edu/Documents/in/Neural_Networks">Neural Networks</a>, <script data-card-contents-for-ri="11598" type="text/json">{"id":11598,"name":"Neural Networks","url":"https://www.academia.edu/Documents/in/Neural_Networks?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="51686" rel="nofollow" href="https://www.academia.edu/Documents/in/Seizure">Seizure</a>, <script data-card-contents-for-ri="51686" type="text/json">{"id":51686,"name":"Seizure","url":"https://www.academia.edu/Documents/in/Seizure?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="95130" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiology">Semiology</a><script data-card-contents-for-ri="95130" type="text/json">{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43804576]'), work: {"id":43804576,"title":"Semiology and Epileptic Networks","created_at":"2020-08-07T10:48:52.602-07:00","url":"https://www.academia.edu/43804576/Semiology_and_Epileptic_Networks?f_ri=95130","dom_id":"work_43804576","summary":"KEY POINTS\n\u0001 Seizure semiology represents the dynamic clinical expression of seizures and is an important data\nsource providing clues to cerebral organization.\n\u0001 Seizure semiology is produced through interactions between seizure onset and propagation within\nphysiologic and pathologic brain networks.\n\u0001 Semiology can be described in spatial and temporal terms, and depends on both spatial and temporal\ncharacteristics of cerebral electrical activity.\n\u0001 Stereoelectroencephalography studies of electroclinical correlations, including with quantified\nsignal analysis, have helped elucidate several semiological patterns.\n\u0001 Future research could help improve pattern recognition of complex semiological patterns, possibly\nusing deep learning methods in a multiscale, multimodal modelization framework.","downloadable_attachments":[{"id":64122025,"asset_id":43804576,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":40533467,"first_name":"Aileen","last_name":"McGonigal","domain_name":"uq","page_name":"AileenMcGonigal","display_name":"Aileen McGonigal","profile_url":"https://uq.academia.edu/AileenMcGonigal?f_ri=95130","photo":"https://0.academia-photos.com/40533467/46496361/66792811/s65_aileen.mcgonigal.jpeg"}],"research_interests":[{"id":7648,"name":"Epilepsy","url":"https://www.academia.edu/Documents/in/Epilepsy?f_ri=95130","nofollow":true},{"id":11598,"name":"Neural Networks","url":"https://www.academia.edu/Documents/in/Neural_Networks?f_ri=95130","nofollow":true},{"id":51686,"name":"Seizure","url":"https://www.academia.edu/Documents/in/Seizure?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19666469" data-work_id="19666469" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19666469/_Approssimazioni_critiche_alla_poetica_storica_di_Meletinskij_alla_luce_di_una_nuova_traduzione_Intersezioni_3_2015_pp_443_458">«Approssimazioni critiche alla poetica storica di Meletinskij alla luce di una nuova traduzione», Intersezioni, 3 (2015), pp. 443-458</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19666469" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian scholar explained the origins of this narrative genre in Europe and Asia from various folkloric forms, i.e. myth, fairy and realistic tale, anecdote: in particular the analysis is carried out through the comparison with the similar reflections on novel and epic available in other Meletinsky’s books and with the theory of the “converging streams” developed by A.N. Veselovsky. Some corrections to the model of historical poetics are proposed, in order to conciliate typology and contingent elements, poetics and philology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19666469" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="426d52c0b6df39a688f27c6320952548" rel="nofollow" data-download="{"attachment_id":56899175,"asset_id":19666469,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56899175/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3227843" href="https://unige-it1.academia.edu/AndreaGhidoni">Andrea Ghidoni</a><script data-card-contents-for-user="3227843" type="text/json">{"id":3227843,"first_name":"Andrea","last_name":"Ghidoni","domain_name":"unige-it1","page_name":"AndreaGhidoni","display_name":"Andrea Ghidoni","profile_url":"https://unige-it1.academia.edu/AndreaGhidoni?f_ri=95130","photo":"https://0.academia-photos.com/3227843/1062591/1465090/s65_andrea.ghidoni.jpg"}</script></span></span></li><li class="js-paper-rank-work_19666469 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19666469"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19666469, container: ".js-paper-rank-work_19666469", }); 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$(".js-view-count[data-work-id=19666469]").text(description); $(".js-view-count-work_19666469").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19666469").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19666469"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">30</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="97" rel="nofollow" href="https://www.academia.edu/Documents/in/Philology">Philology</a>, <script data-card-contents-for-ri="97" type="text/json">{"id":97,"name":"Philology","url":"https://www.academia.edu/Documents/in/Philology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="389" rel="nofollow" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a>, <script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="659" rel="nofollow" href="https://www.academia.edu/Documents/in/Comparative_Literature">Comparative Literature</a><script data-card-contents-for-ri="659" type="text/json">{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19666469]'), work: {"id":19666469,"title":"«Approssimazioni critiche alla poetica storica di Meletinskij alla luce di una nuova traduzione», Intersezioni, 3 (2015), pp. 443-458","created_at":"2015-12-15T02:21:11.660-08:00","url":"https://www.academia.edu/19666469/_Approssimazioni_critiche_alla_poetica_storica_di_Meletinskij_alla_luce_di_una_nuova_traduzione_Intersezioni_3_2015_pp_443_458?f_ri=95130","dom_id":"work_19666469","summary":"The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian scholar explained the origins of this narrative genre in Europe and Asia from various folkloric forms, i.e. myth, fairy and realistic tale, anecdote: in particular the analysis is carried out through the comparison with the similar reflections on novel and epic available in other Meletinsky’s books and with the theory of the “converging streams” developed by A.N. Veselovsky. Some corrections to the model of historical poetics are proposed, in order to conciliate typology and contingent elements, poetics and philology. ","downloadable_attachments":[{"id":56899175,"asset_id":19666469,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3227843,"first_name":"Andrea","last_name":"Ghidoni","domain_name":"unige-it1","page_name":"AndreaGhidoni","display_name":"Andrea Ghidoni","profile_url":"https://unige-it1.academia.edu/AndreaGhidoni?f_ri=95130","photo":"https://0.academia-photos.com/3227843/1062591/1465090/s65_andrea.ghidoni.jpg"}],"research_interests":[{"id":97,"name":"Philology","url":"https://www.academia.edu/Documents/in/Philology?f_ri=95130","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=95130","nofollow":true},{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=95130","nofollow":true},{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=95130","nofollow":true},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=95130"},{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=95130"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=95130"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=95130"},{"id":3177,"name":"Romance philology","url":"https://www.academia.edu/Documents/in/Romance_philology?f_ri=95130"},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology?f_ri=95130"},{"id":4195,"name":"Cultural Theory","url":"https://www.academia.edu/Documents/in/Cultural_Theory?f_ri=95130"},{"id":6922,"name":"Poetics","url":"https://www.academia.edu/Documents/in/Poetics?f_ri=95130"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=95130"},{"id":8153,"name":"Theory of the Novel","url":"https://www.academia.edu/Documents/in/Theory_of_the_Novel?f_ri=95130"},{"id":20058,"name":"Epic poetry","url":"https://www.academia.edu/Documents/in/Epic_poetry?f_ri=95130"},{"id":23310,"name":"Novel","url":"https://www.academia.edu/Documents/in/Novel?f_ri=95130"},{"id":23342,"name":"Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Cultural_Anthropology?f_ri=95130"},{"id":23577,"name":"Short story (Literature)","url":"https://www.academia.edu/Documents/in/Short_story_Literature_?f_ri=95130"},{"id":38458,"name":"Medieval Romance","url":"https://www.academia.edu/Documents/in/Medieval_Romance?f_ri=95130"},{"id":68651,"name":"Culturology","url":"https://www.academia.edu/Documents/in/Culturology?f_ri=95130"},{"id":70129,"name":"Short story","url":"https://www.academia.edu/Documents/in/Short_story?f_ri=95130"},{"id":84419,"name":"Arthurian Romances","url":"https://www.academia.edu/Documents/in/Arthurian_Romances?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":130262,"name":"The Novella","url":"https://www.academia.edu/Documents/in/The_Novella?f_ri=95130"},{"id":158573,"name":"Short Stories","url":"https://www.academia.edu/Documents/in/Short_Stories?f_ri=95130"},{"id":196070,"name":"Medieval Epics","url":"https://www.academia.edu/Documents/in/Medieval_Epics?f_ri=95130"},{"id":474852,"name":"Historical Poetics","url":"https://www.academia.edu/Documents/in/Historical_Poetics?f_ri=95130"},{"id":503137,"name":"Veselovsky","url":"https://www.academia.edu/Documents/in/Veselovsky?f_ri=95130"},{"id":653875,"name":"Romance Languages and Literatures","url":"https://www.academia.edu/Documents/in/Romance_Languages_and_Literatures?f_ri=95130"},{"id":1396423,"name":"Eleazar Moiseevich Meletinsky","url":"https://www.academia.edu/Documents/in/Eleazar_Moiseevich_Meletinsky?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_59453053" data-work_id="59453053" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/59453053/Second_Generation_Semiology_and_Detotalization">Second Generation Semiology and Detotalization</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The fashionable disavowal of structural semiology as logocentric is easily countered by a review of the important innovations of second-generation semiology, spearheaded by Jacques Derrida, Roland Barthes, and Jacques Lacan. The scope of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_59453053" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The fashionable disavowal of structural semiology as logocentric is easily countered by a review of the important innovations of second-generation semiology, spearheaded by Jacques Derrida, Roland Barthes, and Jacques Lacan. The scope of Saussurean semiology is hampered only by its reliance upon alphabetic language and presence grounded in the voice; the assertion that semiology is a part of linguistics, rather than the reverse, does not reject the existence of nonlinguistic meaning; wordplay and textual experimentation are no mere stylistic ornamentation, but are on the contrary the key strategy of second-generation semiology for exposing the limitations of language. All three of these writers rely upon the glossematics of Louis Hjelmslev for the articulation of the concrete, non-logocentric object of general linguistics — his stratification of the Saussurean sign provides the centerpiece for the synthetic theoretical model introduced here.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/59453053" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ed17a30879dc5d643ea6c88412c29f65" rel="nofollow" data-download="{"attachment_id":73367677,"asset_id":59453053,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73367677/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1924766" href="https://upol.academia.edu/TylerJamesBennett">Tyler James Bennett</a><script data-card-contents-for-user="1924766" type="text/json">{"id":1924766,"first_name":"Tyler James","last_name":"Bennett","domain_name":"upol","page_name":"TylerJamesBennett","display_name":"Tyler James Bennett","profile_url":"https://upol.academia.edu/TylerJamesBennett?f_ri=95130","photo":"https://0.academia-photos.com/1924766/651550/138911024/s65_tyler_james.bennett.jpg"}</script></span></span></li><li class="js-paper-rank-work_59453053 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="59453053"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 59453053, container: ".js-paper-rank-work_59453053", }); 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$(".js-view-count[data-work-id=59453053]").text(description); $(".js-view-count-work_59453053").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_59453053").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="59453053"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="12040" rel="nofollow" href="https://www.academia.edu/Documents/in/Jacques_Derrida">Jacques Derrida</a>, <script data-card-contents-for-ri="12040" type="text/json">{"id":12040,"name":"Jacques Derrida","url":"https://www.academia.edu/Documents/in/Jacques_Derrida?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26418" rel="nofollow" href="https://www.academia.edu/Documents/in/Kabbalah">Kabbalah</a>, <script data-card-contents-for-ri="26418" type="text/json">{"id":26418,"name":"Kabbalah","url":"https://www.academia.edu/Documents/in/Kabbalah?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="95130" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiology">Semiology</a>, <script data-card-contents-for-ri="95130" type="text/json">{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="114362" rel="nofollow" href="https://www.academia.edu/Documents/in/Glossematics">Glossematics</a><script data-card-contents-for-ri="114362" type="text/json">{"id":114362,"name":"Glossematics","url":"https://www.academia.edu/Documents/in/Glossematics?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=59453053]'), work: {"id":59453053,"title":"Second Generation Semiology and Detotalization","created_at":"2021-10-22T00:46:27.767-07:00","url":"https://www.academia.edu/59453053/Second_Generation_Semiology_and_Detotalization?f_ri=95130","dom_id":"work_59453053","summary":"The fashionable disavowal of structural semiology as logocentric is easily countered by a review of the important innovations of second-generation semiology, spearheaded by Jacques Derrida, Roland Barthes, and Jacques Lacan. The scope of Saussurean semiology is hampered only by its reliance upon alphabetic language and presence grounded in the voice; the assertion that semiology is a part of linguistics, rather than the reverse, does not reject the existence of nonlinguistic meaning; wordplay and textual experimentation are no mere stylistic ornamentation, but are on the contrary the key strategy of second-generation semiology for exposing the limitations of language. All three of these writers rely upon the glossematics of Louis Hjelmslev for the articulation of the concrete, non-logocentric object of general linguistics — his stratification of the Saussurean sign provides the centerpiece for the synthetic theoretical model introduced here.","downloadable_attachments":[{"id":73367677,"asset_id":59453053,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1924766,"first_name":"Tyler James","last_name":"Bennett","domain_name":"upol","page_name":"TylerJamesBennett","display_name":"Tyler James Bennett","profile_url":"https://upol.academia.edu/TylerJamesBennett?f_ri=95130","photo":"https://0.academia-photos.com/1924766/651550/138911024/s65_tyler_james.bennett.jpg"}],"research_interests":[{"id":12040,"name":"Jacques Derrida","url":"https://www.academia.edu/Documents/in/Jacques_Derrida?f_ri=95130","nofollow":true},{"id":26418,"name":"Kabbalah","url":"https://www.academia.edu/Documents/in/Kabbalah?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":114362,"name":"Glossematics","url":"https://www.academia.edu/Documents/in/Glossematics?f_ri=95130","nofollow":true},{"id":537442,"name":"Psychoanalysis (Freud and Lacan)","url":"https://www.academia.edu/Documents/in/Psychoanalysis_Freud_and_Lacan_?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8354506" data-work_id="8354506" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8354506/Integration_of_safety_analysis_in_model_driven_software_development">Integration of safety analysis in model-driven software development</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Safety critical software requires integrating verification techniques in software development methods. Software architectures must guarantee that developed systems will meet safety requirements and safety analyses are frequently used in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8354506" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Safety critical software requires integrating verification techniques in software development methods. Software architectures must guarantee that developed systems will meet safety requirements and safety analyses are frequently used in the assessment. Safety engineers and software architects must reach a common understanding on an optimal architecture from both perspectives. Currently both groups of engineers apply different modelling techniques and languages: safety analysis models and software modelling languages. The solutions proposed seek to integrate both domains coupling the languages of each domain. It constitutes a sound example of the use of language engineering to improve efficiency in a software-related domain. A model-driven development approach and the use of a platform-independent language are used to bridge the gap between safety analyses (failure mode effects and criticality analysis and fault tree analysis) and software development languages (e.g. unified modelling language). Language abstract syntaxes (metamodels), profiles, language mappings (model transformations) and language refinements, support the direct application of safety analysis to software architectures for the verification of safety requirements. Model consistency and the possibility of automation are found among the benefits.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8354506" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="98cc0d52ecb2719140364c039c85d9f8" rel="nofollow" data-download="{"attachment_id":34755530,"asset_id":8354506,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34755530/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16765137" href="https://independent.academia.edu/AlejandroAlonso4">Alejandro Alonso</a><script data-card-contents-for-user="16765137" type="text/json">{"id":16765137,"first_name":"Alejandro","last_name":"Alonso","domain_name":"independent","page_name":"AlejandroAlonso4","display_name":"Alejandro Alonso","profile_url":"https://independent.academia.edu/AlejandroAlonso4?f_ri=95130","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8354506 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8354506"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8354506, container: ".js-paper-rank-work_8354506", }); 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Software architectures must guarantee that developed systems will meet safety requirements and safety analyses are frequently used in the assessment. Safety engineers and software architects must reach a common understanding on an optimal architecture from both perspectives. Currently both groups of engineers apply different modelling techniques and languages: safety analysis models and software modelling languages. The solutions proposed seek to integrate both domains coupling the languages of each domain. It constitutes a sound example of the use of language engineering to improve efficiency in a software-related domain. A model-driven development approach and the use of a platform-independent language are used to bridge the gap between safety analyses (failure mode effects and criticality analysis and fault tree analysis) and software development languages (e.g. unified modelling language). Language abstract syntaxes (metamodels), profiles, language mappings (model transformations) and language refinements, support the direct application of safety analysis to software architectures for the verification of safety requirements. 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Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20068776" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article proposes a typology of meaninglessness based on the semiotics of Charles S. Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience gained while riding Japanese buses. Meaninglessness, however, is not insignificance. Insignificance is a much more disquieting anthropological condition, which the article describes with reference to two symmetrical processes: on the one hand, the euphoric passage from significance to insignificance, a passage meant as the “birth of new meaning”; on the other hand, the dysphoric passage from significance to insignificance, a passage which coincides with the alienation of human existence. Through several examples take from present-day societies, the article advocates for an active role of semiotics in warning human communities against the “emergence of insignificance” and its potential of violence and exploitation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20068776" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c382b51a202361ea055cc7f14a835379" rel="nofollow" data-download="{"attachment_id":41085287,"asset_id":20068776,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41085287/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_20068776 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20068776"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20068776, container: ".js-paper-rank-work_20068776", }); 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$(".js-view-count[data-work-id=20068776]").text(description); $(".js-view-count-work_20068776").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20068776").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20068776"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3903" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a>, <script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4329" rel="nofollow" href="https://www.academia.edu/Documents/in/Theories_of_Meaning">Theories of Meaning</a><script data-card-contents-for-ri="4329" type="text/json">{"id":4329,"name":"Theories of Meaning","url":"https://www.academia.edu/Documents/in/Theories_of_Meaning?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20068776]'), work: {"id":20068776,"title":"2017 - On Insignificance","created_at":"2016-01-06T17:44:36.046-08:00","url":"https://www.academia.edu/20068776/2017_On_Insignificance?f_ri=95130","dom_id":"work_20068776","summary":"The article proposes a typology of meaninglessness based on the semiotics of Charles S. Peirce: meaningless as indecipherable; as incomprehensible; and as uncanny. Each type is exemplified with reference to anecdotic semiotic experience gained while riding Japanese buses. Meaninglessness, however, is not insignificance. Insignificance is a much more disquieting anthropological condition, which the article describes with reference to two symmetrical processes: on the one hand, the euphoric passage from significance to insignificance, a passage meant as the “birth of new meaning”; on the other hand, the dysphoric passage from significance to insignificance, a passage which coincides with the alienation of human existence. Through several examples take from present-day societies, the article advocates for an active role of semiotics in warning human communities against the “emergence of insignificance” and its potential of violence and exploitation.","downloadable_attachments":[{"id":41085287,"asset_id":20068776,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":4329,"name":"Theories of Meaning","url":"https://www.academia.edu/Documents/in/Theories_of_Meaning?f_ri=95130","nofollow":true},{"id":4585,"name":"Meaning of Life","url":"https://www.academia.edu/Documents/in/Meaning_of_Life?f_ri=95130"},{"id":4868,"name":"Deconstruction","url":"https://www.academia.edu/Documents/in/Deconstruction?f_ri=95130"},{"id":11845,"name":"Meaning","url":"https://www.academia.edu/Documents/in/Meaning?f_ri=95130"},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130"},{"id":17754,"name":"Derridean Deconstruction","url":"https://www.academia.edu/Documents/in/Derridean_Deconstruction?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":38364,"name":"Peircean Semiotics","url":"https://www.academia.edu/Documents/in/Peircean_Semiotics?f_ri=95130"},{"id":39858,"name":"Meaning Making","url":"https://www.academia.edu/Documents/in/Meaning_Making?f_ri=95130"},{"id":41079,"name":"Alienation","url":"https://www.academia.edu/Documents/in/Alienation?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":432017,"name":"Semiotika","url":"https://www.academia.edu/Documents/in/Semiotika?f_ri=95130"},{"id":992111,"name":"Work Meaningfulness","url":"https://www.academia.edu/Documents/in/Work_Meaningfulness?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12053215" data-work_id="12053215" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12053215/Una_lingua_politicamente_corretta_Sugli_usi_irragionevoli_e_sugli_interventi_ragionati_Une_langue_politiquement_correcte_Sur_les_usages_raisonnables_et_sur_les_interventions_raisonn%C3%A9es">Una lingua politicamente corretta. Sugli usi irragionevoli e sugli interventi ragionati / Une langue politiquement correcte. Sur les usages raisonnables et sur les interventions raisonnées</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Le istituzioni spesso restituiscono un’immagine irragionevole della lingua. Questa immagine si costruisce attraverso usi che si stabilizzano e si reiterano nelle pratiche linguistiche quotidiane. Ma possono gli usi linguistici essere... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12053215" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Le istituzioni spesso restituiscono un’immagine irragionevole della lingua. Questa immagine si costruisce attraverso usi che si stabilizzano e si reiterano nelle pratiche linguistiche quotidiane. Ma possono gli usi linguistici essere ragionevoli?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12053215" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26281220fa4e5acbabc46a5ca6400bb5" rel="nofollow" data-download="{"attachment_id":51391623,"asset_id":12053215,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51391623/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1217800" href="https://u-pec.academia.edu/RossanaDeAngelis">Rossana De Angelis</a><script data-card-contents-for-user="1217800" type="text/json">{"id":1217800,"first_name":"Rossana","last_name":"De Angelis","domain_name":"u-pec","page_name":"RossanaDeAngelis","display_name":"Rossana De Angelis","profile_url":"https://u-pec.academia.edu/RossanaDeAngelis?f_ri=95130","photo":"https://0.academia-photos.com/1217800/439749/166557016/s65_rossana.de_angelis.jpg"}</script></span></span></li><li class="js-paper-rank-work_12053215 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12053215"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12053215, container: ".js-paper-rank-work_12053215", }); 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$(".js-view-count[data-work-id=12053215]").text(description); $(".js-view-count-work_12053215").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12053215").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12053215"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="807" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_Of_Language">Philosophy Of Language</a>, <script data-card-contents-for-ri="807" type="text/json">{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1200" rel="nofollow" href="https://www.academia.edu/Documents/in/Languages_and_Linguistics">Languages and Linguistics</a><script data-card-contents-for-ri="1200" type="text/json">{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12053215]'), work: {"id":12053215,"title":"Una lingua politicamente corretta. Sugli usi irragionevoli e sugli interventi ragionati / Une langue politiquement correcte. Sur les usages raisonnables et sur les interventions raisonnées","created_at":"2015-04-21T12:37:58.583-07:00","url":"https://www.academia.edu/12053215/Una_lingua_politicamente_corretta_Sugli_usi_irragionevoli_e_sugli_interventi_ragionati_Une_langue_politiquement_correcte_Sur_les_usages_raisonnables_et_sur_les_interventions_raisonn%C3%A9es?f_ri=95130","dom_id":"work_12053215","summary":"Le istituzioni spesso restituiscono un’immagine irragionevole della lingua. Questa immagine si costruisce attraverso usi che si stabilizzano e si reiterano nelle pratiche linguistiche quotidiane. Ma possono gli usi linguistici essere ragionevoli?","downloadable_attachments":[{"id":51391623,"asset_id":12053215,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1217800,"first_name":"Rossana","last_name":"De Angelis","domain_name":"u-pec","page_name":"RossanaDeAngelis","display_name":"Rossana De Angelis","profile_url":"https://u-pec.academia.edu/RossanaDeAngelis?f_ri=95130","photo":"https://0.academia-photos.com/1217800/439749/166557016/s65_rossana.de_angelis.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=95130","nofollow":true},{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=95130","nofollow":true},{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=95130","nofollow":true},{"id":2272,"name":"Gender History","url":"https://www.academia.edu/Documents/in/Gender_History?f_ri=95130"},{"id":15674,"name":"Linguistics","url":"https://www.academia.edu/Documents/in/Linguistics?f_ri=95130"},{"id":48455,"name":"Ferdinand de Saussure","url":"https://www.academia.edu/Documents/in/Ferdinand_de_Saussure?f_ri=95130"},{"id":71595,"name":"Philosophie du langage","url":"https://www.academia.edu/Documents/in/Philosophie_du_langage?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23444711" data-work_id="23444711" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23444711/Algirdas_Julien_Greimas_im_Gespr%C3%A4ch_mit_Peter_Stockinger_Zur_aktuellen_Lage_der_semiotischen_Forschung">Algirdas Julien Greimas im Gespräch mit Peter Stockinger: Zur aktuellen Lage der semiotischen Forschung</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Interview mit Algirdas Julien Greimas, realisiert im April 1983 in Paris. In diesem Interview werden folgende Themen diskutiert: 1) Präsentation der "Pariser Schule" der Semiotik durch Greimas. 2) Platz der Bedutungssemiotik innerhalb... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23444711" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Interview mit Algirdas Julien Greimas, realisiert im April 1983 in Paris. In diesem Interview werden folgende Themen diskutiert: <br />1) Präsentation der "Pariser Schule" der Semiotik durch Greimas. <br />2) Platz der Bedutungssemiotik innerhalb der verschiedenen semiotischen Forschungsrichtungen. <br />3) Die zentralen Modelle der Bedeutungssemiotik: narrative Syntax, modale Syntax, narratives Schema, Aussageweise (Enunziation) und Aussage; Diskurs. <br />4) Semiotik als transdisziplinäre Methodologie.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23444711" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="867f16220b46bfba4694f90498f43c2b" rel="nofollow" data-download="{"attachment_id":43886450,"asset_id":23444711,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43886450/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3087315" href="https://inalco.academia.edu/PeterStockinger">Peter Stockinger</a><script data-card-contents-for-user="3087315" type="text/json">{"id":3087315,"first_name":"Peter","last_name":"Stockinger","domain_name":"inalco","page_name":"PeterStockinger","display_name":"Peter Stockinger","profile_url":"https://inalco.academia.edu/PeterStockinger?f_ri=95130","photo":"https://0.academia-photos.com/3087315/1595922/18293345/s65_peter.stockinger.jpg"}</script></span></span></li><li class="js-paper-rank-work_23444711 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23444711"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23444711, container: ".js-paper-rank-work_23444711", }); 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44755604" data-work_id="44755604" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44755604/%D0%9D%D0%B0%D1%80%D1%80%D0%B0%D1%82%D0%B8%D0%B2%D0%BD%D0%B0%D1%8F_%D0%B2%D0%B8%D0%B7%D1%83%D0%B0%D0%BB%D0%B8%D0%B7%D0%B0%D1%86%D0%B8%D1%8F_%D1%81%D0%BE%D0%B7%D0%BD%D0%B0%D0%BD%D0%B8%D1%8F_%D0%B2%D1%80%D0%B5%D0%BC%D0%B5%D0%BD%D0%B8_%D0%B2_%D0%A8%D0%B0%D1%85%D0%BD%D0%B0%D0%BC%D0%B5_%D0%A4%D0%B8%D1%80%D0%B4%D0%BE%D1%83%D1%81%D0%B8_%D1%84%D0%B5%D0%BD%D0%BE%D0%BC%D0%B5%D0%BD%D0%BE%D0%BB%D0%BE%D0%B3%D0%BE_%D0%B3%D0%B5%D1%80%D0%BC%D0%B5%D0%BD%D0%B5%D0%B2%D1%82%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%B9_%D0%B0%D0%BD%D0%B0%D0%BB%D0%B8%D0%B7_%D0%9F%D0%B5%D1%80%D1%81%D0%B8%D0%B4%D1%81%D0%BA%D0%BE%D0%B3%D0%BE_%D1%81%D0%BF%D0%B8%D1%81%D0%BA%D0%B0_1333_%D0%B3_Narrative_visualization_of_the_consciousness_of_time_in_Shahnameh_by_Ferdowsi_phenomenological_and_hermeneutic_analysis_of_the_Persian_copy_of_1333">Нарративная визуализация сознания времени в «Шахнаме» Фирдоуси: феноменолого-герменевтический анализ Персидского списка 1333 г. / Narrative visualization of the consciousness of time in “Shahnameh” by Ferdowsi: phenomenological and hermeneutic analysis of the Persian copy of 1333</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">В статье рассматриваются миниатюры персидского списка «Шахнаме» Фирдоуси 1333 года как интерактивные нарративные визуализации, влияющие на формирование ситуационного мышления представителя персидского континуума XIV века. Созерцание... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44755604" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">В статье рассматриваются миниатюры персидского списка «Шахнаме» Фирдоуси 1333 года как интерактивные нарративные визуализации, влияющие на формирование ситуационного мышления представителя персидского континуума XIV века. Созерцание живописной миниатюры интегрирует знаньевый потенциал человека и созерцаемую им реальность: благодаря видению «схватываются» и различаются пространственные свойства внешней среды, актуальные состояния мира и параметры жизненного мира, или комплексы образцов поведения. Исследование нарративных визуализаций «Шахнаме» строится на синтезе трансцендентально-феноменологической методологии Э. Гуссерля и положений технической герменевтики как основаниях для выявления нарративно-визуальной схемы моделирования процесса использования знаний созерцателем. В миниатюрах Персидского списка праимпрессии, обозначеные ликами Героев, образуют связь, проявляющуюся в орнаментальном тексте, ретенция визуализируется в изображении рук Героев, фокусирующих внимание на «физическом» элементе истории, а протенция визуально означена изображением коней. Ретенциональное сознание, формируемое нарративными визуализациями в Персидском списке «Шахнаме» 1333 года, способно постигать «конкретное живое настоящее». / The article considers the miniatures of the Persian copy of “Shahnameh” by Ferdowsi of 1333 as interactive narrative visualizations influencing the formation of situational thinking of the representative of the Persian continuum of the XIV century. The contemplation of the pictorial miniature integrates the knowledge potential of man and the reality contemplated by him: due to the vision “grasp” and distinguish the spatial properties of the environment, the current state of the world and the parameters of the life world, or complexes of patterns of behavior. The study of the “Shahnameh” narrative visualizations is based on the synthesis of E. Husserl’s transcendental-phenomenological methodology and the provisions of technical hermeneutics as grounds for revealing the narrative-visual scheme of modeling the process of using knowledge by the beholder. In the miniatures of the Persian copy, the praimpressions, marked by the faces of the Heroes, form a connection, manifested in the ornamental text, the retention is visualized in the image of the Heroes’ hands, focusing on the “physical” element of history, and the protension is visually marked by the image of horses. The retentional consciousness, formed by narrative visualizations in the Persian copy of 1333, is able to comprehend the “konkrete Lebensgegenwart”.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44755604" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="053aea49ea489113bf17c8a24040d2e3" rel="nofollow" data-download="{"attachment_id":65244359,"asset_id":44755604,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65244359/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="56120236" href="https://asu-ru.academia.edu/anikin">Денис Аникин</a><script data-card-contents-for-user="56120236" type="text/json">{"id":56120236,"first_name":"Денис","last_name":"Аникин","domain_name":"asu-ru","page_name":"anikin","display_name":"Денис Аникин","profile_url":"https://asu-ru.academia.edu/anikin?f_ri=95130","photo":"https://0.academia-photos.com/56120236/15002236/21001490/s65__._.jpg"}</script></span></span></li><li class="js-paper-rank-work_44755604 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44755604"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44755604, container: ".js-paper-rank-work_44755604", }); 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Созерцание живописной миниатюры интегрирует знаньевый потенциал человека и созерцаемую им реальность: благодаря видению «схватываются» и различаются пространственные свойства внешней среды, актуальные состояния мира и параметры жизненного мира, или комплексы образцов поведения. Исследование нарративных визуализаций «Шахнаме» строится на синтезе трансцендентально-феноменологической методологии Э. Гуссерля и положений технической герменевтики как основаниях для выявления нарративно-визуальной схемы моделирования процесса использования знаний созерцателем. В миниатюрах Персидского списка праимпрессии, обозначеные ликами Героев, образуют связь, проявляющуюся в орнаментальном тексте, ретенция визуализируется в изображении рук Героев, фокусирующих внимание на «физическом» элементе истории, а протенция визуально означена изображением коней. Ретенциональное сознание, формируемое нарративными визуализациями в Персидском списке «Шахнаме» 1333 года, способно постигать «конкретное живое настоящее». / The article considers the miniatures of the Persian copy of “Shahnameh” by Ferdowsi of 1333 as interactive narrative visualizations influencing the formation of situational thinking of the representative of the Persian continuum of the XIV century. The contemplation of the pictorial miniature integrates the knowledge potential of man and the reality contemplated by him: due to the vision “grasp” and distinguish the spatial properties of the environment, the current state of the world and the parameters of the life world, or complexes of patterns of behavior. The study of the “Shahnameh” narrative visualizations is based on the synthesis of E. Husserl’s transcendental-phenomenological methodology and the provisions of technical hermeneutics as grounds for revealing the narrative-visual scheme of modeling the process of using knowledge by the beholder. In the miniatures of the Persian copy, the praimpressions, marked by the faces of the Heroes, form a connection, manifested in the ornamental text, the retention is visualized in the image of the Heroes’ hands, focusing on the “physical” element of history, and the protension is visually marked by the image of horses. The retentional consciousness, formed by narrative visualizations in the Persian copy of 1333, is able to comprehend the “konkrete Lebensgegenwart”. ","downloadable_attachments":[{"id":65244359,"asset_id":44755604,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56120236,"first_name":"Денис","last_name":"Аникин","domain_name":"asu-ru","page_name":"anikin","display_name":"Денис Аникин","profile_url":"https://asu-ru.academia.edu/anikin?f_ri=95130","photo":"https://0.academia-photos.com/56120236/15002236/21001490/s65__._.jpg"}],"research_interests":[{"id":3934,"name":"Visual Narrative","url":"https://www.academia.edu/Documents/in/Visual_Narrative?f_ri=95130","nofollow":true},{"id":5114,"name":"Hermeneutics","url":"https://www.academia.edu/Documents/in/Hermeneutics?f_ri=95130","nofollow":true},{"id":93091,"name":"Visual Semiology","url":"https://www.academia.edu/Documents/in/Visual_Semiology?f_ri=95130","nofollow":true},{"id":93708,"name":"Persian and Indian Miniature Painting","url":"https://www.academia.edu/Documents/in/Persian_and_Indian_Miniature_Painting?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":117392,"name":"Hermenéutica","url":"https://www.academia.edu/Documents/in/Hermen%C3%A9utica?f_ri=95130"},{"id":194970,"name":"Fenomenología Hermenéutica Lenguaje Levinas Heidegger Husserl","url":"https://www.academia.edu/Documents/in/Fenomenologia_Hermeneutica_Lenguaje_Levinas_Heidegger_Husserl?f_ri=95130"},{"id":245554,"name":"Shahnameh","url":"https://www.academia.edu/Documents/in/Shahnameh?f_ri=95130"},{"id":255046,"name":"Ethics, Theological and Philosophical Antropology and Fenomenology","url":"https://www.academia.edu/Documents/in/Ethics_Theological_and_Philosophical_Antropology_and_Fenomenology?f_ri=95130"},{"id":331260,"name":"Persian Miniatures","url":"https://www.academia.edu/Documents/in/Persian_Miniatures?f_ri=95130"},{"id":351970,"name":"Ferdowsi","url":"https://www.academia.edu/Documents/in/Ferdowsi?f_ri=95130"},{"id":454956,"name":"Fenomenology Studies","url":"https://www.academia.edu/Documents/in/Fenomenology_Studies?f_ri=95130"},{"id":1744017,"name":"Narrative Visualization","url":"https://www.academia.edu/Documents/in/Narrative_Visualization?f_ri=95130"},{"id":3101215,"name":"Ferdowsi’s Shahnameh","url":"https://www.academia.edu/Documents/in/Ferdowsi_s_Shahnameh?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39321904" data-work_id="39321904" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39321904/Misogynoir_and_The_Civil_Rights_Movement_A_Barthesian_Analysis_of_a_Historic_Struggle_as_the_Intersection_of_Race_and_Gender">Misogynoir and The Civil Rights Movement; A Barthesian Analysis of a Historic Struggle as the Intersection of Race and Gender</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39321904" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya Bailey coined the term ‘misogynoir’ to mimic sentiments expressed by early black feminists such as Pauli Murray surrounding the earlier vernacular “Jane crow.” These terms verbalized concepts of intersecting racial and gender hierarchies that uniquely converge to articulate the discrimination experienced by black women in particular. These discriminations in society that targeted black women arose from a long history of the dynamics between mythologies in a Barthesian sense within our collective and immutable perception of the world. The word misogynoir encapsulates the professed ‘second language’ or code that shapes our reality according to Barthes. Misogynoir played a major influencing role in the development of the Civil Rights Movement, which acted as a critical notion in the development of the narrative and actions of the Civil Rights Movement. Through an analysis of the movement so intertwined with and influenced by misogynoir, this paper aims to more fully understand its impact on hierarchical subjugation established through cultural signs and semiology’s second language, as well as how we interpret the world around us. Hence, the Civil Rights Movement serves as a lens to examine the intersections between race and gender, and the consequential manifestation of misogynoir, in patriarchal society.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39321904" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b189c74661ed0b599cf90c255935e1db" rel="nofollow" data-download="{"attachment_id":59460949,"asset_id":39321904,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59460949/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="115373736" href="https://uoregon.academia.edu/aohara">Abbie O'Hara</a><script data-card-contents-for-user="115373736" type="text/json">{"id":115373736,"first_name":"Abbie","last_name":"O'Hara","domain_name":"uoregon","page_name":"aohara","display_name":"Abbie O'Hara","profile_url":"https://uoregon.academia.edu/aohara?f_ri=95130","photo":"https://0.academia-photos.com/115373736/27959187/26214299/s65_abbie.ohara.jpg"}</script></span></span></li><li class="js-paper-rank-work_39321904 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39321904"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39321904, container: ".js-paper-rank-work_39321904", }); 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A Barthesian Analysis of a Historic Struggle as the Intersection of Race and Gender","created_at":"2019-05-31T00:08:47.119-07:00","url":"https://www.academia.edu/39321904/Misogynoir_and_The_Civil_Rights_Movement_A_Barthesian_Analysis_of_a_Historic_Struggle_as_the_Intersection_of_Race_and_Gender?f_ri=95130","dom_id":"work_39321904","summary":"In 1957 Roland Barthes published Mythologies, a text examining how culture has the power to shape social perception and interpretation of the world around us. Following the same line of thought, in 2010, black feminist and theorist Moya Bailey coined the term ‘misogynoir’ to mimic sentiments expressed by early black feminists such as Pauli Murray surrounding the earlier vernacular “Jane crow.” These terms verbalized concepts of intersecting racial and gender hierarchies that uniquely converge to articulate the discrimination experienced by black women in particular. These discriminations in society that targeted black women arose from a long history of the dynamics between mythologies in a Barthesian sense within our collective and immutable perception of the world. The word misogynoir encapsulates the professed ‘second language’ or code that shapes our reality according to Barthes. Misogynoir played a major influencing role in the development of the Civil Rights Movement, which acted as a critical notion in the development of the narrative and actions of the Civil Rights Movement. Through an analysis of the movement so intertwined with and influenced by misogynoir, this paper aims to more fully understand its impact on hierarchical subjugation established through cultural signs and semiology’s second language, as well as how we interpret the world around us. Hence, the Civil Rights Movement serves as a lens to examine the intersections between race and gender, and the consequential manifestation of misogynoir, in patriarchal society. \n","downloadable_attachments":[{"id":59460949,"asset_id":39321904,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":115373736,"first_name":"Abbie","last_name":"O'Hara","domain_name":"uoregon","page_name":"aohara","display_name":"Abbie O'Hara","profile_url":"https://uoregon.academia.edu/aohara?f_ri=95130","photo":"https://0.academia-photos.com/115373736/27959187/26214299/s65_abbie.ohara.jpg"}],"research_interests":[{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=95130","nofollow":true},{"id":14412,"name":"Black feminism","url":"https://www.academia.edu/Documents/in/Black_feminism?f_ri=95130","nofollow":true},{"id":14437,"name":"Civil Rights Movement","url":"https://www.academia.edu/Documents/in/Civil_Rights_Movement?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":196762,"name":"SNCC","url":"https://www.academia.edu/Documents/in/SNCC?f_ri=95130"},{"id":426311,"name":"Pauli Murray","url":"https://www.academia.edu/Documents/in/Pauli_Murray?f_ri=95130"},{"id":573792,"name":"Ida B. Wells","url":"https://www.academia.edu/Documents/in/Ida_B._Wells?f_ri=95130"},{"id":736468,"name":"Rosa Parks","url":"https://www.academia.edu/Documents/in/Rosa_Parks?f_ri=95130"},{"id":1122752,"name":"SCLC","url":"https://www.academia.edu/Documents/in/SCLC?f_ri=95130"},{"id":1741492,"name":"Ella Baker","url":"https://www.academia.edu/Documents/in/Ella_Baker?f_ri=95130"},{"id":1766406,"name":"Misogynoir","url":"https://www.academia.edu/Documents/in/Misogynoir?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20446920" data-work_id="20446920" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20446920/2015_Tacete_Il_nemico_vi_ascolta_Per_una_semiotica_della_taciturnit%C3%A0">2015 - " Tacete! Il nemico vi ascolta. " Per una semiotica della taciturnità</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The amount of new semantic content circulated in a society is limited by implicit norms and explicit rules. Belonging to a community means knowing, mastering, and even interiorizing such restrictions. Some of them are imposed by economy,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20446920" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The amount of new semantic content circulated in a society is limited by implicit norms and explicit rules. Belonging to a community means knowing, mastering, and even interiorizing such restrictions. Some of them are imposed by economy, as in the case of copyright, some by moral, as with pornography, and some for political reasons. In times of international tension such restrictions are tightened, giving rise to state ideologies and rhetorics of taciturnity. The essay explores those that came about in Italy, German, and Japan during World War II but also those that were circulated in their democratic opposers, USA and UK. The study seeks to show the relevance of a semiotic analysis of this corpus of propaganda materials not only for the sake of historical knowledge but also so as to cast new light on urgent present-day issues concerning both private and public conversation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20446920" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="249f6732db670f3f430959238207ef15" rel="nofollow" data-download="{"attachment_id":44201187,"asset_id":20446920,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44201187/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_20446920 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20446920"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20446920, container: ".js-paper-rank-work_20446920", }); 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Il nemico vi ascolta. \" Per una semiotica della taciturnità","created_at":"2016-01-21T17:29:08.855-08:00","url":"https://www.academia.edu/20446920/2015_Tacete_Il_nemico_vi_ascolta_Per_una_semiotica_della_taciturnit%C3%A0?f_ri=95130","dom_id":"work_20446920","summary":"The amount of new semantic content circulated in a society is limited by implicit norms and explicit rules. Belonging to a community means knowing, mastering, and even interiorizing such restrictions. Some of them are imposed by economy, as in the case of copyright, some by moral, as with pornography, and some for political reasons. In times of international tension such restrictions are tightened, giving rise to state ideologies and rhetorics of taciturnity. The essay explores those that came about in Italy, German, and Japan during World War II but also those that were circulated in their democratic opposers, USA and UK. The study seeks to show the relevance of a semiotic analysis of this corpus of propaganda materials not only for the sake of historical knowledge but also so as to cast new light on urgent present-day issues concerning both private and public conversation.","downloadable_attachments":[{"id":44201187,"asset_id":20446920,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=95130","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=95130","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=95130","nofollow":true},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=95130"},{"id":966,"name":"Censorship","url":"https://www.academia.edu/Documents/in/Censorship?f_ri=95130"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=95130"},{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=95130"},{"id":3872,"name":"War Studies","url":"https://www.academia.edu/Documents/in/War_Studies?f_ri=95130"},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130"},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130"},{"id":5082,"name":"Poster Design","url":"https://www.academia.edu/Documents/in/Poster_Design?f_ri=95130"},{"id":5539,"name":"Language and Ideology","url":"https://www.academia.edu/Documents/in/Language_and_Ideology?f_ri=95130"},{"id":5780,"name":"Ideology","url":"https://www.academia.edu/Documents/in/Ideology?f_ri=95130"},{"id":5781,"name":"Fascism","url":"https://www.academia.edu/Documents/in/Fascism?f_ri=95130"},{"id":6000,"name":"Manga and Anime Studies","url":"https://www.academia.edu/Documents/in/Manga_and_Anime_Studies?f_ri=95130"},{"id":6662,"name":"Secrecy","url":"https://www.academia.edu/Documents/in/Secrecy?f_ri=95130"},{"id":7915,"name":"Silence","url":"https://www.academia.edu/Documents/in/Silence?f_ri=95130"},{"id":11467,"name":"Visual Communication","url":"https://www.academia.edu/Documents/in/Visual_Communication?f_ri=95130"},{"id":12739,"name":"Second World War","url":"https://www.academia.edu/Documents/in/Second_World_War?f_ri=95130"},{"id":12754,"name":"Language Ideology","url":"https://www.academia.edu/Documents/in/Language_Ideology?f_ri=95130"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130"},{"id":18640,"name":"Ideology and Discourse Analysis","url":"https://www.academia.edu/Documents/in/Ideology_and_Discourse_Analysis?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":66678,"name":"Nazism","url":"https://www.academia.edu/Documents/in/Nazism?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":288128,"name":"War Propaganda","url":"https://www.academia.edu/Documents/in/War_Propaganda?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40297793" data-work_id="40297793" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40297793/Big_semiotics_Beyond_signs_and_symbols">Big semiotics: Beyond signs and symbols</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article is for marketers who use semiotics. It argues that semiotic analysis is not complete until signs and symbols are meaningfully connected to society, culture, and ideology. The unique qualities of top-down semiotics are... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40297793" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article is for marketers who use semiotics. It argues that semiotic analysis is not complete until signs and symbols are meaningfully connected to society, culture, and ideology. The unique qualities of top-down semiotics are explained. The implications for semiotics of structuralism and post-structuralism are discussed. Research questions are suggested and various kinds of analysis are demonstrated: diachronic, synchronic, and ideological analysis. Key concepts in analysis are explored such as power, simulation, and reading against the grain. Readers are directed to Foucault, Baudrillard, and Derrida as leaders in postmodern and post-structuralist thought. Theory is applied to examples likely to be of interest to marketers such as celebrity merchandise, smartphone accessories, and the TV advertising of a British department store.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40297793" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="500ccff70dc130c3b66f09ee5fbf11a2" rel="nofollow" data-download="{"attachment_id":60537227,"asset_id":40297793,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60537227/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33295919" href="https://independent.academia.edu/LawesRachel">Rachel Lawes</a><script data-card-contents-for-user="33295919" type="text/json">{"id":33295919,"first_name":"Rachel","last_name":"Lawes","domain_name":"independent","page_name":"LawesRachel","display_name":"Rachel Lawes","profile_url":"https://independent.academia.edu/LawesRachel?f_ri=95130","photo":"https://0.academia-photos.com/33295919/31955723/162559664/s65_rachel.lawes.png"}</script></span></span></li><li class="js-paper-rank-work_40297793 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40297793"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40297793, container: ".js-paper-rank-work_40297793", }); 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It argues that semiotic analysis is not complete until signs and symbols are meaningfully connected to society, culture, and ideology. The unique qualities of top-down semiotics are explained. The implications for semiotics of structuralism and post-structuralism are discussed. Research questions are suggested and various kinds of analysis are demonstrated: diachronic, synchronic, and ideological analysis. Key concepts in analysis are explored such as power, simulation, and reading against the grain. Readers are directed to Foucault, Baudrillard, and Derrida as leaders in postmodern and post-structuralist thought. Theory is applied to examples likely to be of interest to marketers such as celebrity merchandise, smartphone accessories, and the TV advertising of a British department store.","downloadable_attachments":[{"id":60537227,"asset_id":40297793,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33295919,"first_name":"Rachel","last_name":"Lawes","domain_name":"independent","page_name":"LawesRachel","display_name":"Rachel Lawes","profile_url":"https://independent.academia.edu/LawesRachel?f_ri=95130","photo":"https://0.academia-photos.com/33295919/31955723/162559664/s65_rachel.lawes.png"}],"research_interests":[{"id":39,"name":"Marketing","url":"https://www.academia.edu/Documents/in/Marketing?f_ri=95130","nofollow":true},{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=95130","nofollow":true},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":196,"name":"Future Studies","url":"https://www.academia.edu/Documents/in/Future_Studies?f_ri=95130","nofollow":true},{"id":248,"name":"Social Psychology","url":"https://www.academia.edu/Documents/in/Social_Psychology?f_ri=95130"},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=95130"},{"id":3637,"name":"Advertising","url":"https://www.academia.edu/Documents/in/Advertising?f_ri=95130"},{"id":5780,"name":"Ideology","url":"https://www.academia.edu/Documents/in/Ideology?f_ri=95130"},{"id":9538,"name":"Consumer Behavior","url":"https://www.academia.edu/Documents/in/Consumer_Behavior?f_ri=95130"},{"id":13666,"name":"Consumer Culture","url":"https://www.academia.edu/Documents/in/Consumer_Culture?f_ri=95130"},{"id":15674,"name":"Linguistics","url":"https://www.academia.edu/Documents/in/Linguistics?f_ri=95130"},{"id":23735,"name":"Branding","url":"https://www.academia.edu/Documents/in/Branding?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39098601" data-work_id="39098601" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39098601/Semiolog%C3%ADa_De_los_signos_a_las_mediatizaciones">Semiología. De los signos a las mediatizaciones</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Se reconstruyen las principales líneas de desarrollo que ha tenido la Semiología, los consensos, como así también las tensiones y debates que la atraviesan. Los temas que trata son el signo, enfocado desde autores como Ferdinand de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39098601" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Se reconstruyen las principales líneas de desarrollo que ha tenido la Semiología, los consensos, como así también las tensiones y debates que la atraviesan. Los temas que trata son el signo, enfocado desde autores como Ferdinand de Saussure y Charles Peirce, el uso del lenguaje, el discurso social, la ideología y el estudio de los medios de comunicación, con autores como Eliseo Verón.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39098601" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6eba82bcdfad06b710889d05e8d8276c" rel="nofollow" data-download="{"attachment_id":59217183,"asset_id":39098601,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59217183/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13015110" href="https://uba.academia.edu/Mar%C3%ADaPaulaGago">María Paula Gago</a><script data-card-contents-for-user="13015110" type="text/json">{"id":13015110,"first_name":"María Paula","last_name":"Gago","domain_name":"uba","page_name":"MaríaPaulaGago","display_name":"María Paula Gago","profile_url":"https://uba.academia.edu/Mar%C3%ADaPaulaGago?f_ri=95130","photo":"https://0.academia-photos.com/13015110/6745096/24863097/s65_mar_a_paula.gago.jpg"}</script></span></span></li><li class="js-paper-rank-work_39098601 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39098601"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39098601, container: ".js-paper-rank-work_39098601", }); 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De los signos a las mediatizaciones","created_at":"2019-05-11T17:39:08.098-07:00","url":"https://www.academia.edu/39098601/Semiolog%C3%ADa_De_los_signos_a_las_mediatizaciones?f_ri=95130","dom_id":"work_39098601","summary":"Se reconstruyen las principales líneas de desarrollo que ha tenido la Semiología, los consensos, como así también las tensiones y debates que la atraviesan. Los temas que trata son el signo, enfocado desde autores como Ferdinand de Saussure y Charles Peirce, el uso del lenguaje, el discurso social, la ideología y el estudio de los medios de comunicación, con autores como Eliseo Verón.","downloadable_attachments":[{"id":59217183,"asset_id":39098601,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13015110,"first_name":"María Paula","last_name":"Gago","domain_name":"uba","page_name":"MaríaPaulaGago","display_name":"María Paula Gago","profile_url":"https://uba.academia.edu/Mar%C3%ADaPaulaGago?f_ri=95130","photo":"https://0.academia-photos.com/13015110/6745096/24863097/s65_mar_a_paula.gago.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":41982,"name":"Análisis del Discurso","url":"https://www.academia.edu/Documents/in/An%C3%A1lisis_del_Discurso?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130","nofollow":true},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38520151" data-work_id="38520151" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38520151/2019_The_Semiotics_of_Cultural_Heritage_Representing_the_Face_across_History_and_Civilizations">2019 - The Semiotics of Cultural Heritage - Representing the Face across History and Civilizations</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An International, Interdisciplinary Conference Organized by SILC, Semiotic Interdisciplinary Laboratory on Cultures, Shanghai University and University of Turin Co-Sponsored by The Department of Chinese Language and Literature,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38520151" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An International, Interdisciplinary Conference Organized by<br /><br /><br />SILC, Semiotic Interdisciplinary Laboratory on Cultures, Shanghai University and University of Turin<br /><br />Co-Sponsored by<br /><br />The Department of Chinese Language and Literature, Shanghai University, Shanghai, China<br /><br />CIRCE, the Interdisciplinary Center for Research on Communication, University of Turin, Italy<br /><br />The European Research Council (This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 819649 – FACETS).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38520151" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7e403b5cf9aef018495e0cd2171377d0" rel="nofollow" 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Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5110" rel="nofollow" href="https://www.academia.edu/Documents/in/Face_Recognition">Face Recognition</a><script data-card-contents-for-ri="5110" type="text/json">{"id":5110,"name":"Face Recognition","url":"https://www.academia.edu/Documents/in/Face_Recognition?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38520151]'), work: {"id":38520151,"title":"2019 - The Semiotics of 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FACETS).","downloadable_attachments":[{"id":58588799,"asset_id":38520151,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130","nofollow":true},{"id":5110,"name":"Face Recognition","url":"https://www.academia.edu/Documents/in/Face_Recognition?f_ri=95130","nofollow":true},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130"},{"id":13872,"name":"Facebook","url":"https://www.academia.edu/Documents/in/Facebook?f_ri=95130"},{"id":14022,"name":"Film Semiotics","url":"https://www.academia.edu/Documents/in/Film_Semiotics?f_ri=95130"},{"id":28499,"name":"Face perception","url":"https://www.academia.edu/Documents/in/Face_perception?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":38364,"name":"Peircean Semiotics","url":"https://www.academia.edu/Documents/in/Peircean_Semiotics?f_ri=95130"},{"id":58119,"name":"Facebook Studies","url":"https://www.academia.edu/Documents/in/Facebook_Studies?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":432017,"name":"Semiotika","url":"https://www.academia.edu/Documents/in/Semiotika?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44665752" data-work_id="44665752" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44665752/Semiosis_of_Power_in_Early_Medieval_Culture_Myths_Monsters_Intertexts">Semiosis of Power in Early Medieval Culture: Myths, Monsters, Intertexts</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The book presents a semiotic approach to the study of power relations in the symbolic space of medieval culture. A critical analysis of medieval texts was carried out in accordance with the methodology of European structuralist and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44665752" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The book presents a semiotic approach to the study of power relations in the symbolic space of medieval culture.<br />A critical analysis of medieval texts was carried out in accordance with the methodology of European structuralist and poststructuralist tradition (Roland Barthes, Michel Foucault, Umberto Eco, Jean Baudrillard), as well as Russian semiotic tradition (Mikhail Bakhtin, Juri Stepanov, Juri Lotman, Boris Uspensky, Viktor Toporov, Sergei Proskurin).<br />The author analyzes the early medieval historical works of Jordanes, Gregory of Tours, Bede the Venerable, Paul the Deacon, Snorri Sturluson and other authors. The book raises questions of the realiation of the plot of teratomachia (Greek “fight against monsters”) in political culture. The murder of a monster becomes a kind of initiation of an archetypal Hero (for example, such as Theseus, Perseus, Sigurd, Beowulf, etc.), who manifests his individuality and strengthens his authority as a military leader or potential ruler through the victory over the monster. Formation of the comitatus culture and rising power of military leaders is associated with the development of ideas about the kinship of military aristocracy with the world of monsters, which is reflected in the representation of royal power.<br />The semiotics of power in archaic Germanic culture is identified as being of a physiological nature - the signs of power are represented by various aspects of the ruler’s body, both innate and acquired as a result of certain ritual practices, such as long hair or characteristic features of the body of representatives of the ruling Merovingian family. Such phenomena are explained through the prism of the “quasi-bodily” code of archaic culture. The psychological aspects of the perception of the physiological aspects of power are analyzed through the prism of the methodology of S. Freud, A. Adler and E. Berne.<br />The formation of medieval culture is considered from the point of view of the transformation of the perception of symbolic structures and the development of the practice of symbolic representation in the space of political communication. The author analyzes semiotic aspects of overcoming physiological limitations and weakening the biological relevance of power, which took place in the form of ideas about the transfer of charisma through the things of the ruler, transmitted within the framework of symbolic redistribution and the medieval gift economy.<br />In accordance with the methodology of K. Jung, J. Campbell and E. Meletinsky, the archetypes underlying the perception of power in medieval literature (Hero, Wise old man, Father, Shadow, Seeker, Child, etc.) are analyzed.<br />The author examines the methods of forming political myths in the works of intellectuals of the late antiquity - Flavius Cassiodorus, Severinus Boethius, Isidore of Seville, in particular, myths concerning the categories of equality and freedom. The medieval perception of the “barbarian” world is considered in accordance with the methodology of the Moscow-Tartu semiotic school from the point of view of the dynamics of the processes of semiosphere - the interaction of the cultural core, periphery and border space of the era of late Antiquity and the early Middle Ages.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44665752" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51f178570f5ec77214dc2ed39ec38583" rel="nofollow" data-download="{"attachment_id":65154562,"asset_id":44665752,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65154562/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6196054" href="https://nsu-ru.academia.edu/SergeySannikov">Sergey Sannikov</a><script data-card-contents-for-user="6196054" type="text/json">{"id":6196054,"first_name":"Sergey","last_name":"Sannikov","domain_name":"nsu-ru","page_name":"SergeySannikov","display_name":"Sergey Sannikov","profile_url":"https://nsu-ru.academia.edu/SergeySannikov?f_ri=95130","photo":"https://0.academia-photos.com/6196054/2565849/19334512/s65_sergey.sannikov.jpg"}</script></span></span></li><li class="js-paper-rank-work_44665752 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44665752"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44665752, container: ".js-paper-rank-work_44665752", }); 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$(".js-view-count[data-work-id=44665752]").text(description); $(".js-view-count-work_44665752").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44665752").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44665752"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1446" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_History">Medieval History</a>, <script data-card-contents-for-ri="1446" type="text/json">{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2853" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Studies">Medieval Studies</a>, <script data-card-contents-for-ri="2853" type="text/json">{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3903" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a><script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44665752]'), work: {"id":44665752,"title":"Semiosis of Power in Early Medieval Culture: Myths, Monsters, Intertexts","created_at":"2020-12-09T00:35:59.433-08:00","url":"https://www.academia.edu/44665752/Semiosis_of_Power_in_Early_Medieval_Culture_Myths_Monsters_Intertexts?f_ri=95130","dom_id":"work_44665752","summary":"The book presents a semiotic approach to the study of power relations in the symbolic space of medieval culture.\nA critical analysis of medieval texts was carried out in accordance with the methodology of European structuralist and poststructuralist tradition (Roland Barthes, Michel Foucault, Umberto Eco, Jean Baudrillard), as well as Russian semiotic tradition (Mikhail Bakhtin, Juri Stepanov, Juri Lotman, Boris Uspensky, Viktor Toporov, Sergei Proskurin).\nThe author analyzes the early medieval historical works of Jordanes, Gregory of Tours, Bede the Venerable, Paul the Deacon, Snorri Sturluson and other authors. The book raises questions of the realiation of the plot of teratomachia (Greek “fight against monsters”) in political culture. The murder of a monster becomes a kind of initiation of an archetypal Hero (for example, such as Theseus, Perseus, Sigurd, Beowulf, etc.), who manifests his individuality and strengthens his authority as a military leader or potential ruler through the victory over the monster. Formation of the comitatus culture and rising power of military leaders is associated with the development of ideas about the kinship of military aristocracy with the world of monsters, which is reflected in the representation of royal power.\nThe semiotics of power in archaic Germanic culture is identified as being of a physiological nature - the signs of power are represented by various aspects of the ruler’s body, both innate and acquired as a result of certain ritual practices, such as long hair or characteristic features of the body of representatives of the ruling Merovingian family. Such phenomena are explained through the prism of the “quasi-bodily” code of archaic culture. The psychological aspects of the perception of the physiological aspects of power are analyzed through the prism of the methodology of S. Freud, A. Adler and E. Berne.\nThe formation of medieval culture is considered from the point of view of the transformation of the perception of symbolic structures and the development of the practice of symbolic representation in the space of political communication. The author analyzes semiotic aspects of overcoming physiological limitations and weakening the biological relevance of power, which took place in the form of ideas about the transfer of charisma through the things of the ruler, transmitted within the framework of symbolic redistribution and the medieval gift economy.\nIn accordance with the methodology of K. Jung, J. Campbell and E. Meletinsky, the archetypes underlying the perception of power in medieval literature (Hero, Wise old man, Father, Shadow, Seeker, Child, etc.) are analyzed.\nThe author examines the methods of forming political myths in the works of intellectuals of the late antiquity - Flavius Cassiodorus, Severinus Boethius, Isidore of Seville, in particular, myths concerning the categories of equality and freedom. The medieval perception of the “barbarian” world is considered in accordance with the methodology of the Moscow-Tartu semiotic school from the point of view of the dynamics of the processes of semiosphere - the interaction of the cultural core, periphery and border space of the era of late Antiquity and the early Middle Ages.","downloadable_attachments":[{"id":65154562,"asset_id":44665752,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6196054,"first_name":"Sergey","last_name":"Sannikov","domain_name":"nsu-ru","page_name":"SergeySannikov","display_name":"Sergey Sannikov","profile_url":"https://nsu-ru.academia.edu/SergeySannikov?f_ri=95130","photo":"https://0.academia-photos.com/6196054/2565849/19334512/s65_sergey.sannikov.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=95130","nofollow":true},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=95130"},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=95130"},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=95130"},{"id":18226,"name":"Medieval Culture","url":"https://www.academia.edu/Documents/in/Medieval_Culture?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":70804,"name":"Cassiodorus","url":"https://www.academia.edu/Documents/in/Cassiodorus?f_ri=95130"},{"id":74202,"name":"Ostrogoths","url":"https://www.academia.edu/Documents/in/Ostrogoths?f_ri=95130"},{"id":76381,"name":"Yuri Lotman","url":"https://www.academia.edu/Documents/in/Yuri_Lotman?f_ri=95130"},{"id":77109,"name":"Great Migration period","url":"https://www.academia.edu/Documents/in/Great_Migration_period?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":114010,"name":"Visigoths","url":"https://www.academia.edu/Documents/in/Visigoths?f_ri=95130"},{"id":152169,"name":"Aaron Gurevich","url":"https://www.academia.edu/Documents/in/Aaron_Gurevich?f_ri=95130"},{"id":544148,"name":"Ancient Germans","url":"https://www.academia.edu/Documents/in/Ancient_Germans?f_ri=95130"},{"id":692561,"name":"Tartu-Moscow School","url":"https://www.academia.edu/Documents/in/Tartu-Moscow_School?f_ri=95130"},{"id":2045455,"name":"Political semiotics","url":"https://www.academia.edu/Documents/in/Political_semiotics?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24077598" data-work_id="24077598" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24077598/Algunas_aplicaciones_de_la_teor%C3%ADa_de_las_funciones_semi%C3%B3ticas_a_la_did%C3%A1ctica_del_an%C3%A1lisis_infinitesimal">Algunas aplicaciones de la teoría de las funciones semióticas a la didáctica del análisis infinitesimal</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Dans la première partie de ce travail nous présentons un résumé de la théorie des fonctions sémiotiques. Dans la deuxième, nous exposons différentes recherches sur la didactique de l'analyse où cette théorie a été utilisée comme cadre. La... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24077598" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Dans la première partie de ce travail nous présentons un résumé de la théorie des fonctions sémiotiques. Dans la deuxième, nous exposons différentes recherches sur la didactique de l'analyse où cette théorie a été utilisée comme cadre. La contribution de ces travaux de recherche est remarquable pour deux raisons. D'abord ils ont permis de détecter certains phénomènes didactiques et de suggérer la cause qui les a produits. Puis ils ont facilité la mise à point d'une technique d'analyse des textes mathématiques de type ontologicosémiotique qui se montre dans cet article grâce à l'étude d'un texte où l'on définit la fonction dérivée.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24077598" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0fe7c003011dfb186593aa338ed6fe36" rel="nofollow" data-download="{"attachment_id":44447011,"asset_id":24077598,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44447011/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="182312" href="https://barcelona.academia.edu/Vicen%C3%A7Font">Vicenç Font</a><script data-card-contents-for-user="182312" type="text/json">{"id":182312,"first_name":"Vicenç","last_name":"Font","domain_name":"barcelona","page_name":"VicençFont","display_name":"Vicenç Font","profile_url":"https://barcelona.academia.edu/Vicen%C3%A7Font?f_ri=95130","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_24077598 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24077598"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24077598, container: ".js-paper-rank-work_24077598", }); 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Dans la deuxième, nous exposons différentes recherches sur la didactique de l'analyse où cette théorie a été utilisée comme cadre. La contribution de ces travaux de recherche est remarquable pour deux raisons. D'abord ils ont permis de détecter certains phénomènes didactiques et de suggérer la cause qui les a produits. Puis ils ont facilité la mise à point d'une technique d'analyse des textes mathématiques de type ontologicosémiotique qui se montre dans cet article grâce à l'étude d'un texte où l'on définit la fonction dérivée.","downloadable_attachments":[{"id":44447011,"asset_id":24077598,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":182312,"first_name":"Vicenç","last_name":"Font","domain_name":"barcelona","page_name":"VicençFont","display_name":"Vicenç Font","profile_url":"https://barcelona.academia.edu/Vicen%C3%A7Font?f_ri=95130","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":300,"name":"Mathematics","url":"https://www.academia.edu/Documents/in/Mathematics?f_ri=95130","nofollow":true},{"id":6002,"name":"Theory","url":"https://www.academia.edu/Documents/in/Theory?f_ri=95130","nofollow":true},{"id":77936,"name":"Text","url":"https://www.academia.edu/Documents/in/Text?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37484536" data-work_id="37484536" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37484536/_Franklin_H_Knower_1901_1993_A_Model_for_Communicology_Edited_Reprint_with_an_Introduction_2018_">"Franklin H. Knower (1901–1993)—A Model for Communicology": Edited Reprint with an Introduction (2018)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ABSTRACT The foundation of disciplines is often associated with initial books and their authors. The discipline of speech–communication– communicology is no exception. Books by Albert Craig Baird, Lester Thonssen, and Franklin Hayward... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37484536" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ABSTRACT<br />The foundation of disciplines is often associated with initial books and their authors. The discipline of speech–communication– communicology is no exception. Books by Albert Craig Baird, Lester Thonssen, and Franklin Hayward Knower serve as the definition of our early discipline. This article is about foresight— the anticipation of future developments for what was initially called “general speech,” whose practitioners have ever since been known as generalists. Departments and schools of communicology are now emerging worldwide as a synthesis of problematics and thematics that used to be called general speech. Knower suggested in 1962 that the beginning of theoretical and applied coherence must begin with a descriptive single-term name. Long overlooked, if known at all, and certainly never reprinted, is Knower’s candidate for a name and definition of a discipline he called communicology. This article is an edited</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37484536" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ef3de24def58386c45466f5c68000950" rel="nofollow" data-download="{"attachment_id":57454382,"asset_id":37484536,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57454382/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34963654" href="https://siucarbondale.academia.edu/RichardLanigan">Richard L Lanigan</a><script data-card-contents-for-user="34963654" type="text/json">{"id":34963654,"first_name":"Richard","last_name":"Lanigan","domain_name":"siucarbondale","page_name":"RichardLanigan","display_name":"Richard L Lanigan","profile_url":"https://siucarbondale.academia.edu/RichardLanigan?f_ri=95130","photo":"https://0.academia-photos.com/34963654/11595622/12931251/s65_richard.lanigan.jpg"}</script></span></span></li><li class="js-paper-rank-work_37484536 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37484536"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37484536, container: ".js-paper-rank-work_37484536", }); 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Knower (1901–1993)—A Model for Communicology\": Edited Reprint with an Introduction (2018)","created_at":"2018-09-26T14:37:31.311-07:00","url":"https://www.academia.edu/37484536/_Franklin_H_Knower_1901_1993_A_Model_for_Communicology_Edited_Reprint_with_an_Introduction_2018_?f_ri=95130","dom_id":"work_37484536","summary":"ABSTRACT\nThe foundation of disciplines is often associated with initial books and their authors. The discipline of speech–communication– communicology is no exception. Books by Albert Craig Baird, Lester Thonssen, and Franklin Hayward Knower serve as the definition of our early discipline. This article is about foresight— the anticipation of future developments for what was initially called “general speech,” whose practitioners have ever since been known as generalists. Departments and schools of communicology are now emerging worldwide as a synthesis of problematics and thematics that used to be called general speech. Knower suggested in 1962 that the beginning of theoretical and applied coherence must begin with a descriptive single-term name. Long overlooked, if known at all, and certainly never reprinted, is Knower’s candidate for a name and definition of a discipline he called communicology. This article is an edited","downloadable_attachments":[{"id":57454382,"asset_id":37484536,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34963654,"first_name":"Richard","last_name":"Lanigan","domain_name":"siucarbondale","page_name":"RichardLanigan","display_name":"Richard L Lanigan","profile_url":"https://siucarbondale.academia.edu/RichardLanigan?f_ri=95130","photo":"https://0.academia-photos.com/34963654/11595622/12931251/s65_richard.lanigan.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=95130","nofollow":true},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=95130","nofollow":true},{"id":11010,"name":"Communication Theory","url":"https://www.academia.edu/Documents/in/Communication_Theory?f_ri=95130","nofollow":true},{"id":15817,"name":"Speech Communication","url":"https://www.academia.edu/Documents/in/Speech_Communication?f_ri=95130"},{"id":19582,"name":"George Herbert Mead","url":"https://www.academia.edu/Documents/in/George_Herbert_Mead?f_ri=95130"},{"id":20426,"name":"Gregory Bateson","url":"https://www.academia.edu/Documents/in/Gregory_Bateson?f_ri=95130"},{"id":59182,"name":"Phenomenology and Communication (Alfred Schutz)","url":"https://www.academia.edu/Documents/in/Phenomenology_and_Communication_Alfred_Schutz_?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":160608,"name":"Communicology","url":"https://www.academia.edu/Documents/in/Communicology?f_ri=95130"},{"id":206851,"name":"Margaret Mead","url":"https://www.academia.edu/Documents/in/Margaret_Mead?f_ri=95130"},{"id":292907,"name":"Alfred Schutz","url":"https://www.academia.edu/Documents/in/Alfred_Schutz?f_ri=95130"},{"id":369359,"name":"Charles W. Morris","url":"https://www.academia.edu/Documents/in/Charles_W._Morris?f_ri=95130"},{"id":921857,"name":"Semiotika Charles Morris","url":"https://www.academia.edu/Documents/in/Semiotika_Charles_Morris?f_ri=95130"},{"id":1468197,"name":"Karl Bühler","url":"https://www.academia.edu/Documents/in/Karl_Buhler?f_ri=95130"},{"id":1679669,"name":"National Communication Association","url":"https://www.academia.edu/Documents/in/National_Communication_Association?f_ri=95130"},{"id":1705555,"name":"New School for Social Research","url":"https://www.academia.edu/Documents/in/New_School_for_Social_Research?f_ri=95130"},{"id":2389503,"name":"International Communication Association","url":"https://www.academia.edu/Documents/in/International_Communication_Association?f_ri=95130"},{"id":3029162,"name":"International Communicology Institute","url":"https://www.academia.edu/Documents/in/International_Communicology_Institute?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36126663" data-work_id="36126663" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36126663/La_interpretaci%C3%B3n_en_la_Fotograf%C3%ADa_pptx">La interpretación en la Fotografía.pptx</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Un método interpretativo basado en la Semiología, psicología de la percepcíon,  neurobiología y biologia evolutiva para saber que significa una fotografía</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36126663" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eb85102c68c416e99107ce407a53b760" rel="nofollow" data-download="{"attachment_id":56019158,"asset_id":36126663,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56019158/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25879282" href="https://esav.academia.edu/SalvadorLeon">Salvador Leon</a><script data-card-contents-for-user="25879282" type="text/json">{"id":25879282,"first_name":"Salvador","last_name":"Leon","domain_name":"esav","page_name":"SalvadorLeon","display_name":"Salvador Leon","profile_url":"https://esav.academia.edu/SalvadorLeon?f_ri=95130","photo":"https://0.academia-photos.com/25879282/8107735/56440032/s65_salvador.leon.jpg"}</script></span></span></li><li class="js-paper-rank-work_36126663 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36126663"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36126663, container: ".js-paper-rank-work_36126663", }); 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Two essays towards a clarification</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">1. The first essay aims at clarifying the relation holding or not holding between deixis and indexicality, and then elaborating a new model based on the Danish semiotic enunciation theory that could also account for reference. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28265462" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1. The first essay aims at clarifying the relation holding or not holding between deixis and indexicality, and then elaborating a new model based on the Danish semiotic enunciation theory that could also account for reference. The semiotic ‘mystery’ in question is the mysterious fact that the intersubjective aspect of deixis has to constitute the referential anchoring of signified meaning in the extra-communicational world. The model proposed may lay the ground for a new understanding of signs as such.<br />2. The second essay aims at clarifying the relation holding or not holding between deixis and indexicality, and then elaborating a new model based on the Danish semiotic enunciation theory that could also account for reference. The 'mystery' in question is the mysterious fact that the intersubjective aspect of deixis has to constitute the referential anchoring of signified meaning in the extra-communicational world. The model proposed may lay the ground for a new understanding of signs as such.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28265462" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ed2f50e1c4d14acd1a2dc81547665740" rel="nofollow" data-download="{"attachment_id":48588745,"asset_id":28265462,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48588745/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="299278" href="https://case.academia.edu/PBrandt">Per Aage Brandt</a><script data-card-contents-for-user="299278" type="text/json">{"id":299278,"first_name":"Per Aage","last_name":"Brandt","domain_name":"case","page_name":"PBrandt","display_name":"Per Aage Brandt","profile_url":"https://case.academia.edu/PBrandt?f_ri=95130","photo":"https://0.academia-photos.com/299278/73850/80650/s65_per_aage.brandt.jpg"}</script></span></span></li><li class="js-paper-rank-work_28265462 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28265462"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28265462, container: ".js-paper-rank-work_28265462", }); 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$(".js-view-count[data-work-id=28265462]").text(description); $(".js-view-count-work_28265462").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28265462").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28265462"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1830" rel="nofollow" href="https://www.academia.edu/Documents/in/Gesture_Studies">Gesture Studies</a>, <script data-card-contents-for-ri="1830" type="text/json">{"id":1830,"name":"Gesture Studies","url":"https://www.academia.edu/Documents/in/Gesture_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11876" rel="nofollow" href="https://www.academia.edu/Documents/in/Deixis">Deixis</a>, <script data-card-contents-for-ri="11876" type="text/json">{"id":11876,"name":"Deixis","url":"https://www.academia.edu/Documents/in/Deixis?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="65343" rel="nofollow" href="https://www.academia.edu/Documents/in/COGNITIVE_SEMIOTICS-1">COGNITIVE SEMIOTICS</a>, <script data-card-contents-for-ri="65343" type="text/json">{"id":65343,"name":"COGNITIVE SEMIOTICS","url":"https://www.academia.edu/Documents/in/COGNITIVE_SEMIOTICS-1?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="95130" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiology">Semiology</a><script data-card-contents-for-ri="95130" type="text/json">{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28265462]'), work: {"id":28265462,"title":"Deixis and the ontology of signs. 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The model proposed may lay the ground for a new understanding of signs as such.","downloadable_attachments":[{"id":48588745,"asset_id":28265462,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":299278,"first_name":"Per Aage","last_name":"Brandt","domain_name":"case","page_name":"PBrandt","display_name":"Per Aage Brandt","profile_url":"https://case.academia.edu/PBrandt?f_ri=95130","photo":"https://0.academia-photos.com/299278/73850/80650/s65_per_aage.brandt.jpg"}],"research_interests":[{"id":1830,"name":"Gesture Studies","url":"https://www.academia.edu/Documents/in/Gesture_Studies?f_ri=95130","nofollow":true},{"id":11876,"name":"Deixis","url":"https://www.academia.edu/Documents/in/Deixis?f_ri=95130","nofollow":true},{"id":65343,"name":"COGNITIVE SEMIOTICS","url":"https://www.academia.edu/Documents/in/COGNITIVE_SEMIOTICS-1?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26582977" data-work_id="26582977" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26582977/GLOSARIO_PULMONAR_docx">GLOSARIO PULMONAR.docx</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">1. APNEA: detención del flujo aéreo respiratorio por falta de estímulo central u obstrucción de la vía aérea central 2. ATELECTASIA LINEAL: Se trata de una atelectasia subsegmentaria de morfología lineal, casi siempre extendiendose hacia... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26582977" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1. APNEA: detención del flujo aéreo respiratorio por falta de estímulo central u obstrucción de la vía aérea central 2. ATELECTASIA LINEAL: Se trata de una atelectasia subsegmentaria de morfología lineal, casi siempre extendiendose hacia la pleura, generalmente de disposición horizontal, pero a veces oblicua o vertical. Su grosor va de unos milimétros hastamás de 1 cm. Tambien se llaman discoides o en placa. 3. ATELECTASIA REDONDA: Colapso pulmonar asociado a engrosamiento pleural y de los septos interlobulillares 4. ATELECTASIA: Es una reducción de la aireación de todo o parte del pulmón 5. ATRAPAMIENTO AEREO: Es la retención de aire distal a una obstrucción, generalmente parcial. 6. BRONCOCELE: Es una dilatación bronquial debida a secreciones retenidas (impactación mucoide) habitualmente por obstrucción proximal, ya sea congénita o adquirida. 7. BRONCOCÉNTRICO: Este descriptor es aplicado a trastornos que se centran a nivel macroscópico en los hilios pulmonares 8. BRONCOGRAMA AEREO: Se trata de un bronquio relleno de aire (baja atenuación) en el interior de un pulmón opaco (alta atenuación). 9. BRONCOLITO: Se trata de un ganglio linfático calcificado peribronquial que erosiona y se introduce en el bronquio adyacente, es más frecuente como consecuencia de tuberculosis o histoplasmosis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26582977" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="66a8da7247df55c4357bfa1d82c13d38" rel="nofollow" data-download="{"attachment_id":46874140,"asset_id":26582977,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46874140/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31725139" href="https://udla.academia.edu/AlejandraBarreto">Alejandra Barreto Grimaldos</a><script data-card-contents-for-user="31725139" type="text/json">{"id":31725139,"first_name":"Alejandra","last_name":"Barreto Grimaldos","domain_name":"udla","page_name":"AlejandraBarreto","display_name":"Alejandra Barreto Grimaldos","profile_url":"https://udla.academia.edu/AlejandraBarreto?f_ri=95130","photo":"https://0.academia-photos.com/31725139/9409201/38411108/s65_alejandra.barreto_grimaldos.jpg"}</script></span></span></li><li class="js-paper-rank-work_26582977 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26582977"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26582977, container: ".js-paper-rank-work_26582977", }); 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APNEA: detención del flujo aéreo respiratorio por falta de estímulo central u obstrucción de la vía aérea central 2. ATELECTASIA LINEAL: Se trata de una atelectasia subsegmentaria de morfología lineal, casi siempre extendiendose hacia la pleura, generalmente de disposición horizontal, pero a veces oblicua o vertical. Su grosor va de unos milimétros hastamás de 1 cm. Tambien se llaman discoides o en placa. 3. ATELECTASIA REDONDA: Colapso pulmonar asociado a engrosamiento pleural y de los septos interlobulillares 4. ATELECTASIA: Es una reducción de la aireación de todo o parte del pulmón 5. ATRAPAMIENTO AEREO: Es la retención de aire distal a una obstrucción, generalmente parcial. 6. BRONCOCELE: Es una dilatación bronquial debida a secreciones retenidas (impactación mucoide) habitualmente por obstrucción proximal, ya sea congénita o adquirida. 7. BRONCOCÉNTRICO: Este descriptor es aplicado a trastornos que se centran a nivel macroscópico en los hilios pulmonares 8. BRONCOGRAMA AEREO: Se trata de un bronquio relleno de aire (baja atenuación) en el interior de un pulmón opaco (alta atenuación). 9. BRONCOLITO: Se trata de un ganglio linfático calcificado peribronquial que erosiona y se introduce en el bronquio adyacente, es más frecuente como consecuencia de tuberculosis o histoplasmosis.","downloadable_attachments":[{"id":46874140,"asset_id":26582977,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31725139,"first_name":"Alejandra","last_name":"Barreto Grimaldos","domain_name":"udla","page_name":"AlejandraBarreto","display_name":"Alejandra Barreto Grimaldos","profile_url":"https://udla.academia.edu/AlejandraBarreto?f_ri=95130","photo":"https://0.academia-photos.com/31725139/9409201/38411108/s65_alejandra.barreto_grimaldos.jpg"}],"research_interests":[{"id":26327,"name":"Medicine","url":"https://www.academia.edu/Documents/in/Medicine?f_ri=95130","nofollow":true},{"id":82154,"name":"Medicina","url":"https://www.academia.edu/Documents/in/Medicina?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130","nofollow":true},{"id":611261,"name":"Semiologia","url":"https://www.academia.edu/Documents/in/Semiologia?f_ri=95130"},{"id":954454,"name":"Facultad De Medicina","url":"https://www.academia.edu/Documents/in/Facultad_De_Medicina?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37710591" data-work_id="37710591" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37710591/_Non_si_tratta_che_di_saltare_da_un_letto_allaltro_senza_toccare_la_farina_Ferdinand_de_Saussure_alle_prese_con_larchetipo_tristaniano_in_Gli_archetipi_e_i_testi_modelli_metodi_interpretazioni_a_cura_di_A_Barbieri_M_Bonafin_R_Caprini_Limmagine_riflessa_27_2018_p_109_130">'«Non si tratta che di saltare da un letto all'altro senza toccare la farina»: Ferdinand de Saussure alle prese con l'archetipo tristaniano', in 'Gli archetipi e i testi: modelli, metodi, interpretazioni', a cura di A. Barbieri, M. Bonafin, R. Caprini: 'L'immagine riflessa', 27, 2018, p. 109-130.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The notebook 3959.10, part of the series Notes sur les légendes germaniques in the Ferdinand de Saussure archive, is devoted to the legend of Tristan and Isolde. In these notes, Saussure deals with the issue of the source of the medieval... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37710591" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The notebook 3959.10, part of the series Notes sur les légendes germaniques in the Ferdinand de Saussure archive, is devoted to the legend of Tristan and Isolde. In these notes, Saussure deals with the issue of the source of the medieval Tristan tales. He looks for the archetypical text, inspired by the story of Theseus, which would have served as a model for French and German medieval romances that passed down the Tristanian legend. In doing so, Sausurre comes across a transcultural archetypical character having the same features as Tristan and crossing different mythologies and legends. The paper aims at exploring the conjunction of a philological perspective and an anthropological perspective in Saussure's path. It shows how Saussure's reflection on the Tristanian legend was crucial to the development of a semiology of interdiscursivity and a general theory of the sign that anticipates the Cours de linguistique générale.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37710591" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="46d03b99b36bffbf70168adf870b729d" rel="nofollow" data-download="{"attachment_id":62487050,"asset_id":37710591,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62487050/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1069076" href="https://independent.academia.edu/TeodoroPatera">Teodoro Patera</a><script data-card-contents-for-user="1069076" type="text/json">{"id":1069076,"first_name":"Teodoro","last_name":"Patera","domain_name":"independent","page_name":"TeodoroPatera","display_name":"Teodoro Patera","profile_url":"https://independent.academia.edu/TeodoroPatera?f_ri=95130","photo":"https://0.academia-photos.com/1069076/369802/19418735/s65_teodoro.patera.jpg"}</script></span></span></li><li class="js-paper-rank-work_37710591 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37710591"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37710591, container: ".js-paper-rank-work_37710591", }); 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$(".js-view-count[data-work-id=37710591]").text(description); $(".js-view-count-work_37710591").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37710591").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37710591"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1228" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Literature">Medieval Literature</a>, <script data-card-contents-for-ri="1228" type="text/json">{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2332" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_French_Literature">Medieval French Literature</a>, <script data-card-contents-for-ri="2332" type="text/json">{"id":2332,"name":"Medieval French Literature","url":"https://www.academia.edu/Documents/in/Medieval_French_Literature?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="48455" rel="nofollow" href="https://www.academia.edu/Documents/in/Ferdinand_de_Saussure">Ferdinand de Saussure</a>, <script data-card-contents-for-ri="48455" type="text/json">{"id":48455,"name":"Ferdinand de Saussure","url":"https://www.academia.edu/Documents/in/Ferdinand_de_Saussure?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="58250" rel="nofollow" href="https://www.academia.edu/Documents/in/The_Tristan_legend">The Tristan legend</a><script data-card-contents-for-ri="58250" type="text/json">{"id":58250,"name":"The Tristan legend","url":"https://www.academia.edu/Documents/in/The_Tristan_legend?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37710591]'), work: {"id":37710591,"title":"'«Non si tratta che di saltare da un letto all'altro senza toccare la farina»: Ferdinand de Saussure alle prese con l'archetipo tristaniano', in 'Gli archetipi e i testi: modelli, metodi, interpretazioni', a cura di A. Barbieri, M. Bonafin, R. Caprini: 'L'immagine riflessa', 27, 2018, p. 109-130.","created_at":"2018-11-06T01:59:45.706-08:00","url":"https://www.academia.edu/37710591/_Non_si_tratta_che_di_saltare_da_un_letto_allaltro_senza_toccare_la_farina_Ferdinand_de_Saussure_alle_prese_con_larchetipo_tristaniano_in_Gli_archetipi_e_i_testi_modelli_metodi_interpretazioni_a_cura_di_A_Barbieri_M_Bonafin_R_Caprini_Limmagine_riflessa_27_2018_p_109_130?f_ri=95130","dom_id":"work_37710591","summary":"The notebook 3959.10, part of the series Notes sur les légendes germaniques in the Ferdinand de Saussure archive, is devoted to the legend of Tristan and Isolde. In these notes, Saussure deals with the issue of the source of the medieval Tristan tales. He looks for the archetypical text, inspired by the story of Theseus, which would have served as a model for French and German medieval romances that passed down the Tristanian legend. In doing so, Sausurre comes across a transcultural archetypical character having the same features as Tristan and crossing different mythologies and legends. The paper aims at exploring the conjunction of a philological perspective and an anthropological perspective in Saussure's path. It shows how Saussure's reflection on the Tristanian legend was crucial to the development of a semiology of interdiscursivity and a general theory of the sign that anticipates the Cours de linguistique générale.","downloadable_attachments":[{"id":62487050,"asset_id":37710591,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1069076,"first_name":"Teodoro","last_name":"Patera","domain_name":"independent","page_name":"TeodoroPatera","display_name":"Teodoro Patera","profile_url":"https://independent.academia.edu/TeodoroPatera?f_ri=95130","photo":"https://0.academia-photos.com/1069076/369802/19418735/s65_teodoro.patera.jpg"}],"research_interests":[{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=95130","nofollow":true},{"id":2332,"name":"Medieval French Literature","url":"https://www.academia.edu/Documents/in/Medieval_French_Literature?f_ri=95130","nofollow":true},{"id":48455,"name":"Ferdinand de Saussure","url":"https://www.academia.edu/Documents/in/Ferdinand_de_Saussure?f_ri=95130","nofollow":true},{"id":58250,"name":"The Tristan legend","url":"https://www.academia.edu/Documents/in/The_Tristan_legend?f_ri=95130","nofollow":true},{"id":58826,"name":"Saussure","url":"https://www.academia.edu/Documents/in/Saussure?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37561005" data-work_id="37561005" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37561005/2018_Semi%C3%B3tica_del_rostro_heroico">2018 - Semiótica del rostro heroico</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El ensayo se concentra en el caso de estudio uruguayo, de excepcional interés a la vez histórico e semiótico, del retrato del rostro de José Gervasio Artigas. Como no existe un retrato al natural del héroe nacional que lo represente en su... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37561005" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El ensayo se concentra en el caso de estudio uruguayo, de excepcional interés a la vez histórico e semiótico, del retrato del rostro de José Gervasio Artigas. Como no existe un retrato al natural del héroe nacional que lo represente en su juventud o en su madurez, y como el único retrato existente fue dibujado por Alfred Demersay en Paraguay cuando Artigas ya era muy mayor y en condiciones físicas precarias, la imagen arquetípica de su rostro se debe a una reconstrucción (y rejuvenación) de Juan Manuel Blanes, autor de la celebre pintura Artigas en la puerta de la Ciudadela (1884).<br />El viento caprichoso de la historia sopla a veces impetuoso, a veces con ráfagas sutiles como suspiros, y soplando encuentra paisajes, arboles, flores, animales, pero sobre todo hombres y mujeres, reproduciendo generación tras generación el destino de nuestra especie, e insinuándose entre sus cuerpos a lo largo de los siglos este viento inefable moldea lenguas, dibuja culturas, pinta gestos y palabras, un momento separando y el momento siguiente uniendo vidas, emociones, sueños, haciendo y deshaciendo comunidades, empujando los unos contra los otros en batallas sangrientas e interminables, o al revés sugiriendo caminos de dialogo y de paz, trazando y borrando fronteras, enfatizando o matizando límites, en un juego que no parece tener fin ni finalidad. A veces hombres o mujeres moldeados por este viento se iluminan de una luz distinta, se destacan del fundo ciego de la historia, se vuelven siluetas doradas, estatuas vivientes: comunidades enteras se cierran alrededor de estos héroes y de estas heroínas, se reconocen en sus vidas, su hazañas, sus valores y sus muertes, a través de ellos y ellas participan vicariamente en una humanidad diferente, más resplendente, cercana de lo divino, casi inmortal. Surge la necesidad de una cara, la cara del héroe o de la heroína, que no sea como la cara de los demás, sino pueda resistir al viento de la historia y dar aliento con su mirada a un mundo frágil de vidas cotidianas, nacimientos, casamientos, funerales, comidas y festejos, esperanzas y miedos. Los héroes nacionales fundan las naciones pero al mismo tiempo estas fundan a sus héroes atribuyéndoles no simplemente la cara con la que vivieron sino la cara con la que sobrevivieron, y resistieron al viento de la historia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37561005" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="616dfabd0bcd10ec939350f26213b0b1" rel="nofollow" data-download="{"attachment_id":57537792,"asset_id":37561005,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57537792/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37561005 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37561005"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37561005, container: ".js-paper-rank-work_37561005", }); 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Como no existe un retrato al natural del héroe nacional que lo represente en su juventud o en su madurez, y como el único retrato existente fue dibujado por Alfred Demersay en Paraguay cuando Artigas ya era muy mayor y en condiciones físicas precarias, la imagen arquetípica de su rostro se debe a una reconstrucción (y rejuvenación) de Juan Manuel Blanes, autor de la celebre pintura Artigas en la puerta de la Ciudadela (1884).\nEl viento caprichoso de la historia sopla a veces impetuoso, a veces con ráfagas sutiles como suspiros, y soplando encuentra paisajes, arboles, flores, animales, pero sobre todo hombres y mujeres, reproduciendo generación tras generación el destino de nuestra especie, e insinuándose entre sus cuerpos a lo largo de los siglos este viento inefable moldea lenguas, dibuja culturas, pinta gestos y palabras, un momento separando y el momento siguiente uniendo vidas, emociones, sueños, haciendo y deshaciendo comunidades, empujando los unos contra los otros en batallas sangrientas e interminables, o al revés sugiriendo caminos de dialogo y de paz, trazando y borrando fronteras, enfatizando o matizando límites, en un juego que no parece tener fin ni finalidad. A veces hombres o mujeres moldeados por este viento se iluminan de una luz distinta, se destacan del fundo ciego de la historia, se vuelven siluetas doradas, estatuas vivientes: comunidades enteras se cierran alrededor de estos héroes y de estas heroínas, se reconocen en sus vidas, su hazañas, sus valores y sus muertes, a través de ellos y ellas participan vicariamente en una humanidad diferente, más resplendente, cercana de lo divino, casi inmortal. Surge la necesidad de una cara, la cara del héroe o de la heroína, que no sea como la cara de los demás, sino pueda resistir al viento de la historia y dar aliento con su mirada a un mundo frágil de vidas cotidianas, nacimientos, casamientos, funerales, comidas y festejos, esperanzas y miedos. Los héroes nacionales fundan las naciones pero al mismo tiempo estas fundan a sus héroes atribuyéndoles no simplemente la cara con la que vivieron sino la cara con la que sobrevivieron, y resistieron al viento de la historia.","downloadable_attachments":[{"id":57537792,"asset_id":37561005,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=95130","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=95130","nofollow":true},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130"},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=95130"},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130"},{"id":30029,"name":"Uruguay","url":"https://www.academia.edu/Documents/in/Uruguay?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":191729,"name":"Semiotic Analysis","url":"https://www.academia.edu/Documents/in/Semiotic_Analysis?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"},{"id":343010,"name":"Semiotika Roland Barthes","url":"https://www.academia.edu/Documents/in/Semiotika_Roland_Barthes?f_ri=95130"},{"id":1110476,"name":"Semiotica Visual","url":"https://www.academia.edu/Documents/in/Semiotica_Visual?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27152550" data-work_id="27152550" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27152550/Cosmotesque_code_to_know_of_meanings">Cosmotesque code: to know of meanings</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The art of Italian craftsmen Cosmati, who created unique mosaic production at XII and XIII centuries in Rome and its environments, had delighted people over centuries. The filigree technique of the stonework, polychrome, and diversity of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27152550" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The art of Italian craftsmen Cosmati, who created unique mosaic production at XII and XIII centuries in Rome and its environments, had delighted people over centuries. The filigree technique of the stonework, polychrome, and diversity of geometrical figures and difficulties of composition demonstrate their undoubted ecstatic value. From the beginning of the 19th century, however, the opinions, that craftsmen Cosmati used not only abstract formation but also enciphered language of symbols, were firstly express. Author of this work investigates style elements of Cosmatesque as sole system, trying to answer on the question about the possibility of existence of symbolic Cosmati language, representing important religious meanings, or this is just the part of art of the decoration of space. In addition, if it exist, is it any possibility to read it. By the starting point of work, there was the writing on the mosaic floors of Cosmatesque in Westminster Abbey, creating in 1272 year, which contains the exact date of the end of the world.<br />Keywords: intercultural communication, Cosmatesque, craftsmen Cosmati, mosaic, bricklayers, mosaicists, Middle Ages, Medieval Italy, architectural style, Rome, Montekassino, the history of art, terminology, the history of religion, early Christianity, Catholicism, symbolism, semantics of religious symbols, semiotics, semiology<br /><br />Column: Intercultural Communication and Problems of Globalization: Psycho-, Socio- and Ethnolinguistics<br /><br />DOI: <a href="http://dx.doi.org/10.17759/langt.2016030210" rel="nofollow">http://dx.doi.org/10.17759/langt.2016030210</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27152550" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="85efb8eb583086d2a33134cefd49f76f" rel="nofollow" data-download="{"attachment_id":47402332,"asset_id":27152550,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47402332/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33993487" href="https://independentresearcher.academia.edu/IgorTsykunov">Igor Tsykunov</a><script data-card-contents-for-user="33993487" type="text/json">{"id":33993487,"first_name":"Igor","last_name":"Tsykunov","domain_name":"independentresearcher","page_name":"IgorTsykunov","display_name":"Igor Tsykunov","profile_url":"https://independentresearcher.academia.edu/IgorTsykunov?f_ri=95130","photo":"https://0.academia-photos.com/33993487/10507175/18409208/s65_igor.tsykunov.jpg"}</script></span></span></li><li class="js-paper-rank-work_27152550 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27152550"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27152550, container: ".js-paper-rank-work_27152550", }); 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$(".js-view-count[data-work-id=27152550]").text(description); $(".js-view-count-work_27152550").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27152550").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27152550"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="902" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_Of_Religion">Philosophy Of Religion</a>, <script data-card-contents-for-ri="902" type="text/json">{"id":902,"name":"Philosophy Of Religion","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Religion?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" rel="nofollow" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a><script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27152550]'), work: {"id":27152550,"title":"Cosmotesque code: to know of meanings","created_at":"2016-07-21T06:03:03.188-07:00","url":"https://www.academia.edu/27152550/Cosmotesque_code_to_know_of_meanings?f_ri=95130","dom_id":"work_27152550","summary":"The art of Italian craftsmen Cosmati, who created unique mosaic production at XII and XIII centuries in Rome and its environments, had delighted people over centuries. The filigree technique of the stonework, polychrome, and diversity of geometrical figures and difficulties of composition demonstrate their undoubted ecstatic value. From the beginning of the 19th century, however, the opinions, that craftsmen Cosmati used not only abstract formation but also enciphered language of symbols, were firstly express. Author of this work investigates style elements of Cosmatesque as sole system, trying to answer on the question about the possibility of existence of symbolic Cosmati language, representing important religious meanings, or this is just the part of art of the decoration of space. In addition, if it exist, is it any possibility to read it. By the starting point of work, there was the writing on the mosaic floors of Cosmatesque in Westminster Abbey, creating in 1272 year, which contains the exact date of the end of the world.\nKeywords: intercultural communication, Cosmatesque, craftsmen Cosmati, mosaic, bricklayers, mosaicists, Middle Ages, Medieval Italy, architectural style, Rome, Montekassino, the history of art, terminology, the history of religion, early Christianity, Catholicism, symbolism, semantics of religious symbols, semiotics, semiology\n\nColumn: Intercultural Communication and Problems of Globalization: Psycho-, Socio- and Ethnolinguistics\n\nDOI: http://dx.doi.org/10.17759/langt.2016030210","downloadable_attachments":[{"id":47402332,"asset_id":27152550,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33993487,"first_name":"Igor","last_name":"Tsykunov","domain_name":"independentresearcher","page_name":"IgorTsykunov","display_name":"Igor Tsykunov","profile_url":"https://independentresearcher.academia.edu/IgorTsykunov?f_ri=95130","photo":"https://0.academia-photos.com/33993487/10507175/18409208/s65_igor.tsykunov.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":902,"name":"Philosophy Of Religion","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Religion?f_ri=95130","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=95130","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=95130","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=95130"},{"id":1709,"name":"Semitic languages","url":"https://www.academia.edu/Documents/in/Semitic_languages?f_ri=95130"},{"id":2059,"name":"History of Religion","url":"https://www.academia.edu/Documents/in/History_of_Religion?f_ri=95130"},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130"},{"id":10695,"name":"Catholic Theology","url":"https://www.academia.edu/Documents/in/Catholic_Theology?f_ri=95130"},{"id":48550,"name":"Religious Studies","url":"https://www.academia.edu/Documents/in/Religious_Studies?f_ri=95130"},{"id":81894,"name":"Middle Ages","url":"https://www.academia.edu/Documents/in/Middle_Ages?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":105881,"name":"Byzantine Mosaics","url":"https://www.academia.edu/Documents/in/Byzantine_Mosaics?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":163799,"name":"Roman Mosaics","url":"https://www.academia.edu/Documents/in/Roman_Mosaics?f_ri=95130"},{"id":257031,"name":"Art and Religion","url":"https://www.academia.edu/Documents/in/Art_and_Religion?f_ri=95130"},{"id":346240,"name":"Cosmati","url":"https://www.academia.edu/Documents/in/Cosmati?f_ri=95130"},{"id":482620,"name":"Catolicismo","url":"https://www.academia.edu/Documents/in/Catolicismo?f_ri=95130"},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_79452640" data-work_id="79452640" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/79452640/Political_Cartoons_as_a_Vehicle_of_Setting_Social_Agenda_The_Newspaper_Example">Political Cartoons as a Vehicle of Setting Social Agenda: The Newspaper Example</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In recent years, the cartoons genre has gained considerable research interest across disciplines; for example, communication, media studies and health sciences. More so, cartoons serve as potent source of data used to study social... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_79452640" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In recent years, the cartoons genre has gained considerable research interest across disciplines; for example, communication, media studies and health sciences. More so, cartoons serve as potent source of data used to study social phenomena. This paper aims at illustrating how political cartoons are used as a vehicle of setting social agenda in Nigerian newspapers to reorient and shape the public opinion through recurrent depictions mirroring current socio-political issues at a given period. The cartoons texts were excerpted from two major Nigerian newspapers, Daily Trust and Vanguard during the period 2007-2010. One-hundred cartoons were selected using purposive sampling technique. Fifty cartoons were taken from each newspaper magazine. Specifically, content analysis was used to identify the themes contained in the cartoons depictions. Qualitative method was used to analyze the cartoons through semiotic analysis. The analysis is mainly concerned with the interpretation of the sign system based on the connotation and denotation elements in the cartoons. The results indicated that 80% of the themes focused on substantive issues through which social agenda is set to reflect social practices in the Nigerian social political contexts. Also, the results showed that Nigerian political cartoons set social agenda by mainly encapsulating current and sensitive issues that people are much concerned about. Finally, the study has identified the lack of supportive and clearly defined theoretical background in analyzing political cartoons as a major problem in previous cartoons research. Thus, this paper contributes to the cartoon research by offering theoretical insight to the cartoon genre through agenda setting theory of media effect.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/79452640" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b4b16ff6e624ad15665bb75f49e63698" rel="nofollow" data-download="{"attachment_id":86162760,"asset_id":79452640,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/86162760/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33807757" href="https://upm.academia.edu/AfidaBintiMohamadAli">Assoc. Prof. Dr. Afida Mohamad Ali</a><script data-card-contents-for-user="33807757" type="text/json">{"id":33807757,"first_name":"Assoc. Prof. Dr. Afida","last_name":"Mohamad Ali","domain_name":"upm","page_name":"AfidaBintiMohamadAli","display_name":"Assoc. Prof. Dr. Afida Mohamad Ali","profile_url":"https://upm.academia.edu/AfidaBintiMohamadAli?f_ri=95130","photo":"https://0.academia-photos.com/33807757/52205901/40307794/s65_assoc._prof._dr._afida_binti_mohamad.ali.jpg"}</script></span></span></li><li class="js-paper-rank-work_79452640 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="79452640"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 79452640, container: ".js-paper-rank-work_79452640", }); });</script></li><li class="js-percentile-work_79452640 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 79452640; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_79452640"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_79452640 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="79452640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 79452640; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=79452640]").text(description); $(".js-view-count-work_79452640").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_79452640").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="79452640"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="184" rel="nofollow" href="https://www.academia.edu/Documents/in/Sociology">Sociology</a>, <script data-card-contents-for-ri="184" type="text/json">{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="859" rel="nofollow" href="https://www.academia.edu/Documents/in/Communication">Communication</a>, <script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="994" rel="nofollow" href="https://www.academia.edu/Documents/in/Journalism">Journalism</a>, <script data-card-contents-for-ri="994" type="text/json">{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1007" rel="nofollow" href="https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language">Teaching English as a Second Language</a><script data-card-contents-for-ri="1007" type="text/json">{"id":1007,"name":"Teaching English as a Second Language","url":"https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=79452640]'), work: {"id":79452640,"title":"Political Cartoons as a Vehicle of Setting Social Agenda: The Newspaper Example","created_at":"2022-05-19T07:33:58.172-07:00","url":"https://www.academia.edu/79452640/Political_Cartoons_as_a_Vehicle_of_Setting_Social_Agenda_The_Newspaper_Example?f_ri=95130","dom_id":"work_79452640","summary":"In recent years, the cartoons genre has gained considerable research interest across disciplines; for example, communication, media studies and health sciences. More so, cartoons serve as potent source of data used to study social phenomena. This paper aims at illustrating how political cartoons are used as a vehicle of setting social agenda in Nigerian newspapers to reorient and shape the public opinion through recurrent depictions mirroring current socio-political issues at a given period. The cartoons texts were excerpted from two major Nigerian newspapers, Daily Trust and Vanguard during the period 2007-2010. One-hundred cartoons were selected using purposive sampling technique. Fifty cartoons were taken from each newspaper magazine. Specifically, content analysis was used to identify the themes contained in the cartoons depictions. Qualitative method was used to analyze the cartoons through semiotic analysis. The analysis is mainly concerned with the interpretation of the sign system based on the connotation and denotation elements in the cartoons. The results indicated that 80% of the themes focused on substantive issues through which social agenda is set to reflect social practices in the Nigerian social political contexts. Also, the results showed that Nigerian political cartoons set social agenda by mainly encapsulating current and sensitive issues that people are much concerned about. Finally, the study has identified the lack of supportive and clearly defined theoretical background in analyzing political cartoons as a major problem in previous cartoons research. Thus, this paper contributes to the cartoon research by offering theoretical insight to the cartoon genre through agenda setting theory of media effect.","downloadable_attachments":[{"id":86162760,"asset_id":79452640,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33807757,"first_name":"Assoc. Prof. Dr. Afida","last_name":"Mohamad Ali","domain_name":"upm","page_name":"AfidaBintiMohamadAli","display_name":"Assoc. Prof. Dr. Afida Mohamad Ali","profile_url":"https://upm.academia.edu/AfidaBintiMohamadAli?f_ri=95130","photo":"https://0.academia-photos.com/33807757/52205901/40307794/s65_assoc._prof._dr._afida_binti_mohamad.ali.jpg"}],"research_interests":[{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology?f_ri=95130","nofollow":true},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=95130","nofollow":true},{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=95130","nofollow":true},{"id":1007,"name":"Teaching English as a Second Language","url":"https://www.academia.edu/Documents/in/Teaching_English_as_a_Second_Language?f_ri=95130","nofollow":true},{"id":1709,"name":"Semitic languages","url":"https://www.academia.edu/Documents/in/Semitic_languages?f_ri=95130"},{"id":3125,"name":"Genre","url":"https://www.academia.edu/Documents/in/Genre?f_ri=95130"},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130"},{"id":4730,"name":"Mass Communication","url":"https://www.academia.edu/Documents/in/Mass_Communication?f_ri=95130"},{"id":5709,"name":"Politics","url":"https://www.academia.edu/Documents/in/Politics?f_ri=95130"},{"id":13958,"name":"Media","url":"https://www.academia.edu/Documents/in/Media?f_ri=95130"},{"id":14022,"name":"Film Semiotics","url":"https://www.academia.edu/Documents/in/Film_Semiotics?f_ri=95130"},{"id":22807,"name":"Political cartoons","url":"https://www.academia.edu/Documents/in/Political_cartoons?f_ri=95130"},{"id":28235,"name":"Multidisciplinary","url":"https://www.academia.edu/Documents/in/Multidisciplinary?f_ri=95130"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":45036,"name":"Mass media","url":"https://www.academia.edu/Documents/in/Mass_media?f_ri=95130"},{"id":54489,"name":"Newspapers","url":"https://www.academia.edu/Documents/in/Newspapers?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":131567,"name":"Newspaper","url":"https://www.academia.edu/Documents/in/Newspaper?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":343010,"name":"Semiotika Roland Barthes","url":"https://www.academia.edu/Documents/in/Semiotika_Roland_Barthes?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38511775" data-work_id="38511775" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38511775/2019_Chronillogicalities_D%C3%A9j%C3%A0_vus_and_Hallucinations_in_the_Digital_Semiosphere">2019 - Chronillogicalities: Déjà-vus and Hallucinations in the Digital Semiosphere</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In societies that uncritically embrace and endorse a digitalization not only of memory but of the same idea of memory, déjà-vus manifest themselves as the impossibility of subtracting culture from a disquieting feeling of recognition.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38511775" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In societies that uncritically embrace and endorse a digitalization not only of memory but of the same idea of memory, déjà-vus manifest themselves as the impossibility of subtracting culture from a disquieting feeling of recognition. Similarly, a hallucinating culture is one that is not able to distinguish any longer between its fears and its current state. It is a culture in which fake news proliferates because individuals have lost contact with the capacity for distinguishing what is present to perception from what is presentified to it. The article carries on a cultural diagnosis of the abnormalities of present-day cultural memory and proposes some antidotes to them.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38511775" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dc8c70d94b4930ec2fed25e40f3cbcb6" rel="nofollow" data-download="{"attachment_id":58586447,"asset_id":38511775,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58586447/download_file?st=MTc0MDkwNzc5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16611" href="https://unito.academia.edu/MassimoLeone">Massimo Leone</a><script data-card-contents-for-user="16611" type="text/json">{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}</script></span></span></li><li class="js-paper-rank-work_38511775 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38511775"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38511775, container: ".js-paper-rank-work_38511775", }); 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Similarly, a hallucinating culture is one that is not able to distinguish any longer between its fears and its current state. It is a culture in which fake news proliferates because individuals have lost contact with the capacity for distinguishing what is present to perception from what is presentified to it. The article carries on a cultural diagnosis of the abnormalities of present-day cultural memory and proposes some antidotes to them.","downloadable_attachments":[{"id":58586447,"asset_id":38511775,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16611,"first_name":"Massimo","last_name":"Leone","domain_name":"unito","page_name":"MassimoLeone","display_name":"Massimo Leone","profile_url":"https://unito.academia.edu/MassimoLeone?f_ri=95130","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=95130","nofollow":true},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=95130","nofollow":true},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=95130","nofollow":true},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=95130"},{"id":85589,"name":"Hallucinations","url":"https://www.academia.edu/Documents/in/Hallucinations?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":97318,"name":"Semiótica","url":"https://www.academia.edu/Documents/in/Semi%C3%B3tica?f_ri=95130"},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"},{"id":119395,"name":"Semiología","url":"https://www.academia.edu/Documents/in/Semiolog%C3%ADa?f_ri=95130"},{"id":127218,"name":"Estudios De Semiotica","url":"https://www.academia.edu/Documents/in/Estudios_De_Semiotica?f_ri=95130"},{"id":128609,"name":"Deja Vu","url":"https://www.academia.edu/Documents/in/Deja_Vu?f_ri=95130"},{"id":131580,"name":"Déjà vécu","url":"https://www.academia.edu/Documents/in/Deja_vecu?f_ri=95130"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=95130"},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10615953 coauthored" data-work_id="10615953" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10615953/Musik_und_empathische_Strukturen_im_Film">Musik und empathische Strukturen im Film</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Im vorliegenden Aufsatz stehen das Konzept der Empathie und deren Verbindung zur Filmmusik als Bildton und Fremdton im Mittelpunkt. Zum einen wird Empathie, die als Einfühlung auf dargestellte Emotionen (Wut, Trauer etc.) Bezug nimmt,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10615953" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Im vorliegenden Aufsatz stehen das Konzept der Empathie und deren Verbindung zur Filmmusik als Bildton und Fremdton im Mittelpunkt. Zum einen wird Empathie, die als Einfühlung auf dargestellte Emotionen (Wut, Trauer etc.) Bezug nimmt, maßgeblich durch Filmmusik als empathischem cue gefördert, und zum anderen ermöglicht Filmmusik erst die so genannte simulative Objektempathie, die ein Empathisieren mit dargestellter Tier- und Objektwelt zulässt. In einer besonders <br />ausgeprägten Struktur wird die Filmmusik selbst zum autonomen Platzhalter für Objekte oder Figuren und ermöglicht Empathie gänzlich ohne Visualisierung. Um eine einheitliche Reihenfolge der Überlegungen zu gewährleisten, beschäftigen sich die folgenden Absätze zu Beginn mit wichtigen Theorieaspekten, um dann im <br />weiteren Verlauf die Empathie mit Menschen, mit Tieren und abschließend die simulative Objektempathie zu behandeln.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10615953" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="73e9666f4b4708741b380c9462a7a245" rel="nofollow" data-download="{"attachment_id":36560517,"asset_id":10615953,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36560517/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13079251" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a><script data-card-contents-for-user="13079251" type="text/json">{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=95130","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-10615953">+1</span><div class="hidden js-additional-users-10615953"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://fh-kiel.academia.edu/PatrickRupertKruse">Patrick Rupert-Kruse</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-10615953'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-10615953').html(); 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Um eine einheitliche Reihenfolge der Überlegungen zu gewährleisten, beschäftigen sich die folgenden Absätze zu Beginn mit wichtigen Theorieaspekten, um dann im\r\nweiteren Verlauf die Empathie mit Menschen, mit Tieren und abschließend die simulative Objektempathie zu behandeln.","downloadable_attachments":[{"id":36560517,"asset_id":10615953,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13079251,"first_name":"Lars Christian","last_name":"Grabbe","domain_name":"fh-muenster","page_name":"LarsChristianGrabbe","display_name":"Lars Christian Grabbe","profile_url":"https://fh-muenster.academia.edu/LarsChristianGrabbe?f_ri=95130","photo":"https://0.academia-photos.com/13079251/3689520/160555875/s65_lars_christian.grabbe.jpeg"},{"id":6807262,"first_name":"Patrick","last_name":"Rupert-Kruse","domain_name":"fh-kiel","page_name":"PatrickRupertKruse","display_name":"Patrick 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Louis Marin et le dessin comme outil théorique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Lire Marin, bien sûr. Mais le regarder, la chose est moins évidente. Et pourtant, il a produit un grand nombre de dessins accompagnant ses études des systèmes de la représentation. Quelle place et quelles fonctions accordait-t-il à... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36554531" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Lire Marin, bien sûr. Mais le regarder, la chose est moins évidente. Et pourtant, il a produit un grand nombre de dessins accompagnant ses études des systèmes de la représentation. Quelle place et quelles fonctions accordait-t-il à l’outil graphique dans l’enquête ? Comment dessin et écriture dialoguent-ils dans l’élaboration de l’analyse ? C’est en observant un certain nombre de dessins consacrés aux fresques de Pinturicchio à Spello ou de Filippo Lippi à Prato que ces questions sont affrontées.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36554531" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="af0c39350c3c7ac7c05f324c140e0f59" rel="nofollow" data-download="{"attachment_id":56479649,"asset_id":36554531,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56479649/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18248682" href="https://unifr-ch.academia.edu/JeremieKoering">Jeremie Koering</a><script data-card-contents-for-user="18248682" type="text/json">{"id":18248682,"first_name":"Jeremie","last_name":"Koering","domain_name":"unifr-ch","page_name":"JeremieKoering","display_name":"Jeremie Koering","profile_url":"https://unifr-ch.academia.edu/JeremieKoering?f_ri=95130","photo":"https://0.academia-photos.com/18248682/5797113/6587839/s65_jeremie.koering.jpg"}</script></span></span></li><li class="js-paper-rank-work_36554531 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36554531"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36554531, container: ".js-paper-rank-work_36554531", }); 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Come i videogiochi distorcono il tempo</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Questo libro accompagna il lettore in un viaggio di esplorazione del tempo nei videogiochi. Che caratteristiche ha il tempo videoludico? In che modo i videogiochi rappresentano e strutturano il tempo? Quali effetti temporali e ritmici... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7307658" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Questo libro accompagna il lettore in un viaggio di esplorazione del tempo nei videogiochi. Che caratteristiche ha il tempo videoludico? In che modo i videogiochi rappresentano e strutturano il tempo? Quali effetti temporali e ritmici sono in grado di generare sul giocatore? Che conseguenze ha la struttura temporale e ritmica di un videogioco sulle pratiche d’uso? <br />Attraverso un’analisi semiotica di videogiochi appartenenti a diverse epoche e generi e partendo dall’idea che i videogiochi siano “macchine” capaci di creare particolari esperienze temporali, il volume arriva a individuare i meccanismi e gli ingranaggi che le fanno funzionare. <br /> <br />Nota sull'Autrice <br />Agata Meneghelli, dottoressa di ricerca in Semiotica, da anni si interessa di videogiochi e nuovi media. È Digital Strategist presso un’importante agenzia di comunicazione, dove applica la teoria del gioco a campagne promozionali e attività educational. È autrice dei volumi Dentro lo schermo. Immersione e interattività nei god games (Milano, 2007) e Il risveglio dei sensi. Verso un’esperienza di gioco corporea (Milano, 2011).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7307658" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d7c4d2b16a50fb95abf1a76c13072afa" rel="nofollow" data-download="{"attachment_id":33913979,"asset_id":7307658,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33913979/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8647215" href="https://independent.academia.edu/libreriauniversitariaitedizioni">Libreriauniversitaria.it Edizioni</a><script data-card-contents-for-user="8647215" type="text/json">{"id":8647215,"first_name":"Libreriauniversitaria.it","last_name":"Edizioni","domain_name":"independent","page_name":"libreriauniversitariaitedizioni","display_name":"Libreriauniversitaria.it Edizioni","profile_url":"https://independent.academia.edu/libreriauniversitariaitedizioni?f_ri=95130","photo":"https://0.academia-photos.com/8647215/2879491/135517054/s65_libreriauniversitaria.it.edizioni.jpg"}</script></span></span></li><li class="js-paper-rank-work_7307658 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7307658"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7307658, container: ".js-paper-rank-work_7307658", }); 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Come i videogiochi distorcono il tempo","created_at":"2014-06-10T01:24:15.731-07:00","url":"https://www.academia.edu/7307658/Time_out_Come_i_videogiochi_distorcono_il_tempo?f_ri=95130","dom_id":"work_7307658","summary":"Questo libro accompagna il lettore in un viaggio di esplorazione del tempo nei videogiochi. Che caratteristiche ha il tempo videoludico? In che modo i videogiochi rappresentano e strutturano il tempo? Quali effetti temporali e ritmici sono in grado di generare sul giocatore? Che conseguenze ha la struttura temporale e ritmica di un videogioco sulle pratiche d’uso?\r\nAttraverso un’analisi semiotica di videogiochi appartenenti a diverse epoche e generi e partendo dall’idea che i videogiochi siano “macchine” capaci di creare particolari esperienze temporali, il volume arriva a individuare i meccanismi e gli ingranaggi che le fanno funzionare.\r\n\r\nNota sull'Autrice\r\nAgata Meneghelli, dottoressa di ricerca in Semiotica, da anni si interessa di videogiochi e nuovi media. È Digital Strategist presso un’importante agenzia di comunicazione, dove applica la teoria del gioco a campagne promozionali e attività educational. È autrice dei volumi Dentro lo schermo. Immersione e interattività nei god games (Milano, 2007) e Il risveglio dei sensi. 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Dove bisogna tracciare con precisio ne la linea di demarcazione tra lo psichismo sensomotorio degli animali e lo psichismo cosciente che vediamo manifestarsi nel l'uomo?"<br /><br />Nel presente volume, apparso in Francia nel 1973, sono raccolte le tre ricerche (rispettivamente sul gesto dell'indicazione, sul linguaggio sincretico e sul complesso edipico) che Tran Duc Thao ha dedicato alle origini del linguaggio e della coscienza. Il filosofo vietnamita risale ai primordi della cognizio-ne umana descrivendo la pratica sociale e comunicativa dei nostri antenati preistorici, comparandola con lo sviluppo linguistico del bambino e assegnando al linguaggio - innanzitutto gestuale - il ruolo di mediatore tra la vita reale e l'interiorità vissuta, nel quadro di una "semiologia dialettica" debitrice della tradizione marxista e in costante dialogo con le scienze sociali e naturali. La presente edizione si basa su fonti inedite, proponendo un testo corretto e aderente alle volontà dell'autore.<br /><br />Tran Duc Thao (1917-1993) è stato un filosofo vietnamita formatosi in Francia, interprete tra i più raffinati e rigorosi della fenomenologia husserliana con l'opera Fenomenologia e materialismo dialettico (1951), attento alle sfide provenienti dalle scienze (linguistica, psicologia, biologia, paleoantropolo-gia, genetica), marxista e attivista politico sensibile alle rivendicazioni dei popoli colonizzati. Il percorso di Thao attraversa i grandi momenti del Novecento (colonialismo e decolonizzazione, la Seconda guerra mondiale e le Guerre del Vietnam, lo stalinismo e la destalinizzazione, il maoismo e la perestrojka) e se ne fa cassa di risonanza critica e consapevole.<br /><br />Jacopo D'Alonzo (1990) si è laureato in Filosofia alla Sapienza Università di Roma, ha conseguito il titolo di dottore di ricerca in Linguistica generale presso l'Università Sorbonne Nouvelle e ha condotto ricerche presso il Laboratoire d'histoire des théories linguistiques di Parigi. Si è occupato della riflessione linguistica di Giorgio Agamben, della questione dell'origine del linguaggio dal Settecento ai giorni nostri, di fenomenologia del linguaggio e degli studi linguistico-semiologici nella tradizione marxista.<br /><br />Andrea D'Urso (1981), titolare di un master e di un dottorato di ricerca con label di doctor europaeus in Letterature comparate e Traduzione all'Università degli Studi di Siena, 2009; docente a contratto di Letteratura francese presso l'Università del Salento dal 2010 e di Lingua e Letteratura italia-na presso l'Università di Lille dal 2017, si occupa principalmente di storia e critica della letteratura nella prospettiva metodologica del materialismo storico-dialettico. È inoltre un raro continuatore della semiotica di Ferruccio Rossi-Landi, applicata anche nei campi della teoria filosofico-letteraria, della traduttologia e degli studi femministi.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43632443" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="31dfa1b13febd6bd8564ef49baf12e0b" rel="nofollow" data-download="{"attachment_id":64411955,"asset_id":43632443,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64411955/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3611996" href="https://paris3.academia.edu/JACOPODALONZO">JACOPO D'ALONZO</a><script data-card-contents-for-user="3611996" type="text/json">{"id":3611996,"first_name":"JACOPO","last_name":"D'ALONZO","domain_name":"paris3","page_name":"JACOPODALONZO","display_name":"JACOPO D'ALONZO","profile_url":"https://paris3.academia.edu/JACOPODALONZO?f_ri=95130","photo":"https://0.academia-photos.com/3611996/1263615/1574964/s65_jacopo.d_alonzo.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-43632443">+1</span><div class="hidden js-additional-users-43632443"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uniss.academia.edu/AndreaDUrso">Andrea D'Urso</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-43632443'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-43632443').html(); 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Dove bisogna tracciare con precisio ne la linea di demarcazione tra lo psichismo sensomotorio degli animali e lo psichismo cosciente che vediamo manifestarsi nel l'uomo?\"\n\nNel presente volume, apparso in Francia nel 1973, sono raccolte le tre ricerche (rispettivamente sul gesto dell'indicazione, sul linguaggio sincretico e sul complesso edipico) che Tran Duc Thao ha dedicato alle origini del linguaggio e della coscienza. Il filosofo vietnamita risale ai primordi della cognizio-ne umana descrivendo la pratica sociale e comunicativa dei nostri antenati preistorici, comparandola con lo sviluppo linguistico del bambino e assegnando al linguaggio - innanzitutto gestuale - il ruolo di mediatore tra la vita reale e l'interiorità vissuta, nel quadro di una \"semiologia dialettica\" debitrice della tradizione marxista e in costante dialogo con le scienze sociali e naturali. La presente edizione si basa su fonti inedite, proponendo un testo corretto e aderente alle volontà dell'autore.\n\nTran Duc Thao (1917-1993) è stato un filosofo vietnamita formatosi in Francia, interprete tra i più raffinati e rigorosi della fenomenologia husserliana con l'opera Fenomenologia e materialismo dialettico (1951), attento alle sfide provenienti dalle scienze (linguistica, psicologia, biologia, paleoantropolo-gia, genetica), marxista e attivista politico sensibile alle rivendicazioni dei popoli colonizzati. Il percorso di Thao attraversa i grandi momenti del Novecento (colonialismo e decolonizzazione, la Seconda guerra mondiale e le Guerre del Vietnam, lo stalinismo e la destalinizzazione, il maoismo e la perestrojka) e se ne fa cassa di risonanza critica e consapevole.\n\nJacopo D'Alonzo (1990) si è laureato in Filosofia alla Sapienza Università di Roma, ha conseguito il titolo di dottore di ricerca in Linguistica generale presso l'Università Sorbonne Nouvelle e ha condotto ricerche presso il Laboratoire d'histoire des théories linguistiques di Parigi. Si è occupato della riflessione linguistica di Giorgio Agamben, della questione dell'origine del linguaggio dal Settecento ai giorni nostri, di fenomenologia del linguaggio e degli studi linguistico-semiologici nella tradizione marxista.\n\nAndrea D'Urso (1981), titolare di un master e di un dottorato di ricerca con label di doctor europaeus in Letterature comparate e Traduzione all'Università degli Studi di Siena, 2009; docente a contratto di Letteratura francese presso l'Università del Salento dal 2010 e di Lingua e Letteratura italia-na presso l'Università di Lille dal 2017, si occupa principalmente di storia e critica della letteratura nella prospettiva metodologica del materialismo storico-dialettico. È inoltre un raro continuatore della semiotica di Ferruccio Rossi-Landi, applicata anche nei campi della teoria filosofico-letteraria, della traduttologia e degli studi femministi.","downloadable_attachments":[{"id":64411955,"asset_id":43632443,"asset_type":"Work","always_allow_download":false},{"id":63932821,"asset_id":43632443,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3611996,"first_name":"JACOPO","last_name":"D'ALONZO","domain_name":"paris3","page_name":"JACOPODALONZO","display_name":"JACOPO D'ALONZO","profile_url":"https://paris3.academia.edu/JACOPODALONZO?f_ri=95130","photo":"https://0.academia-photos.com/3611996/1263615/1574964/s65_jacopo.d_alonzo.jpg"},{"id":2002792,"first_name":"Andrea","last_name":"D'Urso","domain_name":"uniss","page_name":"AndreaDUrso","display_name":"Andrea D'Urso","profile_url":"https://uniss.academia.edu/AndreaDUrso?f_ri=95130","photo":"https://0.academia-photos.com/2002792/9868333/11000489/s65_andrea.d_urso.jpg"}],"research_interests":[{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=95130","nofollow":true},{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=95130","nofollow":true},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism?f_ri=95130","nofollow":true},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=95130","nofollow":true},{"id":8487,"name":"Sigmund Freud","url":"https://www.academia.edu/Documents/in/Sigmund_Freud?f_ri=95130"},{"id":30339,"name":"Origin of Language","url":"https://www.academia.edu/Documents/in/Origin_of_Language?f_ri=95130"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130"},{"id":215505,"name":"Tran Duc Thao","url":"https://www.academia.edu/Documents/in/Tran_Duc_Thao?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39960947" data-work_id="39960947" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39960947/CARDIOLOG%C3%8DA_resumen_de_Suros">CARDIOLOGÍA resumen de Suros</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Resumen del libro de semiología de  suros</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39960947" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="185c3cbd4fe8b971a304577ccdba6df3" rel="nofollow" data-download="{"attachment_id":60149619,"asset_id":39960947,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60149619/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="74267409" href="https://independent.academia.edu/Aderleycastrobarrios">Aderley castro barrios</a><script data-card-contents-for-user="74267409" type="text/json">{"id":74267409,"first_name":"Aderley","last_name":"castro barrios","domain_name":"independent","page_name":"Aderleycastrobarrios","display_name":"Aderley castro barrios","profile_url":"https://independent.academia.edu/Aderleycastrobarrios?f_ri=95130","photo":"https://0.academia-photos.com/74267409/20486410/20131491/s65_aderley.castro_barrios.jpg"}</script></span></span></li><li class="js-paper-rank-work_39960947 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39960947"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39960947, container: ".js-paper-rank-work_39960947", }); 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$(".js-view-count[data-work-id=39960947]").text(description); $(".js-view-count-work_39960947").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39960947").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39960947"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="95130" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiology">Semiology</a>, <script data-card-contents-for-ri="95130" type="text/json">{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="425051" rel="nofollow" href="https://www.academia.edu/Documents/in/Cardiologia">Cardiologia</a><script data-card-contents-for-ri="425051" type="text/json">{"id":425051,"name":"Cardiologia","url":"https://www.academia.edu/Documents/in/Cardiologia?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39960947]'), work: {"id":39960947,"title":"CARDIOLOGÍA resumen de Suros","created_at":"2019-07-29T07:44:41.406-07:00","url":"https://www.academia.edu/39960947/CARDIOLOG%C3%8DA_resumen_de_Suros?f_ri=95130","dom_id":"work_39960947","summary":"Resumen del libro de semiología de suros ","downloadable_attachments":[{"id":60149619,"asset_id":39960947,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":74267409,"first_name":"Aderley","last_name":"castro barrios","domain_name":"independent","page_name":"Aderleycastrobarrios","display_name":"Aderley castro barrios","profile_url":"https://independent.academia.edu/Aderleycastrobarrios?f_ri=95130","photo":"https://0.academia-photos.com/74267409/20486410/20131491/s65_aderley.castro_barrios.jpg"}],"research_interests":[{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":425051,"name":"Cardiologia","url":"https://www.academia.edu/Documents/in/Cardiologia?f_ri=95130","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40587464" data-work_id="40587464" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40587464/SEMIOTIC_APPROACH_IN_INDUSTRIAL_DESIGN_PRACTICE_APPROPRIATION_OF_SEMIOTICS_BY_TURKISH_INDUSTRIAL_DESIGNERS">SEMIOTIC APPROACH IN INDUSTRIAL DESIGN PRACTICE: APPROPRIATION OF SEMIOTICS BY TURKISH INDUSTRIAL DESIGNERS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Industrial design has become a well-known and important discipline today. Industrial design is a truly interdisciplinary field, encompassing engineering, social sciences, economics and basic sciences. Overtime, the dynamics that affect... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40587464" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Industrial design has become a well-known and important discipline today.<br />Industrial design is a truly interdisciplinary field, encompassing engineering, social<br />sciences, economics and basic sciences. Overtime, the dynamics that affect the design<br />discipline have become more oriented towards user and product. As the technology and<br />the market develop, it has become ever increasingly difficult to impress the user with the<br />designed product.<br />It is necessary to give correct signals to the user with the designed product in order<br />to attract their attention. It is a difficult but important step to bring the user and designer<br />together at the same point. Accordingly this study thrives to explore whether semiotics<br />have been integrated into the industrial design profession and to what extent. To this end,<br />a survey with professional industrial designers in Izmir has been conducted to understand<br />their use of semiotics in their practice.<br />Keywords: Semiotics/Semiology, Industrial Design, Product Design, Education,<br />Industrial Design Proffesion</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40587464" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57e81942e9cc8c0346e7e73abae0487a" rel="nofollow" data-download="{"attachment_id":60867193,"asset_id":40587464,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60867193/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="21280447" href="https://iyte.academia.edu/dilarakartalkaya">Dilara KARTALKAYA KÖKSAL</a><script data-card-contents-for-user="21280447" type="text/json">{"id":21280447,"first_name":"Dilara","last_name":"KARTALKAYA KÖKSAL","domain_name":"iyte","page_name":"dilarakartalkaya","display_name":"Dilara KARTALKAYA KÖKSAL","profile_url":"https://iyte.academia.edu/dilarakartalkaya?f_ri=95130","photo":"https://0.academia-photos.com/21280447/80336992/68914987/s65_dilara.kartalkaya.jpeg"}</script></span></span></li><li class="js-paper-rank-work_40587464 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40587464"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40587464, container: ".js-paper-rank-work_40587464", }); 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Overtime, the dynamics that affect the design\ndiscipline have become more oriented towards user and product. As the technology and\nthe market develop, it has become ever increasingly difficult to impress the user with the\ndesigned product.\nIt is necessary to give correct signals to the user with the designed product in order\nto attract their attention. It is a difficult but important step to bring the user and designer\ntogether at the same point. Accordingly this study thrives to explore whether semiotics\nhave been integrated into the industrial design profession and to what extent. To this end,\na survey with professional industrial designers in Izmir has been conducted to understand\ntheir use of semiotics in their practice.\nKeywords: Semiotics/Semiology, Industrial Design, Product Design, Education,\nIndustrial Design Proffesion","downloadable_attachments":[{"id":60867193,"asset_id":40587464,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":21280447,"first_name":"Dilara","last_name":"KARTALKAYA KÖKSAL","domain_name":"iyte","page_name":"dilarakartalkaya","display_name":"Dilara KARTALKAYA KÖKSAL","profile_url":"https://iyte.academia.edu/dilarakartalkaya?f_ri=95130","photo":"https://0.academia-photos.com/21280447/80336992/68914987/s65_dilara.kartalkaya.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true},{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=95130","nofollow":true},{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=95130","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=95130","nofollow":true},{"id":103037,"name":"Sémiologie","url":"https://www.academia.edu/Documents/in/S%C3%A9miologie?f_ri=95130"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26582979" data-work_id="26582979" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26582979/GLOSARIO_SIGNOS_VITALES_docx">GLOSARIO SIGNOS VITALES.docx</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Presión que ejerce la sangre al circular por los vasos sanguíneos. La presión arterial normal generalmente está entre 90/60 mmHg y 120/80 mmHg. 2. PRESION SISTOLICA es la presión máxima que se alcanza en el sístole. Esta depende... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26582979" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Presión que ejerce la sangre al circular por los vasos sanguíneos. La presión arterial normal generalmente está entre 90/60 mmHg y 120/80 mmHg. 2. PRESION SISTOLICA es la presión máxima que se alcanza en el sístole. Esta depende fundamentalmente del débito sistólico, la volemia y la distensibilidad de la aorta y las grandes arterias. 3. PRESION DIASTOLICA es la mínima presión de la sangre contra las arterias y ocurre durante la diástole. Depende fundamentalmente de la resistencia vascular periférica.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26582979" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f9e95800425a0ccae843a5d911044688" rel="nofollow" data-download="{"attachment_id":46874146,"asset_id":26582979,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46874146/download_file?st=MTc0MDkwNzc5NSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31725139" href="https://udla.academia.edu/AlejandraBarreto">Alejandra Barreto Grimaldos</a><script data-card-contents-for-user="31725139" type="text/json">{"id":31725139,"first_name":"Alejandra","last_name":"Barreto Grimaldos","domain_name":"udla","page_name":"AlejandraBarreto","display_name":"Alejandra Barreto Grimaldos","profile_url":"https://udla.academia.edu/AlejandraBarreto?f_ri=95130","photo":"https://0.academia-photos.com/31725139/9409201/38411108/s65_alejandra.barreto_grimaldos.jpg"}</script></span></span></li><li class="js-paper-rank-work_26582979 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26582979"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26582979, container: ".js-paper-rank-work_26582979", }); 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La presión arterial normal generalmente está entre 90/60 mmHg y 120/80 mmHg. 2. PRESION SISTOLICA es la presión máxima que se alcanza en el sístole. Esta depende fundamentalmente del débito sistólico, la volemia y la distensibilidad de la aorta y las grandes arterias. 3. PRESION DIASTOLICA es la mínima presión de la sangre contra las arterias y ocurre durante la diástole. 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6753110" data-work_id="6753110" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6753110/Stuntman_Mike_Simulation_and_Sadism_in_Death_Proof">Stuntman Mike, Simulation, and Sadism in 'Death Proof'</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6753110" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness and Cruelty" ('Masochism').</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6753110" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f0c62603d2864773691017e67303615c" rel="nofollow" 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type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=95130","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="244" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a><script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=95130","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6753110]'), work: {"id":6753110,"title":"Stuntman Mike, 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