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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">Semiotics</h1><div class="u-tcGrayDark">204,547 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Semiotics</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/Semiotics">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiotics/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiotics/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Semiotics/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Semiotics">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_28153788" data-work_id="28153788" 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/28153788/A_multi_layered_ontology_for_comparing_relationship_semantics_in_conceptual_models_of_databases">A multi-layered ontology for comparing relationship semantics in conceptual models of databases</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Relationships are an integral part of the design of a database. Comparing and integrating relationships from heterogeneous databases requires that the relationships be mapped to each other or to a common classification. Identifying... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28153788" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Relationships are an integral part of the design of a database. Comparing and integrating relationships from heterogeneous databases requires that the relationships be mapped to each other or to a common classification. Identifying similarities and resolving differences in relationships across large data sources is a resource-intensive task that could benefit greatly from semi-automated approaches. A prerequisite to developing such approaches is a clear understanding of the semantics of relationships used in database design. This research presents a layered ontology for classifying the semantics of relationships. It consists of a core layer that captures the fundamental types of relationships between entities. A middle layer provides the internal context, obtained from entities surrounding the relationship, to interpret the fundamental types. The outer layer allows further interpretation using the external context, that is, the domain in which a relationship is being used. An initial assessment on relationships from a variety of application domains demonstrates that the ontology can be adequate and useful for comparing relationships across databases.</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/28153788" 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="5125cd7f82c611fa29dce0f424aa9dba" rel="nofollow" data-download="{"attachment_id":48469122,"asset_id":28153788,"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/48469122/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="52703937" href="https://independent.academia.edu/StoreyVeda">Veda Storey</a><script data-card-contents-for-user="52703937" type="text/json">{"id":52703937,"first_name":"Veda","last_name":"Storey","domain_name":"independent","page_name":"StoreyVeda","display_name":"Veda Storey","profile_url":"https://independent.academia.edu/StoreyVeda?f_ri=98","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_28153788 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28153788"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28153788, container: ".js-paper-rank-work_28153788", }); 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$(".js-view-count[data-work-id=28153788]").text(description); $(".js-view-count-work_28153788").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28153788").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="28153788"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="805" rel="nofollow" href="https://www.academia.edu/Documents/in/Ontology">Ontology</a>, <script data-card-contents-for-ri="805" type="text/json">{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="847" rel="nofollow" href="https://www.academia.edu/Documents/in/Applied_Ontology">Applied Ontology</a>, <script data-card-contents-for-ri="847" type="text/json">{"id":847,"name":"Applied Ontology","url":"https://www.academia.edu/Documents/in/Applied_Ontology?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20913" rel="nofollow" href="https://www.academia.edu/Documents/in/Relationships">Relationships</a><script data-card-contents-for-ri="20913" type="text/json">{"id":20913,"name":"Relationships","url":"https://www.academia.edu/Documents/in/Relationships?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28153788]'), work: {"id":28153788,"title":"A multi-layered ontology for comparing relationship semantics in conceptual models of databases","created_at":"2016-08-31T07:24:32.080-07:00","url":"https://www.academia.edu/28153788/A_multi_layered_ontology_for_comparing_relationship_semantics_in_conceptual_models_of_databases?f_ri=98","dom_id":"work_28153788","summary":"Relationships are an integral part of the design of a database. Comparing and integrating relationships from heterogeneous databases requires that the relationships be mapped to each other or to a common classification. Identifying similarities and resolving differences in relationships across large data sources is a resource-intensive task that could benefit greatly from semi-automated approaches. A prerequisite to developing such approaches is a clear understanding of the semantics of relationships used in database design. This research presents a layered ontology for classifying the semantics of relationships. It consists of a core layer that captures the fundamental types of relationships between entities. A middle layer provides the internal context, obtained from entities surrounding the relationship, to interpret the fundamental types. The outer layer allows further interpretation using the external context, that is, the domain in which a relationship is being used. An initial assessment on relationships from a variety of application domains demonstrates that the ontology can be adequate and useful for comparing relationships across databases.","downloadable_attachments":[{"id":48469122,"asset_id":28153788,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":52703937,"first_name":"Veda","last_name":"Storey","domain_name":"independent","page_name":"StoreyVeda","display_name":"Veda Storey","profile_url":"https://independent.academia.edu/StoreyVeda?f_ri=98","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=98","nofollow":true},{"id":847,"name":"Applied Ontology","url":"https://www.academia.edu/Documents/in/Applied_Ontology?f_ri=98","nofollow":true},{"id":20913,"name":"Relationships","url":"https://www.academia.edu/Documents/in/Relationships?f_ri=98","nofollow":true},{"id":40333,"name":"Heterogeneous Databases","url":"https://www.academia.edu/Documents/in/Heterogeneous_Databases?f_ri=98"},{"id":42896,"name":"Conceptual Modeling","url":"https://www.academia.edu/Documents/in/Conceptual_Modeling?f_ri=98"},{"id":86575,"name":"Database Design","url":"https://www.academia.edu/Documents/in/Database_Design?f_ri=98"},{"id":97618,"name":"Natural language","url":"https://www.academia.edu/Documents/in/Natural_language?f_ri=98"},{"id":139358,"name":"Conceptual Model","url":"https://www.academia.edu/Documents/in/Conceptual_Model?f_ri=98"},{"id":350516,"name":"Entity Relationship Model","url":"https://www.academia.edu/Documents/in/Entity_Relationship_Model?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15613917 coauthored" data-work_id="15613917" 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/15613917/Un_doing_Gender_and_the_Aesthetics_of_Organizational_Performance">Un/doing Gender and the Aesthetics of Organizational Performance</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 reflects on the potential value of art photography as a means of critically interrogating the relationship between organisation and abjection. Inspired by understanding of art as a non-conceptual mode of communication and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15613917" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper reflects on the potential value of art photography as a means of critically interrogating the relationship between organisation and abjection. Inspired by understanding of art as a non-conceptual mode of communication and concept of the abject, we consider the work of several contemporary photographic artists, who have specifically chosen the subject of work organisations in their images. We do so in an attempt to illustrate our argument that art photography shares a capacity with other art forms to reveal, in an immediate and powerful manner, that which is formally excluded from traditional modes of organisational analysis and those discourses that surround and support it.</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/15613917" 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="76fcfc3e64081f2e759dd69ec8a46012" rel="nofollow" data-download="{"attachment_id":43033472,"asset_id":15613917,"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/43033472/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="34783446" href="https://independent.academia.edu/TylerMelissa">Melissa Tyler</a><script data-card-contents-for-user="34783446" type="text/json">{"id":34783446,"first_name":"Melissa","last_name":"Tyler","domain_name":"independent","page_name":"TylerMelissa","display_name":"Melissa Tyler","profile_url":"https://independent.academia.edu/TylerMelissa?f_ri=98","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-15613917">+1</span><div class="hidden js-additional-users-15613917"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://essex.academia.edu/PhilipHancock">Philip Hancock</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-15613917'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-15613917').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_15613917 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="15613917"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15613917; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15613917]").text(description); $(".js-view-count-work_15613917").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15613917").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="15613917"><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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8576" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_and_Work">Gender and Work</a>, <script data-card-contents-for-ri="8576" type="text/json">{"id":8576,"name":"Gender and Work","url":"https://www.academia.edu/Documents/in/Gender_and_Work?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12317" rel="nofollow" href="https://www.academia.edu/Documents/in/Judith_Butler">Judith Butler</a><script data-card-contents-for-ri="12317" type="text/json">{"id":12317,"name":"Judith Butler","url":"https://www.academia.edu/Documents/in/Judith_Butler?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15613917]'), work: {"id":15613917,"title":"Un/doing Gender and the Aesthetics of Organizational Performance","created_at":"2015-09-11T13:11:50.421-07:00","url":"https://www.academia.edu/15613917/Un_doing_Gender_and_the_Aesthetics_of_Organizational_Performance?f_ri=98","dom_id":"work_15613917","summary":"This paper reflects on the potential value of art photography as a means of critically interrogating the relationship between organisation and abjection. Inspired by understanding of art as a non-conceptual mode of communication and concept of the abject, we consider the work of several contemporary photographic artists, who have specifically chosen the subject of work organisations in their images. We do so in an attempt to illustrate our argument that art photography shares a capacity with other art forms to reveal, in an immediate and powerful manner, that which is formally excluded from traditional modes of organisational analysis and those discourses that surround and support it.","downloadable_attachments":[{"id":43033472,"asset_id":15613917,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34783446,"first_name":"Melissa","last_name":"Tyler","domain_name":"independent","page_name":"TylerMelissa","display_name":"Melissa Tyler","profile_url":"https://independent.academia.edu/TylerMelissa?f_ri=98","photo":"/images/s65_no_pic.png"},{"id":244025,"first_name":"Philip","last_name":"Hancock","domain_name":"essex","page_name":"PhilipHancock","display_name":"Philip Hancock","profile_url":"https://essex.academia.edu/PhilipHancock?f_ri=98","photo":"https://0.academia-photos.com/244025/220393/18775566/s65_philip.hancock.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=98","nofollow":true},{"id":8576,"name":"Gender and Work","url":"https://www.academia.edu/Documents/in/Gender_and_Work?f_ri=98","nofollow":true},{"id":12317,"name":"Judith Butler","url":"https://www.academia.edu/Documents/in/Judith_Butler?f_ri=98","nofollow":true},{"id":55556,"name":"Visual Analysis","url":"https://www.academia.edu/Documents/in/Visual_Analysis?f_ri=98"},{"id":73149,"name":"Business and Management","url":"https://www.academia.edu/Documents/in/Business_and_Management?f_ri=98"},{"id":117208,"name":"Organizational Performance","url":"https://www.academia.edu/Documents/in/Organizational_Performance?f_ri=98"},{"id":330898,"name":"Landscaping","url":"https://www.academia.edu/Documents/in/Landscaping?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39325423" data-work_id="39325423" 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/39325423/%D0%A1%D0%A2%D0%A0%D0%A3%D0%9A%D0%A2%D0%A3%D0%A0%D0%90_%D0%9C%D0%95%D0%A2%D0%90%D0%A4%D0%9E%D0%A0%D0%AB_%D0%92_%D0%A2%D0%A0%D0%90%D0%9A%D0%A2%D0%90%D0%A2%D0%95_%D0%AD%D0%9C%D0%90%D0%9D%D0%A3%D0%AD%D0%9B%D0%95_%D0%A2%D0%95%D0%97%D0%90%D0%A3%D0%A0%D0%9E_%D0%9F%D0%9E%D0%94%D0%97%D0%9E%D0%A0%D0%9D%D0%90%D0%AF_%D0%A2%D0%A0%D0%A3%D0%91%D0%90_%D0%90%D0%A0%D0%98%D0%A1%D0%A2%D0%9E%D0%A2%D0%95%D0%9B%D0%AF_%D0%98_%D0%A1%D0%AE%D0%98%D0%A2%D0%95_BIZZARIE_DI_VARIE_FIGURE_%D0%94%D0%96%D0%9E%D0%92%D0%90%D0%9D%D0%9D%D0%98_%D0%91%D0%90%D0%A2%D0%A2%D0%98%D0%A2%D0%A1%D0%A2%D0%90_%D0%91%D0%A0%D0%90%D0%A7%D0%95%D0%9B%D0%9B%D0%98_STRUCTURE_OF_THE_METAPHOR_IN_THE_EMANUELE_TESAURO_S_TREATISE_ARISTOTELIAN_TELESCOPE_AND_GIOVANNI_BATTISTA_BRACELLI_S_PRINT_SUITE_BIZZARIE_DI_VARIE_FIGURE_">СТРУКТУРА МЕТАФОРЫ В ТРАКТАТЕ ЭМАНУЭЛЕ ТЕЗАУРО «ПОДЗОРНАЯ ТРУБА АРИСТОТЕЛЯ» И СЮИТЕ “BIZZARIE DI VARIE FIGURE” ДЖОВАННИ БАТТИТСТА БРАЧЕЛЛИ / STRUCTURE OF THE METAPHOR IN THE EMANUELE TESAURO’S TREATISE “ARISTOTELIAN TELESCOPE” AND GIOVANNI BATTISTA BRACELLI’S PRINT SUITE “BIZZARIE DI VARIE FIGURE”</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 рассматривается сходство между теорией построения метафор, описанной в трактате Э. Тезауро «Подзорная труба Аристотеля» и визуально реализованной в сюите офортов Дж. Б. Брачелли “Bizzarie di varie figure”. Согласно рассуждениям... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39325423" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">В статье рассматривается сходство между теорией построения метафор, описанной в трактате Э. Тезауро «Подзорная труба Аристотеля» и визуально реализованной в сюите офортов Дж. Б. Брачелли “Bizzarie di varie figure”. Согласно рассуждениям Тезауро метафора не является только средством для выявления скрытых природных связей между объектами, которые автор литературного или живописного произведения должен лишь найти и показать зрителю в гармоничной форме. В трактате остроумная метафора предстает как главная художественная ценность произведения, а остроумие как самодостаточная категория, особая интеллектуальная и творческая способность. Именно такое понимание метафоры, ее роли и сути делает возможным создание фантастических и гротескных образов “Bizzarie di varie figure”, основанных на сопоставлении различных объектов. <br /><br />The article deals with the similarity of the theory of the metaphor construction described in the treatise of E.Tesauro’s “Aristotelian telescope” and visually realized in the G. B. Bracelli’s print set “Bizzarie di varie figure”. Tesauro’s tractate presents a metaphor as the main artistic value of the work of art and a wit as self-contained category, specific creative ability, rather than as an instrument to reveal some latent preset similarity of the objects, which should be found by the author of a literary or pictorial object of art and shown to the viewer in a harmonious form. It is this conception of the role and the essence of the metaphor which make possible creation of fantastic and grotesque characters of “Bizzarie di varie figure”, based on comparison of different. <br />Keywords: rhetoric, theory of baroque wit, aesthetics of surprise, etching, metaphor, semiotics, G.B. Bracelli, “Bizzarie di varie figure”</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/39325423" 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="c67383253c822bd607aa83adfd40afff" rel="nofollow" data-download="{"attachment_id":59464538,"asset_id":39325423,"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/59464538/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="1054446" href="https://hermitage.academia.edu/LubavaChistovaPetrova">Lubava Chistova (Petrova)</a><script data-card-contents-for-user="1054446" type="text/json">{"id":1054446,"first_name":"Lubava","last_name":"Chistova (Petrova)","domain_name":"hermitage","page_name":"LubavaChistovaPetrova","display_name":"Lubava Chistova (Petrova)","profile_url":"https://hermitage.academia.edu/LubavaChistovaPetrova?f_ri=98","photo":"https://0.academia-photos.com/1054446/363672/440654/s65_lubava.petrova.jpg"}</script></span></span></li><li class="js-paper-rank-work_39325423 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39325423"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39325423, container: ".js-paper-rank-work_39325423", }); 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$(".js-view-count[data-work-id=39325423]").text(description); $(".js-view-count-work_39325423").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39325423").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="39325423"><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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="953" rel="nofollow" href="https://www.academia.edu/Documents/in/Rhetoric">Rhetoric</a>, <script data-card-contents-for-ri="953" type="text/json">{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11712" rel="nofollow" href="https://www.academia.edu/Documents/in/Metaphor">Metaphor</a>, <script data-card-contents-for-ri="11712" type="text/json">{"id":11712,"name":"Metaphor","url":"https://www.academia.edu/Documents/in/Metaphor?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="197040" rel="nofollow" href="https://www.academia.edu/Documents/in/%D0%A1%D0%B5%D0%BC%D0%B8%D0%BE%D1%82%D0%B8%D0%BA%D0%B0">Семиотика</a><script data-card-contents-for-ri="197040" type="text/json">{"id":197040,"name":"Семиотика","url":"https://www.academia.edu/Documents/in/%D0%A1%D0%B5%D0%BC%D0%B8%D0%BE%D1%82%D0%B8%D0%BA%D0%B0?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39325423]'), work: {"id":39325423,"title":"СТРУКТУРА МЕТАФОРЫ В ТРАКТАТЕ ЭМАНУЭЛЕ ТЕЗАУРО «ПОДЗОРНАЯ ТРУБА АРИСТОТЕЛЯ» И СЮИТЕ “BIZZARIE DI VARIE FIGURE” ДЖОВАННИ БАТТИТСТА БРАЧЕЛЛИ / STRUCTURE OF THE METAPHOR IN THE EMANUELE TESAURO’S TREATISE “ARISTOTELIAN TELESCOPE” AND GIOVANNI BATTISTA BRACELLI’S PRINT SUITE “BIZZARIE DI VARIE FIGURE”","created_at":"2019-05-31T06:16:51.749-07:00","url":"https://www.academia.edu/39325423/%D0%A1%D0%A2%D0%A0%D0%A3%D0%9A%D0%A2%D0%A3%D0%A0%D0%90_%D0%9C%D0%95%D0%A2%D0%90%D0%A4%D0%9E%D0%A0%D0%AB_%D0%92_%D0%A2%D0%A0%D0%90%D0%9A%D0%A2%D0%90%D0%A2%D0%95_%D0%AD%D0%9C%D0%90%D0%9D%D0%A3%D0%AD%D0%9B%D0%95_%D0%A2%D0%95%D0%97%D0%90%D0%A3%D0%A0%D0%9E_%D0%9F%D0%9E%D0%94%D0%97%D0%9E%D0%A0%D0%9D%D0%90%D0%AF_%D0%A2%D0%A0%D0%A3%D0%91%D0%90_%D0%90%D0%A0%D0%98%D0%A1%D0%A2%D0%9E%D0%A2%D0%95%D0%9B%D0%AF_%D0%98_%D0%A1%D0%AE%D0%98%D0%A2%D0%95_BIZZARIE_DI_VARIE_FIGURE_%D0%94%D0%96%D0%9E%D0%92%D0%90%D0%9D%D0%9D%D0%98_%D0%91%D0%90%D0%A2%D0%A2%D0%98%D0%A2%D0%A1%D0%A2%D0%90_%D0%91%D0%A0%D0%90%D0%A7%D0%95%D0%9B%D0%9B%D0%98_STRUCTURE_OF_THE_METAPHOR_IN_THE_EMANUELE_TESAURO_S_TREATISE_ARISTOTELIAN_TELESCOPE_AND_GIOVANNI_BATTISTA_BRACELLI_S_PRINT_SUITE_BIZZARIE_DI_VARIE_FIGURE_?f_ri=98","dom_id":"work_39325423","summary":"В статье рассматривается сходство между теорией построения метафор, описанной в трактате Э. Тезауро «Подзорная труба Аристотеля» и визуально реализованной в сюите офортов Дж. Б. Брачелли “Bizzarie di varie figure”. Согласно рассуждениям Тезауро метафора не является только средством для выявления скрытых природных связей между объектами, которые автор литературного или живописного произведения должен лишь найти и показать зрителю в гармоничной форме. В трактате остроумная метафора предстает как главная художественная ценность произведения, а остроумие как самодостаточная категория, особая интеллектуальная и творческая способность. Именно такое понимание метафоры, ее роли и сути делает возможным создание фантастических и гротескных образов “Bizzarie di varie figure”, основанных на сопоставлении различных объектов. \n\nThe article deals with the similarity of the theory of the metaphor construction described in the treatise of E.Tesauro’s “Aristotelian telescope” and visually realized in the G. B. Bracelli’s print set “Bizzarie di varie figure”. Tesauro’s tractate presents a metaphor as the main artistic value of the work of art and a wit as self-contained category, specific creative ability, rather than as an instrument to reveal some latent preset similarity of the objects, which should be found by the author of a literary or pictorial object of art and shown to the viewer in a harmonious form. It is this conception of the role and the essence of the metaphor which make possible creation of fantastic and grotesque characters of “Bizzarie di varie figure”, based on comparison of different. \nKeywords: rhetoric, theory of baroque wit, aesthetics of surprise, etching, metaphor, semiotics, G.B. Bracelli, “Bizzarie di varie figure”","downloadable_attachments":[{"id":59464538,"asset_id":39325423,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1054446,"first_name":"Lubava","last_name":"Chistova (Petrova)","domain_name":"hermitage","page_name":"LubavaChistovaPetrova","display_name":"Lubava Chistova (Petrova)","profile_url":"https://hermitage.academia.edu/LubavaChistovaPetrova?f_ri=98","photo":"https://0.academia-photos.com/1054446/363672/440654/s65_lubava.petrova.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=98","nofollow":true},{"id":11712,"name":"Metaphor","url":"https://www.academia.edu/Documents/in/Metaphor?f_ri=98","nofollow":true},{"id":197040,"name":"Семиотика","url":"https://www.academia.edu/Documents/in/%D0%A1%D0%B5%D0%BC%D0%B8%D0%BE%D1%82%D0%B8%D0%BA%D0%B0?f_ri=98","nofollow":true},{"id":315441,"name":"Etching","url":"https://www.academia.edu/Documents/in/Etching?f_ri=98"},{"id":737667,"name":"риторика","url":"https://www.academia.edu/Documents/in/%D1%80%D0%B8%D1%82%D0%BE%D1%80%D0%B8%D0%BA%D0%B0?f_ri=98"},{"id":866498,"name":"метафора","url":"https://www.academia.edu/Documents/in/%D0%BC%D0%B5%D1%82%D0%B0%D1%84%D0%BE%D1%80%D0%B0?f_ri=98"},{"id":3185969,"name":"офорт","url":"https://www.academia.edu/Documents/in/%D0%BE%D1%84%D0%BE%D1%80%D1%82?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_697001" data-work_id="697001" 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/697001/Semiotics_as_an_analytical_tool_for_the_didactics_of_mathematics">Semiotics as an analytical tool for the didactics of mathematics</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 an introduction to (what the author perceives to be) one of the most exciting and promising directions in research on the didactics of mathematics: studying the learning of mathematics as the initiation to, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_697001" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper is an introduction to (what the author perceives to be) one of the most exciting and promising directions in research on the didactics of mathematics: studying the learning of mathematics as the initiation to, and internalisation of, certain semiotic systems. Three principal ways in which this point of view can contribute crucially to didactical research are presented and exemplified; they concern the cognitive, social and cultural aspects of mathematics education. Finally, as a topic transcending the three aspects, we discuss the use of digital semiotic appliances in mathematics teaching.</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/697001" 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="3de7734d85fcb107221bd0d14a4b3323" rel="nofollow" data-download="{"attachment_id":3917192,"asset_id":697001,"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/3917192/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="514452" href="https://ku-dk.academia.edu/CarlWinsl%C3%B8w">Carl Winsløw</a><script data-card-contents-for-user="514452" type="text/json">{"id":514452,"first_name":"Carl","last_name":"Winsløw","domain_name":"ku-dk","page_name":"CarlWinsløw","display_name":"Carl Winsløw","profile_url":"https://ku-dk.academia.edu/CarlWinsl%C3%B8w?f_ri=98","photo":"https://0.academia-photos.com/514452/179749/209587/s65_carl.winsl_w.jpg"}</script></span></span></li><li class="js-paper-rank-work_697001 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="697001"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 697001, container: ".js-paper-rank-work_697001", }); });</script></li><li class="js-percentile-work_697001 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 = 697001; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_697001"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_697001 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="697001"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 697001; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=697001]").text(description); $(".js-view-count-work_697001").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_697001").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="697001"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><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=98","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=697001]'), work: {"id":697001,"title":"Semiotics as an analytical tool for the didactics of mathematics","created_at":"2011-06-26T17:22:00.138-07:00","url":"https://www.academia.edu/697001/Semiotics_as_an_analytical_tool_for_the_didactics_of_mathematics?f_ri=98","dom_id":"work_697001","summary":"This paper is an introduction to (what the author perceives to be) one of the most exciting and promising directions in research on the didactics of mathematics: studying the learning of mathematics as the initiation to, and internalisation of, certain semiotic systems. Three principal ways in which this point of view can contribute crucially to didactical research are presented and exemplified; they concern the cognitive, social and cultural aspects of mathematics education. Finally, as a topic transcending the three aspects, we discuss the use of digital semiotic appliances in mathematics teaching.","downloadable_attachments":[{"id":3917192,"asset_id":697001,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":514452,"first_name":"Carl","last_name":"Winsløw","domain_name":"ku-dk","page_name":"CarlWinsløw","display_name":"Carl Winsløw","profile_url":"https://ku-dk.academia.edu/CarlWinsl%C3%B8w?f_ri=98","photo":"https://0.academia-photos.com/514452/179749/209587/s65_carl.winsl_w.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","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_22303570" data-work_id="22303570" 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/22303570/PUBLICATION_LIST_Richard_L_Lanigan">PUBLICATION LIST: Richard L. Lanigan</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Complete list and full citation of all publications by Richard L. Lanigan up to February 2016.</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/22303570" 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="3866376d2c4971e423a8b77cc1edda52" rel="nofollow" data-download="{"attachment_id":52886896,"asset_id":22303570,"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/52886896/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","photo":"https://0.academia-photos.com/34963654/11595622/12931251/s65_richard.lanigan.jpg"}</script></span></span></li><li class="js-paper-rank-work_22303570 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22303570"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22303570, container: ".js-paper-rank-work_22303570", }); 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Peirce</a><script data-card-contents-for-ri="13110" type="text/json">{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22303570]'), work: {"id":22303570,"title":"PUBLICATION LIST: Richard L. Lanigan","created_at":"2016-02-22T10:36:23.055-08:00","url":"https://www.academia.edu/22303570/PUBLICATION_LIST_Richard_L_Lanigan?f_ri=98","dom_id":"work_22303570","summary":"Complete list and full citation of all publications by Richard L. Lanigan up to February 2016.","downloadable_attachments":[{"id":52886896,"asset_id":22303570,"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=98","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=98","nofollow":true},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=98","nofollow":true},{"id":6784,"name":"Contemporary French Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_French_Philosophy?f_ri=98","nofollow":true},{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=98","nofollow":true},{"id":160608,"name":"Communicology","url":"https://www.academia.edu/Documents/in/Communicology?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5445933" data-work_id="5445933" 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/5445933/Musical_narratology_an_outline">Musical narratology - an outline</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/5445933" 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="e6d11f7804777e423ea6f82950799b28" rel="nofollow" data-download="{"attachment_id":32569484,"asset_id":5445933,"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/32569484/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="7631330" href="https://uken.academia.edu/GosiaPawlowska">Malgorzata Pawlowska</a><script data-card-contents-for-user="7631330" type="text/json">{"id":7631330,"first_name":"Malgorzata","last_name":"Pawlowska","domain_name":"uken","page_name":"GosiaPawlowska","display_name":"Malgorzata Pawlowska","profile_url":"https://uken.academia.edu/GosiaPawlowska?f_ri=98","photo":"https://0.academia-photos.com/7631330/2788896/3251424/s65_gosia.pawlowska.jpg"}</script></span></span></li><li class="js-paper-rank-work_5445933 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5445933"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5445933, container: ".js-paper-rank-work_5445933", }); 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Instead, it is mainly interested in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38108200" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in how signs are created, how they are articulated with each other to create the meaning in the text, and in what ways the meaning is created in different semantic layers within its system. The study necessitates focusing on the relations of the formative elements in the text which leads us to reach the narrative syntax that makes it possible to observe the underlying structures in different semantic strata of the text. Moreover, the approach helps us to analyze the meaning production process, as well as to observe the ways of the articulation process of meaningful items with each other to create the whole text.  The main purpose of this study is to figure out the semantic organization of George Orwell’s Nineteen Eighty-Four narrative within the scope of Greimas's semiotic trajectory.</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/38108200" 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="bfd26f705e3aeded3ef4f177535e187f" rel="nofollow" data-download="{"attachment_id":58137340,"asset_id":38108200,"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/58137340/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="1840444" href="https://artuklu.academia.edu/MuratKalelio%C4%9Flu">Murat Kalelioğlu</a><script data-card-contents-for-user="1840444" type="text/json">{"id":1840444,"first_name":"Murat","last_name":"Kalelioğlu","domain_name":"artuklu","page_name":"MuratKalelioğlu","display_name":"Murat Kalelioğlu","profile_url":"https://artuklu.academia.edu/MuratKalelio%C4%9Flu?f_ri=98","photo":"https://0.academia-photos.com/1840444/626495/3952060/s65_murat.kalelio_lu.jpg"}</script></span></span></li><li class="js-paper-rank-work_38108200 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38108200"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38108200, container: ".js-paper-rank-work_38108200", }); 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Instead, it is mainly interested in how signs are created, how they are articulated with each other to create the meaning in the text, and in what ways the meaning is created in different semantic layers within its system. The study necessitates focusing on the relations of the formative elements in the text which leads us to reach the narrative syntax that makes it possible to observe the underlying structures in different semantic strata of the text. Moreover, the approach helps us to analyze the meaning production process, as well as to observe the ways of the articulation process of meaningful items with each other to create the whole text. The main purpose of this study is to figure out the semantic organization of George Orwell’s Nineteen Eighty-Four narrative within the scope of Greimas's semiotic trajectory.","downloadable_attachments":[{"id":58137340,"asset_id":38108200,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1840444,"first_name":"Murat","last_name":"Kalelioğlu","domain_name":"artuklu","page_name":"MuratKalelioğlu","display_name":"Murat Kalelioğlu","profile_url":"https://artuklu.academia.edu/MuratKalelio%C4%9Flu?f_ri=98","photo":"https://0.academia-photos.com/1840444/626495/3952060/s65_murat.kalelio_lu.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=98","nofollow":true},{"id":3773,"name":"Literary 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href="https://www.academia.edu/52562266/Il_senso_e_i_sensi_del_simbolico">Il senso e i sensi del simbolico</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Obiettivo del presente capitolo è riflettere sulla correlazione tra valorizzazioni semantiche e investimenti estesico-passionali nei processi di produzione del senso simbolico</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/52562266" 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="e4782405e15c7112c243867116657483" rel="nofollow" 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simbolico","created_at":"2021-09-16T16:00:12.685-07:00","url":"https://www.academia.edu/52562266/Il_senso_e_i_sensi_del_simbolico?f_ri=98","dom_id":"work_52562266","summary":"Obiettivo del presente capitolo è riflettere sulla correlazione tra valorizzazioni semantiche e investimenti estesico-passionali nei processi di produzione del senso simbolico","downloadable_attachments":[{"id":83344840,"asset_id":52562266,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15453581,"first_name":"Paolo","last_name":"Demuru","domain_name":"mackenzie","page_name":"PaoloDemuru","display_name":"Paolo Demuru","profile_url":"https://mackenzie.academia.edu/PaoloDemuru?f_ri=98","photo":"https://0.academia-photos.com/15453581/40092476/32955253/s65_paolo.demuru.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":60851,"name":"Victor 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u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Jordan, Mandy M. Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_80066888" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Jordan, Mandy M. Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices, references, 91 titles. On May 18, 2018, a shooter entered Santa Fe High School, killing eight students and two teachers. Using ethnographic methods, this research examines the role of faith, rituals, language, and symbols in the trauma-affected community during the response, recovery, and resiliency efforts as perceived by the Santa Fe community and those impacted by the tragedy. Qualitative data collected from 100 individuals ages of 17-84 illustrated how historical trauma, community culture, and faith-based organizations impact community resiliency and how illusions of a homogenous view of the community left many feeling shocked, divided, forgotten or muted.</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/80066888" 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="da7fb32df603396b04d4569ee205ac85" rel="nofollow" data-download="{"attachment_id":86571948,"asset_id":80066888,"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/86571948/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="65310508" href="https://unt.academia.edu/MandyJordan">Mandy Jordan</a><script data-card-contents-for-user="65310508" type="text/json">{"id":65310508,"first_name":"Mandy","last_name":"Jordan","domain_name":"unt","page_name":"MandyJordan","display_name":"Mandy Jordan","profile_url":"https://unt.academia.edu/MandyJordan?f_ri=98","photo":"https://0.academia-photos.com/65310508/74088336/62579621/s65_mandy.jordan.jpg"}</script></span></span></li><li class="js-paper-rank-work_80066888 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="80066888"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 80066888, container: ".js-paper-rank-work_80066888", }); 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Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices, references, 91 titles. On May 18, 2018, a shooter entered Santa Fe High School, killing eight students and two teachers. Using ethnographic methods, this research examines the role of faith, rituals, language, and symbols in the trauma-affected community during the response, recovery, and resiliency efforts as perceived by the Santa Fe community and those impacted by the tragedy. Qualitative data collected from 100 individuals ages of 17-84 illustrated how historical trauma, community culture, and faith-based organizations impact community resiliency and how illusions of a homogenous view of the community left many feeling shocked, divided, forgotten or muted.","downloadable_attachments":[{"id":86571948,"asset_id":80066888,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65310508,"first_name":"Mandy","last_name":"Jordan","domain_name":"unt","page_name":"MandyJordan","display_name":"Mandy Jordan","profile_url":"https://unt.academia.edu/MandyJordan?f_ri=98","photo":"https://0.academia-photos.com/65310508/74088336/62579621/s65_mandy.jordan.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":109,"name":"Christianity","url":"https://www.academia.edu/Documents/in/Christianity?f_ri=98","nofollow":true},{"id":248,"name":"Social Psychology","url":"https://www.academia.edu/Documents/in/Social_Psychology?f_ri=98","nofollow":true},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=98","nofollow":true},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=98"},{"id":794,"name":"American Politics","url":"https://www.academia.edu/Documents/in/American_Politics?f_ri=98"},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=98"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=98"},{"id":17140,"name":"Symbolic Anthropology (Anthropology)","url":"https://www.academia.edu/Documents/in/Symbolic_Anthropology_Anthropology_?f_ri=98"},{"id":35686,"name":"Trauma","url":"https://www.academia.edu/Documents/in/Trauma?f_ri=98"},{"id":44365,"name":"Community-Based Participatory Research","url":"https://www.academia.edu/Documents/in/Community-Based_Participatory_Research?f_ri=98"},{"id":62582,"name":"Tragedy","url":"https://www.academia.edu/Documents/in/Tragedy?f_ri=98"},{"id":74892,"name":"Resiliency","url":"https://www.academia.edu/Documents/in/Resiliency?f_ri=98"},{"id":172403,"name":"School Shootings","url":"https://www.academia.edu/Documents/in/School_Shootings?f_ri=98"},{"id":305630,"name":"Faith-based Organizations","url":"https://www.academia.edu/Documents/in/Faith-based_Organizations?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_78405188" data-work_id="78405188" 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/78405188/Thomas_Aquinas_Exegesis_and_Hermeneutics">Thomas Aquinas' Exegesis and Hermeneutics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Lecture given at the Thomas Latinus - Thomas Graecus. Thomas Aquinas and His Reception in Byzantium International Conference held at the Hellenic Library of Athens (Stavros Niarchos Cultural Center) in Dec. 15-16 2017, co-organized by The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_78405188" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Lecture given at the Thomas Latinus - Thomas Graecus. Thomas Aquinas and His Reception in Byzantium International Conference held at the Hellenic Library of Athens (Stavros Niarchos Cultural Center) in Dec. 15-16 2017, co-organized by The Hellenic Institute, Royal Holloway, University of London, and University of Patras (Greece)</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/78405188" 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="20fc3b43e25ac38ef9f0d3a38c40ad12" rel="nofollow" data-download="{"attachment_id":85464338,"asset_id":78405188,"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/85464338/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="72418011" href="https://villanueva.academia.edu/MercedesRubio">Mercedes Rubio</a><script data-card-contents-for-user="72418011" type="text/json">{"id":72418011,"first_name":"Mercedes","last_name":"Rubio","domain_name":"villanueva","page_name":"MercedesRubio","display_name":"Mercedes Rubio","profile_url":"https://villanueva.academia.edu/MercedesRubio?f_ri=98","photo":"https://0.academia-photos.com/72418011/18557146/18525092/s65_mercedes.rubio.jpg"}</script></span></span></li><li class="js-paper-rank-work_78405188 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78405188"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78405188, container: ".js-paper-rank-work_78405188", }); 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Thomas Aquinas and His Reception in Byzantium International Conference held at the Hellenic Library of Athens (Stavros Niarchos Cultural Center) in Dec. 15-16 2017, co-organized by The Hellenic Institute, Royal Holloway, University of London, and University of Patras (Greece)","downloadable_attachments":[{"id":85464338,"asset_id":78405188,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":72418011,"first_name":"Mercedes","last_name":"Rubio","domain_name":"villanueva","page_name":"MercedesRubio","display_name":"Mercedes Rubio","profile_url":"https://villanueva.academia.edu/MercedesRubio?f_ri=98","photo":"https://0.academia-photos.com/72418011/18557146/18525092/s65_mercedes.rubio.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=98","nofollow":true},{"id":4488,"name":"Medieval Theology","url":"https://www.academia.edu/Documents/in/Medieval_Theology?f_ri=98","nofollow":true},{"id":5114,"name":"Hermeneutics","url":"https://www.academia.edu/Documents/in/Hermeneutics?f_ri=98","nofollow":true},{"id":5331,"name":"Theological Hermeneutics","url":"https://www.academia.edu/Documents/in/Theological_Hermeneutics?f_ri=98"},{"id":5332,"name":"Theological Interpretation of Christian Scripture","url":"https://www.academia.edu/Documents/in/Theological_Interpretation_of_Christian_Scripture?f_ri=98"},{"id":10091,"name":"Byzantine Studies","url":"https://www.academia.edu/Documents/in/Byzantine_Studies?f_ri=98"},{"id":10860,"name":"Thomas Aquinas","url":"https://www.academia.edu/Documents/in/Thomas_Aquinas?f_ri=98"},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=98"},{"id":40785,"name":"Biblical Exegesis","url":"https://www.academia.edu/Documents/in/Biblical_Exegesis?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27207755" data-work_id="27207755" 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/27207755/a_Letter_a_Litter_Analysis_of_Joyces_Ulysses">a Letter a Litter; Analysis of Joyce's 'Ulysses'</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 following essay will look at the issue of neologisms and the ‘chains of Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”. The vast amount of neologisms, syllogisms, allusions, which are utilized... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27207755" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The following essay will look at the issue of neologisms and the ‘chains of<br />Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”.<br /><br />The vast amount of neologisms, syllogisms, allusions, which are utilized throughout this book raise a rather substantial issue, in that the meaning/comprehensibility of the text is constantly at odds apropos the execution - act of writing. The autonomous potential – literariness – of Ulysses’ language possesses a considerable freedom from referential restraint, while at the same time it makes it epistemologically highly volatile and fragile. Suffice to say that a single signifier is capable of launching intricate phenomenological repercussions, which ought to overcast the sentiment (i.e., considerations of truth and falsehood, beauty and ugliness, good and bad etc.)  Moreover, the ‘word’ itself becomes merely a vicissitude/interchangeable with other signifiers. In other words, the Signifier word-sic and its grammatical omnipotence – literality - is perpetually trivialized and belittled by the contingency and arbitrariness of the mise-en-scene.</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/27207755" 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="c487bab21eeebb0f522cc5e6df2298c8" rel="nofollow" data-download="{"attachment_id":47461823,"asset_id":27207755,"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/47461823/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="31140264" href="https://goldsmiths.academia.edu/TadasVinokur">Tadas Vinokur</a><script data-card-contents-for-user="31140264" type="text/json">{"id":31140264,"first_name":"Tadas","last_name":"Vinokur","domain_name":"goldsmiths","page_name":"TadasVinokur","display_name":"Tadas Vinokur","profile_url":"https://goldsmiths.academia.edu/TadasVinokur?f_ri=98","photo":"https://0.academia-photos.com/31140264/9159471/17205541/s65_tadas.vinokur.jpg"}</script></span></span></li><li class="js-paper-rank-work_27207755 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27207755"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27207755, container: ".js-paper-rank-work_27207755", }); 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$(".js-view-count[data-work-id=27207755]").text(description); $(".js-view-count-work_27207755").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27207755").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="27207755"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2574" rel="nofollow" href="https://www.academia.edu/Documents/in/James_Joyce">James Joyce</a>, <script data-card-contents-for-ri="2574" type="text/json">{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6871" rel="nofollow" href="https://www.academia.edu/Documents/in/Bakhtin">Bakhtin</a>, <script data-card-contents-for-ri="6871" type="text/json">{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" rel="nofollow" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a><script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27207755]'), work: {"id":27207755,"title":"a Letter a Litter; Analysis of Joyce's 'Ulysses'","created_at":"2016-07-23T13:51:37.939-07:00","url":"https://www.academia.edu/27207755/a_Letter_a_Litter_Analysis_of_Joyces_Ulysses?f_ri=98","dom_id":"work_27207755","summary":"The following essay will look at the issue of neologisms and the ‘chains of\nEquivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”.\n\nThe vast amount of neologisms, syllogisms, allusions, which are utilized throughout this book raise a rather substantial issue, in that the meaning/comprehensibility of the text is constantly at odds apropos the execution - act of writing. The autonomous potential – literariness – of Ulysses’ language possesses a considerable freedom from referential restraint, while at the same time it makes it epistemologically highly volatile and fragile. Suffice to say that a single signifier is capable of launching intricate phenomenological repercussions, which ought to overcast the sentiment (i.e., considerations of truth and falsehood, beauty and ugliness, good and bad etc.) Moreover, the ‘word’ itself becomes merely a vicissitude/interchangeable with other signifiers. In other words, the Signifier word-sic and its grammatical omnipotence – literality - is perpetually trivialized and belittled by the contingency and arbitrariness of the mise-en-scene.","downloadable_attachments":[{"id":47461823,"asset_id":27207755,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31140264,"first_name":"Tadas","last_name":"Vinokur","domain_name":"goldsmiths","page_name":"TadasVinokur","display_name":"Tadas Vinokur","profile_url":"https://goldsmiths.academia.edu/TadasVinokur?f_ri=98","photo":"https://0.academia-photos.com/31140264/9159471/17205541/s65_tadas.vinokur.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=98","nofollow":true},{"id":6871,"name":"Bakhtin","url":"https://www.academia.edu/Documents/in/Bakhtin?f_ri=98","nofollow":true},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=98","nofollow":true},{"id":8338,"name":"Jacques Lacan","url":"https://www.academia.edu/Documents/in/Jacques_Lacan?f_ri=98"},{"id":8491,"name":"Roland Barthes","url":"https://www.academia.edu/Documents/in/Roland_Barthes?f_ri=98"},{"id":12040,"name":"Jacques Derrida","url":"https://www.academia.edu/Documents/in/Jacques_Derrida?f_ri=98"},{"id":38092,"name":"Russian Formalism","url":"https://www.academia.edu/Documents/in/Russian_Formalism?f_ri=98"},{"id":87837,"name":"Paul de Man","url":"https://www.academia.edu/Documents/in/Paul_de_Man?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21339427" data-work_id="21339427" 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/21339427/Archeologia_e_Semiotica_Linguaggi_codici_logiche_e_modelli_Bollati_Boringhieri_Torino_2010_ISBN_978_88_339_2024_5_">Archeologia e Semiotica. 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Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33742048" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de cette communication est de proposer notre propre analyse, à la fois formelle et narrative, qui permettra de mettre en lumière certaines nouveautés stylistiques caractéristiques de cette période et d’expliquer les déviances formelles apparentes. Ce double-niveau analytique souhaite en effet investir les aspects techniques du discours musical (forme, tonalités, sections, cadences, harmonies, etc.) mais également son niveau expressif, à travers l’utilisation des topiques musicaux. L’étude de la succession de ces unités expressives permettra notamment d’éclaircir et d’expliquer le parcours de l’œuvre, qui se détache de la forme ternaire si chère au compositeur, avec un retour varié des deux thèmes principaux dans un style héroïque au sein de la dernière section, amenant un sentiment apothéotique. Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.</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/33742048" 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="ba721317d2fb000737e4cabd9cd8b332" rel="nofollow" data-download="{"attachment_id":53738361,"asset_id":33742048,"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/53738361/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_33742048 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33742048"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33742048, container: ".js-paper-rank-work_33742048", }); 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Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.","downloadable_attachments":[{"id":53738361,"asset_id":33742048,"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=98","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}],"research_interests":[{"id":94,"name":"Discourse 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(2006) « Passion et narration », Protée, Revue internationale de théories et de pratiques sémiotiques, n° 34 (2-3), p. 163-175 ","created_at":"2013-06-19T22:01:32.557-07:00","url":"https://www.academia.edu/3748534/Baroni_R_2006_Passion_et_narration_Prot%C3%A9e_Revue_internationale_de_th%C3%A9ories_et_de_pratiques_s%C3%A9miotiques_n_34_2_3_p_163_175?f_ri=98","dom_id":"work_3748534","summary":null,"downloadable_attachments":[{"id":31421960,"asset_id":3748534,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4384264,"first_name":"Raphaël","last_name":"Baroni","domain_name":"unil","page_name":"RaphaelBaroni","display_name":"Raphaël Baroni","profile_url":"https://unil.academia.edu/RaphaelBaroni?f_ri=98","photo":"https://0.academia-photos.com/4384264/1869160/19548620/s65_rapha_l.baroni.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=98","nofollow":true},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=98","nofollow":true},{"id":4490,"name":"Cognitive Narratology","url":"https://www.academia.edu/Documents/in/Cognitive_Narratology?f_ri=98","nofollow":true},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=98"},{"id":7888,"name":"Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Theory?f_ri=98"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=98"},{"id":138926,"name":"Narratology/semiotics","url":"https://www.academia.edu/Documents/in/Narratology_semiotics?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36547993" data-work_id="36547993" 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/36547993/Three_Levels_of_Semiosis_Three_Kinds_of_Kinds">Three Levels of Semiosis: Three Kinds of Kinds</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 philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36547993" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In philosophy, there is an as yet unresolved discussion on whether there are different kinds of kinds and what those kinds are. In particular, there is a distinction between indifferent kinds, which are unaffected by observation and representation, and interactive kinds, which respond to being studied in ways that alter the very kinds under study. This is in essence a discussion on ontologies and, I argue, more precisely about ontological levels. The discussion of kinds of kinds can be resolved by using a semiotic approach to ontological levels, building on the key semiotic concept of representation. There are three, and only three, levels of semiosis: non-or proto-semiotic processes without representation, such as physical or causal processes; semiotic processes with representation, such as the processes of life and cognition; and second-order semiotic processes with representation of representation, such as self-awareness and self-reflexive communication. This leads to the distinction between not two, but three kinds of kinds: indifferent, adaptive and reflexive kinds, of which the last two hitherto have not been clearly distinguished.</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/36547993" 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="75af3a2060f89bc53526a5662c59917a" rel="nofollow" data-download="{"attachment_id":56472458,"asset_id":36547993,"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/56472458/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="4445538" href="https://au.academia.edu/HugoAlr%C3%B8e">Hugo F Alrøe</a><script data-card-contents-for-user="4445538" type="text/json">{"id":4445538,"first_name":"Hugo","last_name":"Alrøe","domain_name":"au","page_name":"HugoAlrøe","display_name":"Hugo F Alrøe","profile_url":"https://au.academia.edu/HugoAlr%C3%B8e?f_ri=98","photo":"https://0.academia-photos.com/4445538/1815911/2163144/s65_hugo.alr_e.jpg"}</script></span></span></li><li class="js-paper-rank-work_36547993 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36547993"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36547993, container: ".js-paper-rank-work_36547993", }); 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In particular, there is a distinction between indifferent kinds, which are unaffected by observation and representation, and interactive kinds, which respond to being studied in ways that alter the very kinds under study. This is in essence a discussion on ontologies and, I argue, more precisely about ontological levels. The discussion of kinds of kinds can be resolved by using a semiotic approach to ontological levels, building on the key semiotic concept of representation. There are three, and only three, levels of semiosis: non-or proto-semiotic processes without representation, such as physical or causal processes; semiotic processes with representation, such as the processes of life and cognition; and second-order semiotic processes with representation of representation, such as self-awareness and self-reflexive communication. This leads to the distinction between not two, but three kinds of kinds: indifferent, adaptive and reflexive kinds, of which the last two hitherto have not been clearly distinguished.","downloadable_attachments":[{"id":56472458,"asset_id":36547993,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4445538,"first_name":"Hugo","last_name":"Alrøe","domain_name":"au","page_name":"HugoAlrøe","display_name":"Hugo F Alrøe","profile_url":"https://au.academia.edu/HugoAlr%C3%B8e?f_ri=98","photo":"https://0.academia-photos.com/4445538/1815911/2163144/s65_hugo.alr_e.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=98","nofollow":true},{"id":3248,"name":"Constructivism","url":"https://www.academia.edu/Documents/in/Constructivism?f_ri=98","nofollow":true},{"id":9231,"name":"Biosemiotics","url":"https://www.academia.edu/Documents/in/Biosemiotics?f_ri=98","nofollow":true},{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=98"},{"id":21420,"name":"Natural Kinds","url":"https://www.academia.edu/Documents/in/Natural_Kinds?f_ri=98"},{"id":37360,"name":"Second-Order Cybernetics","url":"https://www.academia.edu/Documents/in/Second-Order_Cybernetics?f_ri=98"},{"id":38364,"name":"Peircean Semiotics","url":"https://www.academia.edu/Documents/in/Peircean_Semiotics?f_ri=98"},{"id":50118,"name":"Representation","url":"https://www.academia.edu/Documents/in/Representation?f_ri=98"},{"id":276549,"name":"Levels of Representation","url":"https://www.academia.edu/Documents/in/Levels_of_Representation?f_ri=98"},{"id":450175,"name":"Self Representation","url":"https://www.academia.edu/Documents/in/Self_Representation?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12660155" data-work_id="12660155" 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/12660155/Edusemiotics_A_Handbook">Edusemiotics -- A Handbook</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 book is dedicated to the great John Deely (d. 2017), a dear friend and colleague whose research in the theory and history of semiotics is unsurpassable. His work is a lasting inspiration for generations of students to come, in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12660155" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book is dedicated to the great John Deely (d. 2017), a dear friend and colleague whose research in the theory and history of semiotics is unsurpassable. His work is a lasting inspiration for generations of students to come, in philosophy, semiotics, and now edusemiotics. The handbook presents edusemiotics as a novel unified conceptual framework at the intersection of educational philosophy and theoretical semiotics <br />It collects cutting-edge theoretical and empirical research in this emergent field and <br />addresses the dimension of values and meaning in education and learning. Further, <br />the contributors explore the practical implications of edusemiotics in diverse global contexts</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/12660155" 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="654e1d9232f060fedb0de7903421fe17" rel="nofollow" data-download="{"attachment_id":49996929,"asset_id":12660155,"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/49996929/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="332238" href="https://columbia.academia.edu/InnaSemetsky">Inna Semetsky</a><script data-card-contents-for-user="332238" type="text/json">{"id":332238,"first_name":"Inna","last_name":"Semetsky","domain_name":"columbia","page_name":"InnaSemetsky","display_name":"Inna Semetsky","profile_url":"https://columbia.academia.edu/InnaSemetsky?f_ri=98","photo":"https://0.academia-photos.com/332238/5016142/15163001/s65_inna.semetsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_12660155 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12660155"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12660155, container: ".js-paper-rank-work_12660155", }); 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His work is a lasting inspiration for generations of students to come, in philosophy, semiotics, and now edusemiotics. The handbook presents edusemiotics as a novel unified conceptual framework at the intersection of educational philosophy and theoretical semiotics\r\nIt collects cutting-edge theoretical and empirical research in this emergent field and \r\naddresses the dimension of values and meaning in education and learning. Further, \r\nthe contributors explore the practical implications of edusemiotics in diverse global contexts","downloadable_attachments":[{"id":49996929,"asset_id":12660155,"asset_type":"Work","always_allow_download":false},{"id":49953505,"asset_id":12660155,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":332238,"first_name":"Inna","last_name":"Semetsky","domain_name":"columbia","page_name":"InnaSemetsky","display_name":"Inna Semetsky","profile_url":"https://columbia.academia.edu/InnaSemetsky?f_ri=98","photo":"https://0.academia-photos.com/332238/5016142/15163001/s65_inna.semetsky.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":893,"name":"Pragmatism","url":"https://www.academia.edu/Documents/in/Pragmatism?f_ri=98","nofollow":true},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=98","nofollow":true},{"id":2559,"name":"Philosophy of Education","url":"https://www.academia.edu/Documents/in/Philosophy_of_Education?f_ri=98","nofollow":true},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=98"},{"id":27338,"name":"Educational Theory","url":"https://www.academia.edu/Documents/in/Educational_Theory?f_ri=98"},{"id":50574,"name":"Experiential Learning","url":"https://www.academia.edu/Documents/in/Experiential_Learning?f_ri=98"},{"id":486669,"name":"Signs and Symbols","url":"https://www.academia.edu/Documents/in/Signs_and_Symbols?f_ri=98"},{"id":972640,"name":"Anti Dualism","url":"https://www.academia.edu/Documents/in/Anti_Dualism?f_ri=98"},{"id":1478320,"name":"Edusemiotics","url":"https://www.academia.edu/Documents/in/Edusemiotics?f_ri=98"}]}, }) } })();</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="3ab0163b972dd4ad38599eaad5e65da4" 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=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","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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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=98","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=98","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=98","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=98","nofollow":true},{"id":5110,"name":"Face 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Animale</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/36434585" 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="d27a9ac26578852dc66d05c9ee693b86" rel="nofollow" data-download="{"attachment_id":56348453,"asset_id":36434585,"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" 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class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1266658/Argomentare_il_visibile">Argomentare il visibile</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Nata per sostituire alla violenza fisica l’efficacia della comunicazione, la retorica è oggi molto conosciuta per le scuole che hanno fatto la sua storia e studiata dal punto di vista della classificazione delle figure, ma svilita nella... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1266658" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Nata per sostituire alla violenza fisica l’efficacia della comunicazione, la retorica è oggi molto conosciuta per le scuole che hanno fatto la sua storia e studiata dal punto di vista della classificazione delle figure, ma svilita nella sua specificità, quella di essere il dominio delle strategie del discorso. Argomentare il visibile è un’antologia che raccoglie i contributi di semiologi, storici dell’arte, filosofi, linguisti, teorici delle culture e si propone di mostrare il volto empirico della disciplina, territorio di contratti e di conflitti tra istanze che manipolano forze e soggetti pensati per essere trasformati: nei saperi, nei comportamenti e nelle passioni. <br />Tropi e tattiche trasmigrano da un sistema espressivo all’altro: non solo metafora e metonimia, ma anche chiasmo, ossimoro, ellissi, citazione, sono dispositivi rintracciabili tanto nel verbale quanto nel visivo. Può l’esplorazione della loro presenza in pittura – molto meno praticata che in letteratura – costringerci a rivedere la nostra concezione di retorica e di figure? <br />La prima parte del libro contiene saggi teorici sulle ragioni e sulle modalità dell’argomentazione per immagini. La seconda è un approfondimento su alcune figure alla frontiera tra parola e immagine, finora trascurate. Osservarne i principi di funzionamento serve a comprendere le dinamiche delle culture contemporanee, a nostro avviso più di quanto non facciano le abusate metafora e metonimia. Nella terza sezione, analitica, si indagano, infine, singole opere, generi, cicli, stili e motivi, intrecciandone la significazione con lo strato che riguarda la costruzione dell’interlocutore. Va ristabilito un nesso tra ciò che si apprende del contenuto dell’immagine e le strategie che essa usa per creare complicità, per farsi ricordare, per non passare indifferente."</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/1266658" 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="31fe3a1fb085c2ab7e627e0ee2671d08" rel="nofollow" data-download="{"attachment_id":7685702,"asset_id":1266658,"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/7685702/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="1063643" href="https://urbinoc.academia.edu/TizianaMigliore">Tiziana Migliore</a><script data-card-contents-for-user="1063643" type="text/json">{"id":1063643,"first_name":"Tiziana","last_name":"Migliore","domain_name":"urbinoc","page_name":"TizianaMigliore","display_name":"Tiziana Migliore","profile_url":"https://urbinoc.academia.edu/TizianaMigliore?f_ri=98","photo":"https://0.academia-photos.com/1063643/367705/504521/s65_tiziana.migliore.jpg"}</script></span></span></li><li class="js-paper-rank-work_1266658 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1266658"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1266658, container: ".js-paper-rank-work_1266658", }); 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Argomentare il visibile è un’antologia che raccoglie i contributi di semiologi, storici dell’arte, filosofi, linguisti, teorici delle culture e si propone di mostrare il volto empirico della disciplina, territorio di contratti e di conflitti tra istanze che manipolano forze e soggetti pensati per essere trasformati: nei saperi, nei comportamenti e nelle passioni. \r\nTropi e tattiche trasmigrano da un sistema espressivo all’altro: non solo metafora e metonimia, ma anche chiasmo, ossimoro, ellissi, citazione, sono dispositivi rintracciabili tanto nel verbale quanto nel visivo. Può l’esplorazione della loro presenza in pittura – molto meno praticata che in letteratura – costringerci a rivedere la nostra concezione di retorica e di figure? \r\nLa prima parte del libro contiene saggi teorici sulle ragioni e sulle modalità dell’argomentazione per immagini. La seconda è un approfondimento su alcune figure alla frontiera tra parola e immagine, finora trascurate. Osservarne i principi di funzionamento serve a comprendere le dinamiche delle culture contemporanee, a nostro avviso più di quanto non facciano le abusate metafora e metonimia. Nella terza sezione, analitica, si indagano, infine, singole opere, generi, cicli, stili e motivi, intrecciandone la significazione con lo strato che riguarda la costruzione dell’interlocutore. Va ristabilito un nesso tra ciò che si apprende del contenuto dell’immagine e le strategie che essa usa per creare complicità, per farsi ricordare, per non passare indifferente.\"","downloadable_attachments":[{"id":7685702,"asset_id":1266658,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1063643,"first_name":"Tiziana","last_name":"Migliore","domain_name":"urbinoc","page_name":"TizianaMigliore","display_name":"Tiziana Migliore","profile_url":"https://urbinoc.academia.edu/TizianaMigliore?f_ri=98","photo":"https://0.academia-photos.com/1063643/367705/504521/s65_tiziana.migliore.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":3919,"name":"Visual Rhetoric","url":"https://www.academia.edu/Documents/in/Visual_Rhetoric?f_ri=98","nofollow":true},{"id":8418,"name":"Maurice Merleau-Ponty","url":"https://www.academia.edu/Documents/in/Maurice_Merleau-Ponty?f_ri=98","nofollow":true},{"id":69386,"name":"Benedetto Croce","url":"https://www.academia.edu/Documents/in/Benedetto_Croce?f_ri=98","nofollow":true},{"id":110076,"name":"Strategies","url":"https://www.academia.edu/Documents/in/Strategies?f_ri=98"},{"id":617204,"name":"Daniel Arasse","url":"https://www.academia.edu/Documents/in/Daniel_Arasse?f_ri=98"},{"id":975781,"name":"Rhetorical Figures","url":"https://www.academia.edu/Documents/in/Rhetorical_Figures?f_ri=98"},{"id":975783,"name":"Efficacity","url":"https://www.academia.edu/Documents/in/Efficacity?f_ri=98"}]}, }) } })();</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="ed323f87479c68de774518269e86bd45" 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=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","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", }); 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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=98","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=98","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=98","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=98","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=98","nofollow":true},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=98"},{"id":29586,"name":"Semiology of the work of art","url":"https://www.academia.edu/Documents/in/Semiology_of_the_work_of_art?f_ri=98"},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=98"},{"id":2348883,"name":"Arsology","url":"https://www.academia.edu/Documents/in/Arsology?f_ri=98"}]}, }) } })();</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="9372422edcab7bafe54b6674aee3fab5" 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=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","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", }); 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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. 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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/350207/Franklin_Lewis_The_Semiotic_Horizons_of_Dawn_in_the_Poetry_of_H%C4%81fi%E1%BA%93_">Franklin Lewis, “The Semiotic Horizons of Dawn in the Poetry of Hāfiẓ”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_350207" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of two lovers at dawn was a well-established trope in European poetry of the medieval and renaissance periods.  A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange.  In Persian there are also some examples of the "Alba" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme  in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning.  The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.</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/350207" 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="9a322a6e39e813ea4227e9968fef00a3" rel="nofollow" data-download="{"attachment_id":57091360,"asset_id":350207,"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/57091360/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="95698" href="https://chicago.academia.edu/FranklinLewis">Franklin Lewis</a><script data-card-contents-for-user="95698" type="text/json">{"id":95698,"first_name":"Franklin","last_name":"Lewis","domain_name":"chicago","page_name":"FranklinLewis","display_name":"Franklin Lewis","profile_url":"https://chicago.academia.edu/FranklinLewis?f_ri=98","photo":"https://0.academia-photos.com/95698/26468/24406/s65_franklin.lewis.jpg"}</script></span></span></li><li class="js-paper-rank-work_350207 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="350207"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 350207, container: ".js-paper-rank-work_350207", }); 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A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange. In Persian there are also some examples of the \"Alba\" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning. The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.","downloadable_attachments":[{"id":57091360,"asset_id":350207,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":95698,"first_name":"Franklin","last_name":"Lewis","domain_name":"chicago","page_name":"FranklinLewis","display_name":"Franklin Lewis","profile_url":"https://chicago.academia.edu/FranklinLewis?f_ri=98","photo":"https://0.academia-photos.com/95698/26468/24406/s65_franklin.lewis.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":1269,"name":"Persian Literature","url":"https://www.academia.edu/Documents/in/Persian_Literature?f_ri=98","nofollow":true},{"id":1528,"name":"Arabic Poetry","url":"https://www.academia.edu/Documents/in/Arabic_Poetry?f_ri=98","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=98","nofollow":true},{"id":4450,"name":"Provençal Literature","url":"https://www.academia.edu/Documents/in/Provencal_Literature?f_ri=98"},{"id":13989,"name":"Classical Arabic Poetry","url":"https://www.academia.edu/Documents/in/Classical_Arabic_Poetry?f_ri=98"},{"id":26434,"name":"Mythopoetics","url":"https://www.academia.edu/Documents/in/Mythopoetics?f_ri=98"},{"id":32043,"name":"Medieval Persian Poetry","url":"https://www.academia.edu/Documents/in/Medieval_Persian_Poetry?f_ri=98"},{"id":34649,"name":"Hafiz","url":"https://www.academia.edu/Documents/in/Hafiz?f_ri=98"},{"id":36764,"name":"Persian Poetry","url":"https://www.academia.edu/Documents/in/Persian_Poetry?f_ri=98"},{"id":110249,"name":"Medieval Lyric Poetry","url":"https://www.academia.edu/Documents/in/Medieval_Lyric_Poetry?f_ri=98"},{"id":114154,"name":"Old Provençal","url":"https://www.academia.edu/Documents/in/Old_Proven%C3%A7al?f_ri=98"},{"id":115581,"name":"Classical Arabic Literature","url":"https://www.academia.edu/Documents/in/Classical_Arabic_Literature?f_ri=98"},{"id":134513,"name":"Love Poetry","url":"https://www.academia.edu/Documents/in/Love_Poetry?f_ri=98"},{"id":134570,"name":"Medieval Arabic Literature","url":"https://www.academia.edu/Documents/in/Medieval_Arabic_Literature?f_ri=98"},{"id":326628,"name":"Hafez","url":"https://www.academia.edu/Documents/in/Hafez?f_ri=98"},{"id":326629,"name":"Reading Hafez","url":"https://www.academia.edu/Documents/in/Reading_Hafez?f_ri=98"},{"id":518069,"name":"Classical Persian Poetry","url":"https://www.academia.edu/Documents/in/Classical_Persian_Poetry?f_ri=98"},{"id":521223,"name":"Medieval and Renaissance European Literature and Culture","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_European_Literature_and_Culture?f_ri=98"},{"id":533093,"name":"Poetic Form","url":"https://www.academia.edu/Documents/in/Poetic_Form?f_ri=98"},{"id":591560,"name":"Ghazal","url":"https://www.academia.edu/Documents/in/Ghazal?f_ri=98"},{"id":704007,"name":"medieval Hebrew poetry","url":"https://www.academia.edu/Documents/in/medieval_Hebrew_poetry?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36655086" data-work_id="36655086" 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/36655086/Mind_Cognition_Semiosis_Ways_to_Cognitive_Semiotics_Introduction_How_to_Approach_Meaning">Mind, Cognition Semiosis: Ways to Cognitive Semiotics; Introduction: How to Approach Meaning</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">What is meaning-making? How do new domains of meanings emerge in the course of child’s development? What is the role of consciousness in this process? What is the difference between making sense of pointing, pantomime and language... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36655086" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">What is meaning-making? How do new domains of meanings emerge in the course of child’s development? What is the role of consciousness in this process? What is the difference between making sense of pointing, pantomime and language utterances? Are great apes capable of meaning-making? What about dogs? Parrots? Can we – in any way – relate their functioning and behavior to a child’s? Are artificial systems capable of meaning-making? <br />The above questions motivated the emergence of cognitive semiotics as a discipline devoted to theoretical and empirical studies on meaning-making processes. As a transdisciplinary approach to meaning and meaning-making, cognitive semiotics necessarily draws on different disciplines: starting with philosophy of mind, via semiotics and linguistics, cognitive science(s), neuroanthropology, developmental and evolutionary psychology, comparative studies, and ending with robotics.<br />The book presents extensively this discipline. It is a very eclectic story: highly abstract problems of philosophy of mind are discussed and, simultaneously, results of very specific experiments on picture recognition are presented. On the one hand, intentional acts involved in semiotic activity are elaborated; on the other, a computational system capable of a limited interpretation of excerpts from Carroll’s Through the Looking-Glass is described. Specifically, the two roads to cognitive semiotics are explored in the book: phenomenological-enactive path developed by the so-called Lund school and author’s own proposal: a functional-cognitivist path.</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/36655086" 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="a9e3b90c562410b94dfa7254eb267473" rel="nofollow" data-download="{"attachment_id":56591268,"asset_id":36655086,"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/56591268/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="1028691" href="https://umcs-pl.academia.edu/PiotrKonderak">Piotr Konderak</a><script data-card-contents-for-user="1028691" type="text/json">{"id":1028691,"first_name":"Piotr","last_name":"Konderak","domain_name":"umcs-pl","page_name":"PiotrKonderak","display_name":"Piotr Konderak","profile_url":"https://umcs-pl.academia.edu/PiotrKonderak?f_ri=98","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_36655086 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36655086"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36655086, container: ".js-paper-rank-work_36655086", }); 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Introduction: How to Approach Meaning","created_at":"2018-05-17T02:17:12.725-07:00","url":"https://www.academia.edu/36655086/Mind_Cognition_Semiosis_Ways_to_Cognitive_Semiotics_Introduction_How_to_Approach_Meaning?f_ri=98","dom_id":"work_36655086","summary":"What is meaning-making? How do new domains of meanings emerge in the course of child’s development? What is the role of consciousness in this process? What is the difference between making sense of pointing, pantomime and language utterances? Are great apes capable of meaning-making? What about dogs? Parrots? Can we – in any way – relate their functioning and behavior to a child’s? Are artificial systems capable of meaning-making? \nThe above questions motivated the emergence of cognitive semiotics as a discipline devoted to theoretical and empirical studies on meaning-making processes. As a transdisciplinary approach to meaning and meaning-making, cognitive semiotics necessarily draws on different disciplines: starting with philosophy of mind, via semiotics and linguistics, cognitive science(s), neuroanthropology, developmental and evolutionary psychology, comparative studies, and ending with robotics.\nThe book presents extensively this discipline. It is a very eclectic story: highly abstract problems of philosophy of mind are discussed and, simultaneously, results of very specific experiments on picture recognition are presented. On the one hand, intentional acts involved in semiotic activity are elaborated; on the other, a computational system capable of a limited interpretation of excerpts from Carroll’s Through the Looking-Glass is described. Specifically, the two roads to cognitive semiotics are explored in the book: phenomenological-enactive path developed by the so-called Lund school and author’s own proposal: a functional-cognitivist path.","downloadable_attachments":[{"id":56591268,"asset_id":36655086,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1028691,"first_name":"Piotr","last_name":"Konderak","domain_name":"umcs-pl","page_name":"PiotrKonderak","display_name":"Piotr Konderak","profile_url":"https://umcs-pl.academia.edu/PiotrKonderak?f_ri=98","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=98","nofollow":true},{"id":1676,"name":"Cognitive Modeling","url":"https://www.academia.edu/Documents/in/Cognitive_Modeling?f_ri=98","nofollow":true},{"id":13074,"name":"Cognitive Semiotics","url":"https://www.academia.edu/Documents/in/Cognitive_Semiotics?f_ri=98","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_41550003 coauthored" data-work_id="41550003" 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/41550003/Prontuario_di_Ecosofia_Bibliografie_metastabili">Prontuario di Ecosofia. Bibliografie metastabili</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Indice: Avvertenza Cartografia relazionale. Uno stato dell’arte Che cos’è l’ecosofia? Assiomatica ecosofica I. Macchina da Guerra. Percorsi ecologici nella razionalità del conflitto II. Divenire-Donna. Conflitti ecosofici e minorità III.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41550003" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Indice:<br />Avvertenza<br />Cartografia relazionale. Uno stato dell’arte<br />Che cos’è l’ecosofia?<br />Assiomatica ecosofica<br />I. Macchina da Guerra. Percorsi ecologici nella razionalità del conflitto<br />II. Divenire-Donna. Conflitti ecosofici e minorità<br />III. «Fare Rizoma!». Profili ecologici della razionalità contemporanea<br />Lista delle autrici e degli autori<br /><br />Ventura Edizioni, Senigallia</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/41550003" 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="f92287615a7695fdd77de0b8853f34f8" rel="nofollow" data-download="{"attachment_id":61707598,"asset_id":41550003,"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/61707598/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="7626452" href="https://unibo.academia.edu/GianlucaDeFazio">Gianluca De Fazio</a><script data-card-contents-for-user="7626452" type="text/json">{"id":7626452,"first_name":"Gianluca","last_name":"De Fazio","domain_name":"unibo","page_name":"GianlucaDeFazio","display_name":"Gianluca De Fazio","profile_url":"https://unibo.academia.edu/GianlucaDeFazio?f_ri=98","photo":"https://0.academia-photos.com/7626452/2748231/19322960/s65_gianluca.de_fazio.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-41550003">+1</span><div class="hidden js-additional-users-41550003"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unibo.academia.edu/PauloFernandoL%C3%A9vano">Paulo Fernando Lévano</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-41550003'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-41550003').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_41550003 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="41550003"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41550003; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41550003]").text(description); $(".js-view-count-work_41550003").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_41550003").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="41550003"><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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="132" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Science_and_Technology">History of Science and Technology</a>, <script data-card-contents-for-ri="132" type="text/json">{"id":132,"name":"History of Science and Technology","url":"https://www.academia.edu/Documents/in/History_of_Science_and_Technology?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2170" rel="nofollow" href="https://www.academia.edu/Documents/in/Ethnography">Ethnography</a>, <script data-card-contents-for-ri="2170" type="text/json">{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3557" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Technology">History of Technology</a><script data-card-contents-for-ri="3557" type="text/json">{"id":3557,"name":"History of Technology","url":"https://www.academia.edu/Documents/in/History_of_Technology?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41550003]'), work: {"id":41550003,"title":"Prontuario di Ecosofia. 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Profili ecologici della razionalità contemporanea\nLista delle autrici e degli autori\n\nVentura Edizioni, Senigallia","downloadable_attachments":[{"id":61707598,"asset_id":41550003,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7626452,"first_name":"Gianluca","last_name":"De Fazio","domain_name":"unibo","page_name":"GianlucaDeFazio","display_name":"Gianluca De Fazio","profile_url":"https://unibo.academia.edu/GianlucaDeFazio?f_ri=98","photo":"https://0.academia-photos.com/7626452/2748231/19322960/s65_gianluca.de_fazio.jpg"},{"id":59388876,"first_name":"Paulo Fernando","last_name":"Lévano","domain_name":"unibo","page_name":"PauloFernandoLévano","display_name":"Paulo Fernando Lévano","profile_url":"https://unibo.academia.edu/PauloFernandoL%C3%A9vano?f_ri=98","photo":"https://0.academia-photos.com/59388876/18580657/18546998/s65_paulo_fernando.l_vano.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":132,"name":"History of Science and Technology","url":"https://www.academia.edu/Documents/in/History_of_Science_and_Technology?f_ri=98","nofollow":true},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=98","nofollow":true},{"id":3557,"name":"History of Technology","url":"https://www.academia.edu/Documents/in/History_of_Technology?f_ri=98","nofollow":true},{"id":3723,"name":"History of Science","url":"https://www.academia.edu/Documents/in/History_of_Science?f_ri=98"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=98"},{"id":8425,"name":"Michel Serres","url":"https://www.academia.edu/Documents/in/Michel_Serres?f_ri=98"},{"id":9039,"name":"Felix Guattari","url":"https://www.academia.edu/Documents/in/Felix_Guattari?f_ri=98"},{"id":9846,"name":"Ecology","url":"https://www.academia.edu/Documents/in/Ecology?f_ri=98"},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=98"},{"id":20073,"name":"Bruno Latour","url":"https://www.academia.edu/Documents/in/Bruno_Latour?f_ri=98"},{"id":23122,"name":"Ecosophy","url":"https://www.academia.edu/Documents/in/Ecosophy?f_ri=98"},{"id":73983,"name":"Etnografía","url":"https://www.academia.edu/Documents/in/Etnograf%C3%ADa?f_ri=98"},{"id":137387,"name":"Etnomusicologia","url":"https://www.academia.edu/Documents/in/Etnomusicologia?f_ri=98"},{"id":710446,"name":"Storia Della Scienza","url":"https://www.academia.edu/Documents/in/Storia_Della_Scienza?f_ri=98"},{"id":1223426,"name":"Etnosemiotica","url":"https://www.academia.edu/Documents/in/Etnosemiotica?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43138807" data-work_id="43138807" 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/43138807/Bitonte_Demirdjian_Promesa_o_Contrato_de_lectura_Comy_Soc20200522_79035_yzl8br">Bitonte Demirdjian Promesa o Contrato de lectura Comy Soc20200522 79035 yzl8br</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumen El siguiente artículo presenta el examen y la confrontación de dos modelos teórico-metodológicos para el análisis de los productos de los medios de comunicación social cuya atención se concentra especialmente, en la televisión. Se... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43138807" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumen El siguiente artículo presenta el examen y la confrontación de dos modelos teórico-metodológicos para el análisis de los productos de los medios de comunicación social cuya atención se concentra especialmente, en la televisión. Se trata de dos modelos que pese a provenir ambos de la semiótica, parten de paradigmas antagónicos. La indagación se cierne, entonces, en torno de las propuestas del contrato de lectura de Eliseo Verón (1985a) y la promesa de los géneros de François Jost (1997), con el objetivo de observar la capacidad de sus postulados teóricos para trabajar sobre configuraciones materiales concretas. En esta ocasión, nos referiremos prioritariamente, al informativo, dado que las derivaciones teóricas más relevantes de estos modelos, se perciben en los elementos que ofrece cada uno para comprender el devenir social, especialmente en contextos de crisis social y política. Introducción La sociedad de masas, que cobró protagonismo con el advenimiento del siglo XX, fue mayormente-dicho en términos pragmáticos-performada como tal a mediados de la centuria pasada, con la aparición de la televisión. La conversión de este medio en un elemento constitutivo de la cotidianidad nos advierte sobre la incidencia que el mismo tiene en los procesos de construcción de la realidad social 1. Dado que, frente a la compleja lógica de producción de sentido en el ámbito de la comunicación mass-mediática, y ante la aparición de lo que puede denominarse la sociedad de redes, no debemos perder de vista que las mayorías sociales continúan siendo interpretadas en términos de audiencias. 1 A partir de la visión de Jesús Martín Barbero-que supo conciliar los estudios culturales con el análisis semiótico-podemos afirmar que la cotidianidad familiar resulta un lugar fundamental de mediación en el proceso de recepción televisiva, dado que, en los países latinoamericanos principalmente, la unidad básica de audiencia que tiene la televisión es la familia, por eso es en el marco de su cotidianidad donde se "representa para las mayorías la situación primordial de reconocimiento". Si bien no es el objeto de este trabajo, sobre este punto cabe mencionar el acento que los Estudios de Recepción Televisiva (ERT) otorgan a las audiencias a partir de la capacidad de resemantización que tienen frente al mensaje de los medios.</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/43138807" 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="f7b5fa0864e714f44669e54ebda90e73" rel="nofollow" data-download="{"attachment_id":63398122,"asset_id":43138807,"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/63398122/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="21695975" href="https://uba.academia.edu/Mar%C3%ACaElenaBitonte">Marìa Elena Bitonte</a><script data-card-contents-for-user="21695975" type="text/json">{"id":21695975,"first_name":"Marìa Elena","last_name":"Bitonte","domain_name":"uba","page_name":"MarìaElenaBitonte","display_name":"Marìa Elena Bitonte","profile_url":"https://uba.academia.edu/Mar%C3%ACaElenaBitonte?f_ri=98","photo":"https://0.academia-photos.com/21695975/6522124/7374793/s65_mar_a_elena.bitonte.jpg_oh_5c964da7c9194a6fcad1110f8f60fb85_oe_55327276"}</script></span></span></li><li class="js-paper-rank-work_43138807 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43138807"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43138807, container: ".js-paper-rank-work_43138807", }); 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$(".js-view-count[data-work-id=43138807]").text(description); $(".js-view-count-work_43138807").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43138807").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="43138807"><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="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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="54239" rel="nofollow" href="https://www.academia.edu/Documents/in/Comunicacion_Social">Comunicacion Social</a><script data-card-contents-for-ri="54239" type="text/json">{"id":54239,"name":"Comunicacion Social","url":"https://www.academia.edu/Documents/in/Comunicacion_Social?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43138807]'), work: {"id":43138807,"title":"Bitonte Demirdjian Promesa o Contrato de lectura Comy Soc20200522 79035 yzl8br","created_at":"2020-05-22T12:33:21.142-07:00","url":"https://www.academia.edu/43138807/Bitonte_Demirdjian_Promesa_o_Contrato_de_lectura_Comy_Soc20200522_79035_yzl8br?f_ri=98","dom_id":"work_43138807","summary":"Resumen El siguiente artículo presenta el examen y la confrontación de dos modelos teórico-metodológicos para el análisis de los productos de los medios de comunicación social cuya atención se concentra especialmente, en la televisión. Se trata de dos modelos que pese a provenir ambos de la semiótica, parten de paradigmas antagónicos. La indagación se cierne, entonces, en torno de las propuestas del contrato de lectura de Eliseo Verón (1985a) y la promesa de los géneros de François Jost (1997), con el objetivo de observar la capacidad de sus postulados teóricos para trabajar sobre configuraciones materiales concretas. En esta ocasión, nos referiremos prioritariamente, al informativo, dado que las derivaciones teóricas más relevantes de estos modelos, se perciben en los elementos que ofrece cada uno para comprender el devenir social, especialmente en contextos de crisis social y política. Introducción La sociedad de masas, que cobró protagonismo con el advenimiento del siglo XX, fue mayormente-dicho en términos pragmáticos-performada como tal a mediados de la centuria pasada, con la aparición de la televisión. La conversión de este medio en un elemento constitutivo de la cotidianidad nos advierte sobre la incidencia que el mismo tiene en los procesos de construcción de la realidad social 1. Dado que, frente a la compleja lógica de producción de sentido en el ámbito de la comunicación mass-mediática, y ante la aparición de lo que puede denominarse la sociedad de redes, no debemos perder de vista que las mayorías sociales continúan siendo interpretadas en términos de audiencias. 1 A partir de la visión de Jesús Martín Barbero-que supo conciliar los estudios culturales con el análisis semiótico-podemos afirmar que la cotidianidad familiar resulta un lugar fundamental de mediación en el proceso de recepción televisiva, dado que, en los países latinoamericanos principalmente, la unidad básica de audiencia que tiene la televisión es la familia, por eso es en el marco de su cotidianidad donde se \"representa para las mayorías la situación primordial de reconocimiento\". Si bien no es el objeto de este trabajo, sobre este punto cabe mencionar el acento que los Estudios de Recepción Televisiva (ERT) otorgan a las audiencias a partir de la capacidad de resemantización que tienen frente al mensaje de los medios.","downloadable_attachments":[{"id":63398122,"asset_id":43138807,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":21695975,"first_name":"Marìa Elena","last_name":"Bitonte","domain_name":"uba","page_name":"MarìaElenaBitonte","display_name":"Marìa Elena Bitonte","profile_url":"https://uba.academia.edu/Mar%C3%ACaElenaBitonte?f_ri=98","photo":"https://0.academia-photos.com/21695975/6522124/7374793/s65_mar_a_elena.bitonte.jpg_oh_5c964da7c9194a6fcad1110f8f60fb85_oe_55327276"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":54239,"name":"Comunicacion Social","url":"https://www.academia.edu/Documents/in/Comunicacion_Social?f_ri=98","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_37540689 coauthored" data-work_id="37540689" 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/37540689/Analyse_paratextuelle_de_Le_sumo_qui_ne_pouvait_pas_grossir_D%C3%89ric_Emmanuel_Schmitt">Analyse paratextuelle de Le sumo qui ne pouvait pas grossir D'Éric Emmanuel Schmitt</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Du fait que les oeuvres littéraires ne se manifestent pas comme un texte nu et qu'elles sont toujours accompagnées des éléments picturaux ou verbaux, ceux-ci, étant des facteurs supplémentaires au texte principal, pourront évidemment... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37540689" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Du fait que les oeuvres littéraires ne se manifestent pas comme un texte nu et qu'elles sont toujours accompagnées des éléments picturaux ou verbaux, ceux-ci, étant des facteurs supplémentaires au texte principal, pourront évidemment influencer la réception du lecteur par rapport au thème principal du texte. Ces éléments-là qui varient selon les époques, éditions, auteurs, public et cultures, sont nommés par Gérard Genette des paratextes auxquels il a consacré une vaste étude dans son oeuvre intitulée Seuils (1987). Etant donné que la « paratextualité » est un sujet récent auquel on n'a pas prêté assez d'attention jusqu'à présent et que les oeuvres d'Éric Emmanuel Schmitt en attestent une forte présence, nous avons décidé de traiter l'une de ces oeuvres dans cet article, en supposant qu'elle puisse illustrer la problématique toujours actuelle du rapport entre la littérature et le paratexte. Nous nous sommes donc intéressés aux péritextes et nous avons essayé de démontrer que dans les oeuvres littéraires, la transmission du sens ne se réduit pas au texte principal mais aussi aux paratextes. En prenant Le sumo qui ne pouvait pas grossir, en tant que notre objet d'études, nous allons aborder comment le paratexte se manifeste dans cette oeuvre et préciser le rôle qu'il peut jouer dans la compréhension et l'interprétation du texte. Mots-clés : oeuvre littéraire, paratexte, péritexte, réception du lecteur, transmission du sens.</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/37540689" 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="0b62852e92884ed5b82b1ce8cd14ab37" rel="nofollow" data-download="{"attachment_id":57515313,"asset_id":37540689,"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/57515313/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="83156698" href="https://modares.academia.edu/yaghoobiyaghoobi">yaghoobi yaghoobi</a><script data-card-contents-for-user="83156698" type="text/json">{"id":83156698,"first_name":"yaghoobi","last_name":"yaghoobi","domain_name":"modares","page_name":"yaghoobiyaghoobi","display_name":"yaghoobi yaghoobi","profile_url":"https://modares.academia.edu/yaghoobiyaghoobi?f_ri=98","photo":"https://0.academia-photos.com/83156698/26098074/24719773/s65_yaghoobi.yaghoobi.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-37540689">+1</span><div class="hidden js-additional-users-37540689"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/BahmanNamvar">Bahman Namvar</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-37540689'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-37540689').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_37540689 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37540689"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37540689, container: ".js-paper-rank-work_37540689", }); });</script></li><li class="js-percentile-work_37540689 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 = 37540689; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37540689"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37540689 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37540689"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37540689; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37540689]").text(description); $(".js-view-count-work_37540689").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37540689").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="37540689"><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="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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="237" rel="nofollow" href="https://www.academia.edu/Documents/in/Cognitive_Science">Cognitive Science</a>, <script data-card-contents-for-ri="237" type="text/json">{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="53242" rel="nofollow" href="https://www.academia.edu/Documents/in/Traductologie">Traductologie</a>, <script data-card-contents-for-ri="53242" type="text/json">{"id":53242,"name":"Traductologie","url":"https://www.academia.edu/Documents/in/Traductologie?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="66444" rel="nofollow" href="https://www.academia.edu/Documents/in/Didactique_des_langues">Didactique des langues</a><script data-card-contents-for-ri="66444" type="text/json">{"id":66444,"name":"Didactique des langues","url":"https://www.academia.edu/Documents/in/Didactique_des_langues?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37540689]'), work: {"id":37540689,"title":"Analyse paratextuelle de Le sumo qui ne pouvait pas grossir D'Éric Emmanuel Schmitt","created_at":"2018-10-06T09:16:11.617-07:00","url":"https://www.academia.edu/37540689/Analyse_paratextuelle_de_Le_sumo_qui_ne_pouvait_pas_grossir_D%C3%89ric_Emmanuel_Schmitt?f_ri=98","dom_id":"work_37540689","summary":"Du fait que les oeuvres littéraires ne se manifestent pas comme un texte nu et qu'elles sont toujours accompagnées des éléments picturaux ou verbaux, ceux-ci, étant des facteurs supplémentaires au texte principal, pourront évidemment influencer la réception du lecteur par rapport au thème principal du texte. Ces éléments-là qui varient selon les époques, éditions, auteurs, public et cultures, sont nommés par Gérard Genette des paratextes auxquels il a consacré une vaste étude dans son oeuvre intitulée Seuils (1987). Etant donné que la « paratextualité » est un sujet récent auquel on n'a pas prêté assez d'attention jusqu'à présent et que les oeuvres d'Éric Emmanuel Schmitt en attestent une forte présence, nous avons décidé de traiter l'une de ces oeuvres dans cet article, en supposant qu'elle puisse illustrer la problématique toujours actuelle du rapport entre la littérature et le paratexte. Nous nous sommes donc intéressés aux péritextes et nous avons essayé de démontrer que dans les oeuvres littéraires, la transmission du sens ne se réduit pas au texte principal mais aussi aux paratextes. En prenant Le sumo qui ne pouvait pas grossir, en tant que notre objet d'études, nous allons aborder comment le paratexte se manifeste dans cette oeuvre et préciser le rôle qu'il peut jouer dans la compréhension et l'interprétation du texte. Mots-clés : oeuvre littéraire, paratexte, péritexte, réception du lecteur, transmission du sens.","downloadable_attachments":[{"id":57515313,"asset_id":37540689,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":83156698,"first_name":"yaghoobi","last_name":"yaghoobi","domain_name":"modares","page_name":"yaghoobiyaghoobi","display_name":"yaghoobi yaghoobi","profile_url":"https://modares.academia.edu/yaghoobiyaghoobi?f_ri=98","photo":"https://0.academia-photos.com/83156698/26098074/24719773/s65_yaghoobi.yaghoobi.jpg"},{"id":126328888,"first_name":"Bahman","last_name":"Namvar","domain_name":"independent","page_name":"BahmanNamvar","display_name":"Bahman Namvar","profile_url":"https://independent.academia.edu/BahmanNamvar?f_ri=98","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":237,"name":"Cognitive Science","url":"https://www.academia.edu/Documents/in/Cognitive_Science?f_ri=98","nofollow":true},{"id":53242,"name":"Traductologie","url":"https://www.academia.edu/Documents/in/Traductologie?f_ri=98","nofollow":true},{"id":66444,"name":"Didactique des langues","url":"https://www.academia.edu/Documents/in/Didactique_des_langues?f_ri=98","nofollow":true},{"id":845884,"name":"TICE en classe","url":"https://www.academia.edu/Documents/in/TICE_en_classe?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_492222" data-work_id="492222" 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/492222/Semiotics_of_photography_On_tracing_the_index">Semiotics of photography-On tracing the index</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/492222" 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="3d1441ba74b78fe9a0cf259f2641147f" rel="nofollow" data-download="{"attachment_id":4080082,"asset_id":492222,"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/4080082/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="213660" href="https://lu.academia.edu/GSonesson">Göran Sonesson</a><script data-card-contents-for-user="213660" type="text/json">{"id":213660,"first_name":"Göran","last_name":"Sonesson","domain_name":"lu","page_name":"GSonesson","display_name":"Göran Sonesson","profile_url":"https://lu.academia.edu/GSonesson?f_ri=98","photo":"https://0.academia-photos.com/213660/96626/20140366/s65_g_ran.sonesson.png"}</script></span></span></li><li class="js-paper-rank-work_492222 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="492222"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 492222, container: ".js-paper-rank-work_492222", }); });</script></li><li class="js-percentile-work_492222 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 = 492222; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_492222"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_492222 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="492222"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 492222; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=492222]").text(description); $(".js-view-count-work_492222").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_492222").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="492222"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><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=98","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=492222]'), work: {"id":492222,"title":"Semiotics of photography-On tracing the index","created_at":"2011-03-26T03:37:14.883-07:00","url":"https://www.academia.edu/492222/Semiotics_of_photography_On_tracing_the_index?f_ri=98","dom_id":"work_492222","summary":null,"downloadable_attachments":[{"id":4080082,"asset_id":492222,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":213660,"first_name":"Göran","last_name":"Sonesson","domain_name":"lu","page_name":"GSonesson","display_name":"Göran Sonesson","profile_url":"https://lu.academia.edu/GSonesson?f_ri=98","photo":"https://0.academia-photos.com/213660/96626/20140366/s65_g_ran.sonesson.png"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","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_42613579" data-work_id="42613579" 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/42613579/The_Representation_of_Self_and_Other_in_the_Persian_Novels_of_the_Last_Half_Century">The Representation of Self and Other in the Persian Novels of the Last Half Century</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 study has been conducted to analyze how Self (Iranians) and the Other (non Iranians) have been represented in the Persian novels written in the last 50 years. The main question of the present research is "how Iranians and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42613579" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This study has been conducted to analyze how Self (Iranians) and the Other (non Iranians) have been represented in the Persian novels written in the last 50 years. The main question of the present research is "how Iranians and non-Iranians are represented in the novels of two different periods of fiction writing in Iran?" By answering this question, it would be possible to show if there is an overlap between the Self/the Other confrontation and culture/nonculture in these Persian novels or not, in other words, if Self has been represented as culture and the Other as non-culture or not. Cultural semiotics and Discourse-Historical Approach (DHA) have developed the framework of this research. In order to achieve the aims of the research, three novels of the greatest ones written in the first 15 years of the last half-century, including Tangsir by S. Chubak (1963), Savushun by S. Daneshvar (1969) and The Neighbors by A. Mahmoud (1973), and three novels written in the last 15 years, including Kiss the Lovely Face of God (2000), My Bird (2002) and the Event (2010), have been selected and studied. These novels are chosen because the Other has a powerful presence in them. The results research show that in Tangsir, Savushun and the Neighbors, when the Other (Non-Iranian) is an aggressor is deemed to be nonculture but when he is beyond the borders of the Self’s country, he is culture. In these novels there is also no reference to represent the Self as culture, therefore there is no overlap between the two mentioned oppositions, Self/Other and culture/non-culture, and Self is not represented as culture and vice versa. In novel written in last 15 years Self is represented as nonculture. Hence there is overlap between the representation of Self/Other and culture/nonculture.</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/42613579" 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="423c7c614bd616278159d3b7243e5b90" rel="nofollow" data-download="{"attachment_id":62817840,"asset_id":42613579,"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/62817840/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="7922583" href="https://independent.academia.edu/NiloofarEbrahimi">Niloofar Aghaebrahimi</a><script data-card-contents-for-user="7922583" type="text/json">{"id":7922583,"first_name":"Niloofar","last_name":"Aghaebrahimi","domain_name":"independent","page_name":"NiloofarEbrahimi","display_name":"Niloofar Aghaebrahimi","profile_url":"https://independent.academia.edu/NiloofarEbrahimi?f_ri=98","photo":"https://0.academia-photos.com/7922583/2789396/31849421/s65_niloofar.ebrahimi.jpeg"}</script></span></span></li><li class="js-paper-rank-work_42613579 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42613579"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42613579, container: ".js-paper-rank-work_42613579", }); 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$(".js-view-count[data-work-id=42613579]").text(description); $(".js-view-count-work_42613579").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42613579").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="42613579"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="94" rel="nofollow" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=98","nofollow":true}</script><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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2418" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature">Literature</a><script data-card-contents-for-ri="2418" type="text/json">{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42613579]'), work: {"id":42613579,"title":"The Representation of Self and Other in the Persian Novels of the Last Half Century","created_at":"2020-04-04T05:27:26.524-07:00","url":"https://www.academia.edu/42613579/The_Representation_of_Self_and_Other_in_the_Persian_Novels_of_the_Last_Half_Century?f_ri=98","dom_id":"work_42613579","summary":"This study has been conducted to analyze how Self (Iranians) and the Other (non Iranians) have been represented in the Persian novels written in the last 50 years. The main question of the present research is \"how Iranians and non-Iranians are represented in the novels of two different periods of fiction writing in Iran?\" By answering this question, it would be possible to show if there is an overlap between the Self/the Other confrontation and culture/nonculture in these Persian novels or not, in other words, if Self has been represented as culture and the Other as non-culture or not. Cultural semiotics and Discourse-Historical Approach (DHA) have developed the framework of this research. In order to achieve the aims of the research, three novels of the greatest ones written in the first 15 years of the last half-century, including Tangsir by S. Chubak (1963), Savushun by S. Daneshvar (1969) and The Neighbors by A. Mahmoud (1973), and three novels written in the last 15 years, including Kiss the Lovely Face of God (2000), My Bird (2002) and the Event (2010), have been selected and studied. These novels are chosen because the Other has a powerful presence in them. The results research show that in Tangsir, Savushun and the Neighbors, when the Other (Non-Iranian) is an aggressor is deemed to be nonculture but when he is beyond the borders of the Self’s country, he is culture. In these novels there is also no reference to represent the Self as culture, therefore there is no overlap between the two mentioned oppositions, Self/Other and culture/non-culture, and Self is not represented as culture and vice versa. In novel written in last 15 years Self is represented as nonculture. Hence there is overlap between the representation of Self/Other and culture/nonculture.","downloadable_attachments":[{"id":62817840,"asset_id":42613579,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7922583,"first_name":"Niloofar","last_name":"Aghaebrahimi","domain_name":"independent","page_name":"NiloofarEbrahimi","display_name":"Niloofar Aghaebrahimi","profile_url":"https://independent.academia.edu/NiloofarEbrahimi?f_ri=98","photo":"https://0.academia-photos.com/7922583/2789396/31849421/s65_niloofar.ebrahimi.jpeg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=98","nofollow":true},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=98","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div 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itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1682891" href="https://nmmu.academia.edu/theabuckle">thea buckle</a><script data-card-contents-for-user="1682891" type="text/json">{"id":1682891,"first_name":"thea","last_name":"buckle","domain_name":"nmmu","page_name":"theabuckle","display_name":"thea buckle","profile_url":"https://nmmu.academia.edu/theabuckle?f_ri=98","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_1537800 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1537800"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1537800, container: ".js-paper-rank-work_1537800", }); });</script></li><li class="js-percentile-work_1537800 InlineList-item InlineList-item--bordered hidden 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'View'); $(".js-view-count[data-work-id=1537800]").text(description); $(".js-view-count-work_1537800").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1537800").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="1537800"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">151</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="94" rel="nofollow" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=98","nofollow":true}</script><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=98","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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="206" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_Change">Social Change</a><script data-card-contents-for-ri="206" type="text/json">{"id":206,"name":"Social Change","url":"https://www.academia.edu/Documents/in/Social_Change?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if 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Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=98","nofollow":true},{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=98","nofollow":true},{"id":206,"name":"Social Change","url":"https://www.academia.edu/Documents/in/Social_Change?f_ri=98","nofollow":true},{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=98"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=98"},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=98"},{"id":776,"name":"Anthropological Linguistics","url":"https://www.academia.edu/Documents/in/Anthropological_Linguistics?f_ri=98"},{"id":792,"name":"Historical Anthropology","url":"https://www.academia.edu/Documents/in/Historical_Anthropology?f_ri=98"},{"id":807,"name":"Philosophy Of Language","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Language?f_ri=98"},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=98"},{"id":813,"name":"Political Philosophy","url":"https://www.academia.edu/Documents/in/Political_Philosophy?f_ri=98"},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=98"},{"id":878,"name":"Soviet Regime","url":"https://www.academia.edu/Documents/in/Soviet_Regime?f_ri=98"},{"id":880,"name":"Ideology (Anthropology)","url":"https://www.academia.edu/Documents/in/Ideology_Anthropology_?f_ri=98"},{"id":938,"name":"Critical Discourse Studies","url":"https://www.academia.edu/Documents/in/Critical_Discourse_Studies?f_ri=98"},{"id":954,"name":"Social 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Performance","url":"https://www.academia.edu/Documents/in/Anthropology_of_Performance?f_ri=98"},{"id":3661,"name":"Sovereignty","url":"https://www.academia.edu/Documents/in/Sovereignty?f_ri=98"},{"id":4295,"name":"Performative Social Science","url":"https://www.academia.edu/Documents/in/Performative_Social_Science?f_ri=98"},{"id":4486,"name":"Political Science","url":"https://www.academia.edu/Documents/in/Political_Science?f_ri=98"},{"id":4487,"name":"Revolutions","url":"https://www.academia.edu/Documents/in/Revolutions?f_ri=98"},{"id":5177,"name":"Countercultural Studies","url":"https://www.academia.edu/Documents/in/Countercultural_Studies?f_ri=98"},{"id":5539,"name":"Language and 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u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35900343/Theory_of_Semiotics_a_study_of_advertising_image_through_it">Theory of Semiotics a study of advertising image through it.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35900343" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.<br />Through this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.</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/35900343" 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="c7a685bf1b6fb2a130f968f903f3a930" rel="nofollow" data-download="{"attachment_id":55780223,"asset_id":35900343,"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/55780223/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="5866994" href="https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar">Satish Kumar</a><script data-card-contents-for-user="5866994" type="text/json">{"id":5866994,"first_name":"Satish","last_name":"Kumar","domain_name":"jawaharlalanehrunewdelhiindia","page_name":"satishkumar","display_name":"Satish Kumar","profile_url":"https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar?f_ri=98","photo":"https://0.academia-photos.com/5866994/2644692/22222017/s65_satish.kumar.jpg"}</script></span></span></li><li class="js-paper-rank-work_35900343 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35900343"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35900343, container: ".js-paper-rank-work_35900343", }); 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During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.\nThrough this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.","downloadable_attachments":[{"id":55780223,"asset_id":35900343,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5866994,"first_name":"Satish","last_name":"Kumar","domain_name":"jawaharlalanehrunewdelhiindia","page_name":"satishkumar","display_name":"Satish Kumar","profile_url":"https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar?f_ri=98","photo":"https://0.academia-photos.com/5866994/2644692/22222017/s65_satish.kumar.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=98","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=98","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=98","nofollow":true},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31681903 coauthored" data-work_id="31681903" 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/31681903/PERCURSO_PAIX%C3%95ES_E_FORMAS_DE_VIDA_DO_ATOR_FEMININO_CATELYN_STARK_EM_GAME_OF_THRONES">PERCURSO, PAIXÕES E FORMAS DE VIDA DO ATOR FEMININO CATELYN STARK, EM GAME OF THRONES</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O estudo dos objetos culturais produzidos na atualidade possibilita, por meio da análise das formas de vida representadas nesses produtos de entretenimento, identificarmos as formas de ser, pensar e agir dos indivíduos, bem como as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31681903" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O estudo dos objetos culturais produzidos na atualidade possibilita, por meio da análise das formas de vida representadas nesses produtos de entretenimento, identificarmos as formas de ser, pensar e agir dos indivíduos, bem como as principais escolhas axiológicas que os orientam e caracterizam. Considerando que as narrativas seriadas norte-americanas são muito difundidas entre os brasileiros, estas se constituem como importante meio de disseminar valores e determinar comportamentos, portanto, é nosso objetivo no presente trabalho analisar o percurso narrativo e as paixões do ator feminino Catelyn Stark, na narrativa seriada Game of Thrones, a fim de identificar as principais formas de vida que lhe são atribuídas. Para tanto, utilizamos em nosso quadro teórico-metodológico a semiótica de base greimasiana.</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/31681903" 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="711f0d2914bdf66de062d65e4dd3c187" rel="nofollow" data-download="{"attachment_id":52001501,"asset_id":31681903,"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/52001501/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="3566279" href="https://independent.academia.edu/K%C3%A9licaCampos">Kélica Andréa Campos de Souza</a><script data-card-contents-for-user="3566279" type="text/json">{"id":3566279,"first_name":"Kélica Andréa","last_name":"Campos de Souza","domain_name":"independent","page_name":"KélicaCampos","display_name":"Kélica Andréa Campos de Souza","profile_url":"https://independent.academia.edu/K%C3%A9licaCampos?f_ri=98","photo":"https://0.academia-photos.com/3566279/1234639/1542230/s65_k_lica.campos.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-31681903">+1</span><div class="hidden js-additional-users-31681903"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/Nai%C3%A1SadiC%C3%A2mara">Naiá Sadi Câmara</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-31681903'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-31681903').html(); 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Considerando que as narrativas seriadas norte-americanas são muito difundidas entre os brasileiros, estas se constituem como importante meio de disseminar valores e determinar comportamentos, portanto, é nosso objetivo no presente trabalho analisar o percurso narrativo e as paixões do ator feminino Catelyn Stark, na narrativa seriada Game of Thrones, a fim de identificar as principais formas de vida que lhe são atribuídas. Para tanto, utilizamos em nosso quadro teórico-metodológico a semiótica de base greimasiana.","downloadable_attachments":[{"id":52001501,"asset_id":31681903,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3566279,"first_name":"Kélica Andréa","last_name":"Campos de Souza","domain_name":"independent","page_name":"KélicaCampos","display_name":"Kélica Andréa Campos de Souza","profile_url":"https://independent.academia.edu/K%C3%A9licaCampos?f_ri=98","photo":"https://0.academia-photos.com/3566279/1234639/1542230/s65_k_lica.campos.jpg"},{"id":3894487,"first_name":"Naiá","last_name":"Sadi Câmara","domain_name":"independent","page_name":"NaiáSadiCâmara","display_name":"Naiá Sadi Câmara","profile_url":"https://independent.academia.edu/Nai%C3%A1SadiC%C3%A2mara?f_ri=98","photo":"https://0.academia-photos.com/3894487/1442348/1765750/s65_nai_.sadi_c_mara.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":14831,"name":"Narrative and Identity","url":"https://www.academia.edu/Documents/in/Narrative_and_Identity?f_ri=98","nofollow":true},{"id":426560,"name":"Game of Thrones","url":"https://www.academia.edu/Documents/in/Game_of_Thrones?f_ri=98","nofollow":true},{"id":806773,"name":"Serial Narratives","url":"https://www.academia.edu/Documents/in/Serial_Narratives?f_ri=98","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_5690797" data-work_id="5690797" 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/5690797/Tarot_semiotics_as_cartography_of_events">Tarot semiotics as cartography of events</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/5690797" 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="715067d4f19c1cba14ca92a4966a4cda" rel="nofollow" data-download="{"attachment_id":66217295,"asset_id":5690797,"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/66217295/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="332238" href="https://columbia.academia.edu/InnaSemetsky">Inna Semetsky</a><script data-card-contents-for-user="332238" type="text/json">{"id":332238,"first_name":"Inna","last_name":"Semetsky","domain_name":"columbia","page_name":"InnaSemetsky","display_name":"Inna Semetsky","profile_url":"https://columbia.academia.edu/InnaSemetsky?f_ri=98","photo":"https://0.academia-photos.com/332238/5016142/15163001/s65_inna.semetsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_5690797 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5690797"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5690797, container: ".js-paper-rank-work_5690797", }); 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$(".js-view-count[data-work-id=5690797]").text(description); $(".js-view-count-work_5690797").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5690797").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="5690797"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="280" rel="nofollow" href="https://www.academia.edu/Documents/in/Cartography">Cartography</a>, <script data-card-contents-for-ri="280" type="text/json">{"id":280,"name":"Cartography","url":"https://www.academia.edu/Documents/in/Cartography?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3279" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychotherapy_and_Counseling">Psychotherapy and Counseling</a>, <script data-card-contents-for-ri="3279" type="text/json">{"id":3279,"name":"Psychotherapy and Counseling","url":"https://www.academia.edu/Documents/in/Psychotherapy_and_Counseling?f_ri=98","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=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5690797]'), work: {"id":5690797,"title":"Tarot semiotics as cartography of events","created_at":"2014-01-12T12:16:49.430-08:00","url":"https://www.academia.edu/5690797/Tarot_semiotics_as_cartography_of_events?f_ri=98","dom_id":"work_5690797","summary":null,"downloadable_attachments":[{"id":66217295,"asset_id":5690797,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":332238,"first_name":"Inna","last_name":"Semetsky","domain_name":"columbia","page_name":"InnaSemetsky","display_name":"Inna Semetsky","profile_url":"https://columbia.academia.edu/InnaSemetsky?f_ri=98","photo":"https://0.academia-photos.com/332238/5016142/15163001/s65_inna.semetsky.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":280,"name":"Cartography","url":"https://www.academia.edu/Documents/in/Cartography?f_ri=98","nofollow":true},{"id":3279,"name":"Psychotherapy and Counseling","url":"https://www.academia.edu/Documents/in/Psychotherapy_and_Counseling?f_ri=98","nofollow":true},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=98","nofollow":true},{"id":8024,"name":"Psychology of Unconscious","url":"https://www.academia.edu/Documents/in/Psychology_of_Unconscious?f_ri=98"},{"id":8028,"name":"Myths and Symbols as carriers of unconscious content","url":"https://www.academia.edu/Documents/in/Myths_and_Symbols_as_carriers_of_unconscious_content?f_ri=98"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=98"},{"id":22394,"name":"Tarot","url":"https://www.academia.edu/Documents/in/Tarot?f_ri=98"},{"id":35504,"name":"Unconscious cognition","url":"https://www.academia.edu/Documents/in/Unconscious_cognition?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31706650" data-work_id="31706650" 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/31706650/Kinetic_Memories_An_embodied_form_of_remembering_the_personal_past">Kinetic Memories. An embodied form of remembering the personal past</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31706650" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value.</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/31706650" 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="cd43b2cc408446d7b251a96aaea3f49d" rel="nofollow" data-download="{"attachment_id":69734007,"asset_id":31706650,"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/69734007/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="12233906" href="https://conicet-ar.academia.edu/MarinaTrakas">Marina Trakas</a><script data-card-contents-for-user="12233906" type="text/json">{"id":12233906,"first_name":"Marina","last_name":"Trakas","domain_name":"conicet-ar","page_name":"MarinaTrakas","display_name":"Marina Trakas","profile_url":"https://conicet-ar.academia.edu/MarinaTrakas?f_ri=98","photo":"https://0.academia-photos.com/12233906/3511682/119702226/s65_marina.trakas.jpg"}</script></span></span></li><li class="js-paper-rank-work_31706650 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31706650"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31706650, container: ".js-paper-rank-work_31706650", }); 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An embodied form of remembering the personal past","created_at":"2017-03-04T02:44:39.678-08:00","url":"https://www.academia.edu/31706650/Kinetic_Memories_An_embodied_form_of_remembering_the_personal_past?f_ri=98","dom_id":"work_31706650","summary":"Despite the popularity that the embodied cognition thesis has gained in recent years, explicit memories of events personally experienced are still conceived as disembodied mental representations. It seems that we can consciously remember our personal past through sensory imagery, through concepts, propositions and language, but not through the body. In this article, I defend the idea that the body constitutes a genuine means of representing past personal experiences. For this purpose, I focus on the analysis of bodily movements associated with the retrieval of a personal memory, which have certain features that make them different from procedural memories, pragmatic actions and common gestures, as well as other forms of embodied memories found in recent literature. I refer to these as “kinetic memories” and analyse their representative nature as well as their adaptive functions. Kinetic memories are bodily movements in which some event or action that took place in the past can be seen, because they are an externalisation of the subject’s inner intention of representing a past personal experience. Kinetic memories represent a past experience sometimes by imitation of a past movement, and other times through embodied symbols and metaphors. Furthermore, although sometimes they present direct pragmatic benefits, such as communicative benefits, they seem to enhance the whole reexperience of the past event and memory recall, which I argue is one important adaptive value.","downloadable_attachments":[{"id":69734007,"asset_id":31706650,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12233906,"first_name":"Marina","last_name":"Trakas","domain_name":"conicet-ar","page_name":"MarinaTrakas","display_name":"Marina Trakas","profile_url":"https://conicet-ar.academia.edu/MarinaTrakas?f_ri=98","photo":"https://0.academia-photos.com/12233906/3511682/119702226/s65_marina.trakas.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":1595,"name":"Memory (Cognitive Psychology)","url":"https://www.academia.edu/Documents/in/Memory_Cognitive_Psychology_?f_ri=98","nofollow":true},{"id":4420,"name":"Embodied Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Cognition?f_ri=98","nofollow":true},{"id":5425,"name":"Embodied Mind and Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Mind_and_Cognition?f_ri=98","nofollow":true},{"id":14617,"name":"Phenomenology of the body","url":"https://www.academia.edu/Documents/in/Phenomenology_of_the_body?f_ri=98"},{"id":29866,"name":"Autobiographical Memory","url":"https://www.academia.edu/Documents/in/Autobiographical_Memory?f_ri=98"},{"id":32361,"name":"Episodic Memory","url":"https://www.academia.edu/Documents/in/Episodic_Memory?f_ri=98"},{"id":35567,"name":"Body Language","url":"https://www.academia.edu/Documents/in/Body_Language?f_ri=98"},{"id":46858,"name":"Memory","url":"https://www.academia.edu/Documents/in/Memory?f_ri=98"},{"id":255640,"name":"Embodied knowledge","url":"https://www.academia.edu/Documents/in/Embodied_knowledge?f_ri=98"},{"id":362853,"name":"Embodied and Enactive Cognition","url":"https://www.academia.edu/Documents/in/Embodied_and_Enactive_Cognition?f_ri=98"}]}, }) } })();</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="c6f10374c3fd06fcdba533c3b604420f" 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=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","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 Walker","profile_url":"https://unistra.academia.edu/JulieWalker?f_ri=98","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=98","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=98","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=98","nofollow":true},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=98","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=98"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30271764" data-work_id="30271764" 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/30271764/A_Semiotic_Analysis_Mum_Advertisement_Text">A Semiotic Analysis - 'Mum' Advertisement Text</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/30271764" 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="c19bfb914b3b1a46cc85d6b501d4d98a" rel="nofollow" data-download="{"attachment_id":50738332,"asset_id":30271764,"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/50738332/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="55619424" href="https://une-au.academia.edu/AmberJohnson">Amber Johnson</a><script data-card-contents-for-user="55619424" type="text/json">{"id":55619424,"first_name":"Amber","last_name":"Johnson","domain_name":"une-au","page_name":"AmberJohnson","display_name":"Amber Johnson","profile_url":"https://une-au.academia.edu/AmberJohnson?f_ri=98","photo":"https://0.academia-photos.com/55619424/15060176/15782811/s65_l.a..jet.jpg"}</script></span></span></li><li class="js-paper-rank-work_30271764 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30271764"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30271764, container: ".js-paper-rank-work_30271764", }); 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$(".js-view-count[data-work-id=30271764]").text(description); $(".js-view-count-work_30271764").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30271764").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="30271764"><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="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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="92738" rel="nofollow" href="https://www.academia.edu/Documents/in/Text_Analysis">Text Analysis</a><script data-card-contents-for-ri="92738" type="text/json">{"id":92738,"name":"Text Analysis","url":"https://www.academia.edu/Documents/in/Text_Analysis?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30271764]'), work: {"id":30271764,"title":"A Semiotic Analysis - 'Mum' Advertisement Text","created_at":"2016-12-06T00:50:44.241-08:00","url":"https://www.academia.edu/30271764/A_Semiotic_Analysis_Mum_Advertisement_Text?f_ri=98","dom_id":"work_30271764","summary":null,"downloadable_attachments":[{"id":50738332,"asset_id":30271764,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55619424,"first_name":"Amber","last_name":"Johnson","domain_name":"une-au","page_name":"AmberJohnson","display_name":"Amber Johnson","profile_url":"https://une-au.academia.edu/AmberJohnson?f_ri=98","photo":"https://0.academia-photos.com/55619424/15060176/15782811/s65_l.a..jet.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":92738,"name":"Text Analysis","url":"https://www.academia.edu/Documents/in/Text_Analysis?f_ri=98","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_39734204" data-work_id="39734204" 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/39734204/Nel_segno_del_film_nel_segno_della_canzone_la_situazione_italiana_I_casi_di_Claudio_Baglioni_e_di_Nanni_Moretti">Nel segno del film, nel segno della canzone: la situazione italiana. I casi di Claudio Baglioni e di Nanni Moretti</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 questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39734204" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.</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/39734204" 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="c3648b474fb765862d5f698f649b7898" rel="nofollow" data-download="{"attachment_id":59912454,"asset_id":39734204,"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/59912454/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="43990128" href="https://univp.academia.edu/LucaBertoloni">Luca Bertoloni</a><script data-card-contents-for-user="43990128" type="text/json">{"id":43990128,"first_name":"Luca","last_name":"Bertoloni","domain_name":"univp","page_name":"LucaBertoloni","display_name":"Luca Bertoloni","profile_url":"https://univp.academia.edu/LucaBertoloni?f_ri=98","photo":"https://0.academia-photos.com/43990128/18776170/27188791/s65_luca.bertoloni.jpeg"}</script></span></span></li><li class="js-paper-rank-work_39734204 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39734204"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39734204, container: ".js-paper-rank-work_39734204", }); });</script></li><li class="js-percentile-work_39734204 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 = 39734204; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39734204"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39734204 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39734204"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39734204; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39734204]").text(description); $(".js-view-count-work_39734204").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39734204").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="39734204"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</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=98","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=98","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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a><script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39734204]'), work: {"id":39734204,"title":"Nel segno del film, nel segno della canzone: la situazione italiana. I casi di Claudio Baglioni e di Nanni Moretti","created_at":"2019-07-02T03:58:58.147-07:00","url":"https://www.academia.edu/39734204/Nel_segno_del_film_nel_segno_della_canzone_la_situazione_italiana_I_casi_di_Claudio_Baglioni_e_di_Nanni_Moretti?f_ri=98","dom_id":"work_39734204","summary":"In questo lavoro è stata svolta una ricerca parallela tra cinema e canzone in Italia: film e canzoni sono stati considerati come prodotti culturali, oggetti intermediali, forme artistiche e categorie estetiche che entrambe concorrono alla creazione dell'immaginario pop e del paesaggio intermediale italiano. Nella prima parte della ricerca si è indagata la mutua e reciproca interazione e intersezione tra mondo del cinema e mondo della canzone da un punto di vista cronologico (sincronico e diacronico, periodizzazioni), teorico, semiotico e formale, indagando la presenza del cinema nella canzone italiana e della canzone italiana nel cinema italiano. Nella seconda parte si analizzano come prodotti culturali alcune opere significative di due casi studio, un regista (Nanni Moretti) e un cantautore (Claudio Baglioni), che rispettivamente si sono serviti del campo artistico opposto al proprio (Moretti della canzone, Baglioni del cinema), ampliando così le possibilità espressive e di significazione del proprio medium, ed espletando a livello intermediale la propria poetica. Questa trattazione dimostra dunque che nei casi di Baglioni e Moretti canzone e cinema hanno mutuamente collaborato tra di loro scambiandosi forme e materiali, concorrendo a creare l'immaginario pop-culturale italiano che caratterizza la nostra contemporaneità.","downloadable_attachments":[{"id":59912454,"asset_id":39734204,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43990128,"first_name":"Luca","last_name":"Bertoloni","domain_name":"univp","page_name":"LucaBertoloni","display_name":"Luca Bertoloni","profile_url":"https://univp.academia.edu/LucaBertoloni?f_ri=98","photo":"https://0.academia-photos.com/43990128/18776170/27188791/s65_luca.bertoloni.jpeg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=98","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=98","nofollow":true},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=98","nofollow":true},{"id":1200,"name":"Languages and Linguistics","url":"https://www.academia.edu/Documents/in/Languages_and_Linguistics?f_ri=98"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=98"},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=98"},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=98"},{"id":15674,"name":"Linguistics","url":"https://www.academia.edu/Documents/in/Linguistics?f_ri=98"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=98"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=98"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=98"},{"id":178719,"name":"Songs","url":"https://www.academia.edu/Documents/in/Songs?f_ri=98"},{"id":290653,"name":"Italian Songs","url":"https://www.academia.edu/Documents/in/Italian_Songs?f_ri=98"},{"id":628141,"name":"Italian Songwriters","url":"https://www.academia.edu/Documents/in/Italian_Songwriters?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42004397" data-work_id="42004397" 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/42004397/_Can_you_read_this_Are_you_hip_Rick_Griffin_s_experiments_on_the_edges_of_writing">‘Can you read this? Are you hip?’ — Rick Griffin’s experiments on the edges of writing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42004397" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of the visual semiotics of writing that provide insights for the semiotic study of graphically-embodied language. Griffin was preoccupied with the visual substance of writing. Not only was Griffin a student of myriad styles of letter (including, cholo graffiti, comic book lettering, Jugendstil and Victorian typography), but he was also preoccupied with how writing functions and how letterforms attain meanings. Through an analysis of Griffin's comic book and poster lettering, this paper will discuss aspects of the visual semiotics of alphabetic writing including: the relationship of embodied tokens to alphabetical symbols, the socio-semiotic function of styles of letter, and lettering as aesthetic signification.</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/42004397" 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="e6e60712553b6d5aa6d69b89b561b299" rel="nofollow" data-download="{"attachment_id":62129025,"asset_id":42004397,"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/62129025/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="879379" href="https://independent.academia.edu/RobinFuller3">Robin Fuller</a><script data-card-contents-for-user="879379" type="text/json">{"id":879379,"first_name":"Robin","last_name":"Fuller","domain_name":"independent","page_name":"RobinFuller3","display_name":"Robin Fuller","profile_url":"https://independent.academia.edu/RobinFuller3?f_ri=98","photo":"https://0.academia-photos.com/879379/318730/155311504/s65_robin.fuller.jpg"}</script></span></span></li><li class="js-paper-rank-work_42004397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42004397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42004397, container: ".js-paper-rank-work_42004397", }); 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$(".js-view-count[data-work-id=42004397]").text(description); $(".js-view-count-work_42004397").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42004397").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="42004397"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4046" rel="nofollow" href="https://www.academia.edu/Documents/in/Grammatology">Grammatology</a>, <script data-card-contents-for-ri="4046" type="text/json">{"id":4046,"name":"Grammatology","url":"https://www.academia.edu/Documents/in/Grammatology?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5082" rel="nofollow" href="https://www.academia.edu/Documents/in/Poster_Design">Poster Design</a>, <script data-card-contents-for-ri="5082" type="text/json">{"id":5082,"name":"Poster Design","url":"https://www.academia.edu/Documents/in/Poster_Design?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5086" rel="nofollow" href="https://www.academia.edu/Documents/in/Lettering">Lettering</a><script data-card-contents-for-ri="5086" type="text/json">{"id":5086,"name":"Lettering","url":"https://www.academia.edu/Documents/in/Lettering?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42004397]'), work: {"id":42004397,"title":"‘Can you read this? Are you hip?’ — Rick Griffin’s experiments on the edges of writing","created_at":"2020-02-17T23:20:35.698-08:00","url":"https://www.academia.edu/42004397/_Can_you_read_this_Are_you_hip_Rick_Griffin_s_experiments_on_the_edges_of_writing?f_ri=98","dom_id":"work_42004397","summary":"Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of the visual semiotics of writing that provide insights for the semiotic study of graphically-embodied language. Griffin was preoccupied with the visual substance of writing. Not only was Griffin a student of myriad styles of letter (including, cholo graffiti, comic book lettering, Jugendstil and Victorian typography), but he was also preoccupied with how writing functions and how letterforms attain meanings. Through an analysis of Griffin's comic book and poster lettering, this paper will discuss aspects of the visual semiotics of alphabetic writing including: the relationship of embodied tokens to alphabetical symbols, the socio-semiotic function of styles of letter, and lettering as aesthetic signification.","downloadable_attachments":[{"id":62129025,"asset_id":42004397,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":879379,"first_name":"Robin","last_name":"Fuller","domain_name":"independent","page_name":"RobinFuller3","display_name":"Robin Fuller","profile_url":"https://independent.academia.edu/RobinFuller3?f_ri=98","photo":"https://0.academia-photos.com/879379/318730/155311504/s65_robin.fuller.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":4046,"name":"Grammatology","url":"https://www.academia.edu/Documents/in/Grammatology?f_ri=98","nofollow":true},{"id":5082,"name":"Poster Design","url":"https://www.academia.edu/Documents/in/Poster_Design?f_ri=98","nofollow":true},{"id":5086,"name":"Lettering","url":"https://www.academia.edu/Documents/in/Lettering?f_ri=98","nofollow":true},{"id":8048,"name":"Typography","url":"https://www.academia.edu/Documents/in/Typography?f_ri=98"},{"id":15767,"name":"Sociosemiotics","url":"https://www.academia.edu/Documents/in/Sociosemiotics?f_ri=98"},{"id":94720,"name":"Alphabetic Writing","url":"https://www.academia.edu/Documents/in/Alphabetic_Writing?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29909447" data-work_id="29909447" 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/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_">Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]</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 thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29909447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.<br /><br />Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.</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/29909447" 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="b8f32e02081d47180c88b959e3f63f04" rel="nofollow" data-download="{"attachment_id":50371193,"asset_id":29909447,"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/50371193/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","photo":"https://0.academia-photos.com/2515772/784188/2768928/s65_julie.walker.jpg"}</script></span></span></li><li class="js-paper-rank-work_29909447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29909447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29909447, container: ".js-paper-rank-work_29909447", }); 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$(".js-view-count[data-work-id=29909447]").text(description); $(".js-view-count-work_29909447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29909447").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="29909447"><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=98","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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=98","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=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29909447]'), work: {"id":29909447,"title":"Le dernier style de Chopin Contexte, analyse et stratégies narratives des oeuvres tardives [Chopin's last style: context, analysis and narrative strategies of the late works]","created_at":"2016-11-17T03:07:40.183-08:00","url":"https://www.academia.edu/29909447/Le_dernier_style_de_Chopin_Contexte_analyse_et_strat%C3%A9gies_narratives_des_oeuvres_tardives_Chopins_last_style_context_analysis_and_narrative_strategies_of_the_late_works_?f_ri=98","dom_id":"work_29909447","summary":"This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.\n\nCette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.","downloadable_attachments":[{"id":50371193,"asset_id":29909447,"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=98","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=98","nofollow":true},{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=98","nofollow":true},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=98","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=98","nofollow":true},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=98"},{"id":2852,"name":"Narrative","url":"https://www.academia.edu/Documents/in/Narrative?f_ri=98"},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=98"},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=98"},{"id":19818,"name":"Narrative Theory","url":"https://www.academia.edu/Documents/in/Narrative_Theory?f_ri=98"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=98"},{"id":89812,"name":"Topic theory","url":"https://www.academia.edu/Documents/in/Topic_theory?f_ri=98"},{"id":139748,"name":"Frederic Chopin","url":"https://www.academia.edu/Documents/in/Frederic_Chopin?f_ri=98"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=98"},{"id":386642,"name":"Semiología Musical","url":"https://www.academia.edu/Documents/in/Semiologia_Musical?f_ri=98"},{"id":436794,"name":"Chopin","url":"https://www.academia.edu/Documents/in/Chopin?f_ri=98"},{"id":1822796,"name":"Chopin Studies","url":"https://www.academia.edu/Documents/in/Chopin_Studies?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x 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="e27cf4138850adc1b70c7f5e8aca7599" rel="nofollow" data-download="{"attachment_id":32077986,"asset_id":4771675,"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" 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Daylight","profile_url":"https://westernsydney.academia.edu/RussellDaylight?f_ri=98","photo":"https://0.academia-photos.com/6064231/2570508/2985149/s65_russell.daylight.jpg"}</script></span></span></li><li class="js-paper-rank-work_4771675 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4771675"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4771675, container: ".js-paper-rank-work_4771675", }); });</script></li><li class="js-percentile-work_4771675 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 = 4771675; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4771675"><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="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=98","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=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4771675]'), work: {"id":4771675,"title":"The difference between semiotics and semiology","created_at":"2013-10-14T11:08:40.690-07:00","url":"https://www.academia.edu/4771675/The_difference_between_semiotics_and_semiology?f_ri=98","dom_id":"work_4771675","summary":null,"downloadable_attachments":[{"id":32077986,"asset_id":4771675,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6064231,"first_name":"Russell","last_name":"Daylight","domain_name":"westernsydney","page_name":"RussellDaylight","display_name":"Russell Daylight","profile_url":"https://westernsydney.academia.edu/RussellDaylight?f_ri=98","photo":"https://0.academia-photos.com/6064231/2570508/2985149/s65_russell.daylight.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":95130,"name":"Semiology","url":"https://www.academia.edu/Documents/in/Semiology?f_ri=98","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_44507454" data-work_id="44507454" 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/44507454/Marino_G_2020_Frammenti_di_un_disco_incantato_Teorie_semiotiche_testualit%C3%A0_e_generi_musicali_Aracne_I_saggi_di_Lexia_41_Roma_PREVIEW_80_pp_">Marino G. (2020) Frammenti di un disco incantato. Teorie semiotiche, testualità e generi musicali (Aracne, I saggi di Lexia 41, Roma) [PREVIEW 80 pp.]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44507454" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.</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/44507454" 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="6eca2de302ddace266f4247ff0c9a923" rel="nofollow" data-download="{"attachment_id":64945725,"asset_id":44507454,"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/64945725/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="163145430" href="https://unito.academia.edu/GabrieleMarino">Gabriele Marino</a><script data-card-contents-for-user="163145430" type="text/json">{"id":163145430,"first_name":"Gabriele","last_name":"Marino","domain_name":"unito","page_name":"GabrieleMarino","display_name":"Gabriele Marino","profile_url":"https://unito.academia.edu/GabrieleMarino?f_ri=98","photo":"https://0.academia-photos.com/163145430/46813699/97846896/s65_gabriele.marino.jpg"}</script></span></span></li><li class="js-paper-rank-work_44507454 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44507454"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44507454, container: ".js-paper-rank-work_44507454", }); });</script></li><li class="js-percentile-work_44507454 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 = 44507454; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44507454"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44507454 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44507454"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44507454; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44507454]").text(description); $(".js-view-count-work_44507454").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44507454").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="44507454"><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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1056" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music_Studies">Popular Music Studies</a>, <script data-card-contents-for-ri="1056" type="text/json">{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1631" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Music">Popular Music</a>, <script data-card-contents-for-ri="1631" type="text/json">{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=98","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=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44507454]'), work: {"id":44507454,"title":"Marino G. (2020) Frammenti di un disco incantato. Teorie semiotiche, testualità e generi musicali (Aracne, I saggi di Lexia 41, Roma) [PREVIEW 80 pp.]","created_at":"2020-11-15T19:01:02.141-08:00","url":"https://www.academia.edu/44507454/Marino_G_2020_Frammenti_di_un_disco_incantato_Teorie_semiotiche_testualit%C3%A0_e_generi_musicali_Aracne_I_saggi_di_Lexia_41_Roma_PREVIEW_80_pp_?f_ri=98","dom_id":"work_44507454","summary":"La musica si offre al nostro orecchio e al nostro esserne gli interpreti bilanciando sempre quelle che sembrano essere le sue due qualità distintive e contrapposte: l’ineffabilità e la capacità di comunicare sensazioni, atmosfere, storie in maniera chirurgica. La faccenda si complica ulteriormente quando abbiamo a che fare con la musica che ascoltiamo tutti i giorni, attraverso quelli che ci ostiniamo a chiamare dischi. È la musica che chiamiamo registrata e che, però, quasi mai è registrata e basta. La musica rappresenta un problema per la semiotica, che come tale l’ha sempre trattata. Al punto che è forse questo il suo campo di applicazione più trascurato. Il significato della musica è stratificato: ha a che fare tanto con i suoni che essa contiene, e che ci sottopone in presa diretta o in forma mediata, quanto con le parole e le pratiche che costruiamo attorno a questi suoni, e che finiscono per orientarne profondamente il senso. Questo libro si concentra su alcune questioni centrali per una semiotica della musica che voglia comprenderla come fatto comunicativo, proponendo alcuni modelli per provare ad attraversare questo campo con uno sguardo — un orecchio — nuovo: la mediazione e il linguaggio fonografico; l’enunciazione e le sue diverse configurazioni; la nozione di genere e i generi musicali intesi come sistema discorsivo, dove la musica si dà appieno nella sua dimensione sociale e al cui interno tradizione e innovazione finiscono per sciogliersi l’una nell’altra.","downloadable_attachments":[{"id":64945725,"asset_id":44507454,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":163145430,"first_name":"Gabriele","last_name":"Marino","domain_name":"unito","page_name":"GabrieleMarino","display_name":"Gabriele Marino","profile_url":"https://unito.academia.edu/GabrieleMarino?f_ri=98","photo":"https://0.academia-photos.com/163145430/46813699/97846896/s65_gabriele.marino.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":1056,"name":"Popular Music Studies","url":"https://www.academia.edu/Documents/in/Popular_Music_Studies?f_ri=98","nofollow":true},{"id":1631,"name":"Popular Music","url":"https://www.academia.edu/Documents/in/Popular_Music?f_ri=98","nofollow":true},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=98","nofollow":true},{"id":10339,"name":"Semiotics of Music","url":"https://www.academia.edu/Documents/in/Semiotics_of_Music?f_ri=98"},{"id":14890,"name":"Musical Semiotics","url":"https://www.academia.edu/Documents/in/Musical_Semiotics?f_ri=98"},{"id":15767,"name":"Sociosemiotics","url":"https://www.academia.edu/Documents/in/Sociosemiotics?f_ri=98"},{"id":16965,"name":"Phonography","url":"https://www.academia.edu/Documents/in/Phonography?f_ri=98"},{"id":17631,"name":"Semiotics Of Culture","url":"https://www.academia.edu/Documents/in/Semiotics_Of_Culture?f_ri=98"},{"id":137020,"name":"Semiotica","url":"https://www.academia.edu/Documents/in/Semiotica?f_ri=98"},{"id":157696,"name":"Music Genre Classification","url":"https://www.academia.edu/Documents/in/Music_Genre_Classification?f_ri=98"},{"id":308934,"name":"Popular Music Genres","url":"https://www.academia.edu/Documents/in/Popular_Music_Genres?f_ri=98"},{"id":674297,"name":"Sociosemiotica","url":"https://www.academia.edu/Documents/in/Sociosemiotica?f_ri=98"},{"id":710996,"name":"Semiotica Della Cultura","url":"https://www.academia.edu/Documents/in/Semiotica_Della_Cultura?f_ri=98"},{"id":892344,"name":"Semiotica Musica","url":"https://www.academia.edu/Documents/in/Semiotica_Musica?f_ri=98"},{"id":1118179,"name":"Music Genres","url":"https://www.academia.edu/Documents/in/Music_Genres?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50213759" data-work_id="50213759" 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/50213759/Diagrammatic_reasoning_and_hypostatic_abstraction_in_statistics_education">Diagrammatic reasoning and hypostatic abstraction in statistics education</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Peirce's notions of diagrammatic reasoning and hypostatic abstraction are relevant to educational research in areas where diagrams and abstraction play an important role. In this paper, I analyze an example from statistics education in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_50213759" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Peirce's notions of diagrammatic reasoning and hypostatic abstraction are relevant to educational research in areas where diagrams and abstraction play an important role. In this paper, I analyze an example from statistics education in which diagrammatic reasoning created opportunities for hypostatic abstraction. For instance, where students initially characterized data points as being 'spread out,' they later said, 'the spread is large.' This is a prototypical example of hypostatic abstraction-taking a predicate as a new object that can have predicates itself. More generally, the notion of diagrammatic reasoning proved helpful to identify the key learning processes involved in learning to reason about statistical concepts.</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/50213759" 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="1006cbff4b01bf4dd6b9b75061eccb98" rel="nofollow" data-download="{"attachment_id":68283805,"asset_id":50213759,"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/68283805/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="5986115" href="https://independent.academia.edu/ArthurBakker">Arthur Bakker</a><script data-card-contents-for-user="5986115" type="text/json">{"id":5986115,"first_name":"Arthur","last_name":"Bakker","domain_name":"independent","page_name":"ArthurBakker","display_name":"Arthur Bakker","profile_url":"https://independent.academia.edu/ArthurBakker?f_ri=98","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_50213759 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50213759"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50213759, container: ".js-paper-rank-work_50213759", }); });</script></li><li class="js-percentile-work_50213759 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 = 50213759; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_50213759"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_50213759 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="50213759"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 50213759; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=50213759]").text(description); $(".js-view-count-work_50213759").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_50213759").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="50213759"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="300" rel="nofollow" href="https://www.academia.edu/Documents/in/Mathematics">Mathematics</a>, <script data-card-contents-for-ri="300" type="text/json">{"id":300,"name":"Mathematics","url":"https://www.academia.edu/Documents/in/Mathematics?f_ri=98","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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="892" rel="nofollow" href="https://www.academia.edu/Documents/in/Statistics">Statistics</a><script data-card-contents-for-ri="892" type="text/json">{"id":892,"name":"Statistics","url":"https://www.academia.edu/Documents/in/Statistics?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=50213759]'), work: {"id":50213759,"title":"Diagrammatic reasoning and hypostatic abstraction in statistics education","created_at":"2021-07-24T02:44:25.152-07:00","url":"https://www.academia.edu/50213759/Diagrammatic_reasoning_and_hypostatic_abstraction_in_statistics_education?f_ri=98","dom_id":"work_50213759","summary":"Peirce's notions of diagrammatic reasoning and hypostatic abstraction are relevant to educational research in areas where diagrams and abstraction play an important role. In this paper, I analyze an example from statistics education in which diagrammatic reasoning created opportunities for hypostatic abstraction. For instance, where students initially characterized data points as being 'spread out,' they later said, 'the spread is large.' This is a prototypical example of hypostatic abstraction-taking a predicate as a new object that can have predicates itself. More generally, the notion of diagrammatic reasoning proved helpful to identify the key learning processes involved in learning to reason about statistical concepts.","downloadable_attachments":[{"id":68283805,"asset_id":50213759,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5986115,"first_name":"Arthur","last_name":"Bakker","domain_name":"independent","page_name":"ArthurBakker","display_name":"Arthur 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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/2945845/Advancements_in_biosemiotics_Where_we_are_now_in_discovering_the_basic_mechanisms_of_meaning_making">Advancements in biosemiotics: Where we are now in discovering the basic mechanisms of meaning-making</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/2945845" 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="f23ccd3bdeeefa87ae4605f6b418a26a" 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Meaning","url":"https://www.academia.edu/Documents/in/Theories_of_Meaning?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7710" rel="nofollow" href="https://www.academia.edu/Documents/in/Biology">Biology</a>, <script data-card-contents-for-ri="7710" type="text/json">{"id":7710,"name":"Biology","url":"https://www.academia.edu/Documents/in/Biology?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9231" rel="nofollow" href="https://www.academia.edu/Documents/in/Biosemiotics">Biosemiotics</a><script data-card-contents-for-ri="9231" type="text/json">{"id":9231,"name":"Biosemiotics","url":"https://www.academia.edu/Documents/in/Biosemiotics?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2945845]'), work: {"id":2945845,"title":"Advancements in biosemiotics: Where we are now in discovering the basic mechanisms of 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Meaning","url":"https://www.academia.edu/Documents/in/Theories_of_Meaning?f_ri=98","nofollow":true},{"id":7710,"name":"Biology","url":"https://www.academia.edu/Documents/in/Biology?f_ri=98","nofollow":true},{"id":9231,"name":"Biosemiotics","url":"https://www.academia.edu/Documents/in/Biosemiotics?f_ri=98","nofollow":true},{"id":11845,"name":"Meaning","url":"https://www.academia.edu/Documents/in/Meaning?f_ri=98"},{"id":31566,"name":"Construction of Meaning","url":"https://www.academia.edu/Documents/in/Construction_of_Meaning?f_ri=98"},{"id":33863,"name":"Social Semiotics","url":"https://www.academia.edu/Documents/in/Social_Semiotics?f_ri=98"},{"id":39858,"name":"Meaning Making","url":"https://www.academia.edu/Documents/in/Meaning_Making?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11744292 coauthored" data-work_id="11744292" 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/11744292/The_Oxford_Handbook_of_Language_and_Sexuality">The Oxford Handbook of Language and Sexuality</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 Oxford Handbook of Language and Sexuality, with a hard-copy publication date of 2025, is the first handbook exclusively devoted to research in language and sexuality. The commissioned chapters included in the Table of Contents,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11744292" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Oxford Handbook of Language and Sexuality, with a hard-copy publication date of 2025, is the first handbook exclusively devoted to research in language and sexuality. The commissioned chapters included in the Table of Contents, available here, together put forth a broad understanding of sexuality, offering detailed discussions of the place of language in the mutually constituted ideologies, desires, practices, and identities that make up sexual systems. 62 chapters are now available for viewing at Oxford Handbooks Online: <a href="https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190212926.001.0001/oxfordhb-9780190212926" rel="nofollow">https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190212926.001.0001/oxfordhb-9780190212926</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/11744292" 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"><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="125775" href="https://colorado.academia.edu/KiraHall">Kira Hall</a><script data-card-contents-for-user="125775" type="text/json">{"id":125775,"first_name":"Kira","last_name":"Hall","domain_name":"colorado","page_name":"KiraHall","display_name":"Kira Hall","profile_url":"https://colorado.academia.edu/KiraHall?f_ri=98","photo":"https://0.academia-photos.com/125775/3534252/20996577/s65_kira.hall.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-11744292">+1</span><div class="hidden js-additional-users-11744292"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uky.academia.edu/RustyBarrett">Rusty Barrett</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-11744292'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-11744292').html(); 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However, previous research has lacked in providing any clear direction for how these two perspectives can be... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_61300152" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Past literature has indicated the need for addressing information security from both the social and technical perspective. However, previous research has lacked in providing any clear direction for how these two perspectives can be brought together in a coherent or holistic manner to analyze information security in an organization. Thus, this paper develops a conceptual framework for identifying, bringing together, and interpreting the deep-rooted social and technical issues that pertain to information systems security. The framework is ...</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/61300152" 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="eb12fd5e4e792eb213b858d71d24ceed" rel="nofollow" data-download="{"attachment_id":74371409,"asset_id":61300152,"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/74371409/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="327091" href="https://unt.academia.edu/GurpreetDhillon">Gurpreet Dhillon</a><script data-card-contents-for-user="327091" type="text/json">{"id":327091,"first_name":"Gurpreet","last_name":"Dhillon","domain_name":"unt","page_name":"GurpreetDhillon","display_name":"Gurpreet Dhillon","profile_url":"https://unt.academia.edu/GurpreetDhillon?f_ri=98","photo":"https://0.academia-photos.com/327091/91784/100398/s65_professor.gurpreet_dhillon.jpeg"}</script></span></span></li><li class="js-paper-rank-work_61300152 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61300152"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61300152, container: ".js-paper-rank-work_61300152", }); 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Знаки. Знаковые системы, коммуникация. Ч. 1. Базовые понятия. Эволюционная теория происхождения языка (Foundations of Semiotics. Signs. Sign Systems. Communication. Draft). Изд-во "Спорт и культура-2000". 2002. 464 стр.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Вводятся базовые понятия семиотики: понятие коммуникативного акта, понятие знака и понятие знаковой системы. Знак определяется как разновидность цепочки моделей объекта. Подробно рассматривается структура простой знаковой системы -... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1906653" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Вводятся базовые понятия семиотики: понятие коммуникативного акта, понятие знака и понятие знаковой системы. Знак определяется как разновидность цепочки моделей объекта. Подробно рассматривается структура простой знаковой системы - шлагбаума, на примере которой показывается, как работают введенные базовые семиотические понятия, в том числе синхроническое и диахроническое описания объекта. Во второй главе ставятся проблемы описания эволюции знаковых систем, намечаются этапы усложнения коммуникативных систем, строится эволюционная теория происхождения языка</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/1906653" 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="536af42d5ba3163ecb41ed1ce0bb400a" rel="nofollow" data-download="{"attachment_id":66043130,"asset_id":1906653,"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/66043130/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="672477" href="https://iling-ran.academia.edu/BarulinAlexander">Alexander Barulin</a><script data-card-contents-for-user="672477" type="text/json">{"id":672477,"first_name":"Alexander","last_name":"Barulin","domain_name":"iling-ran","page_name":"BarulinAlexander","display_name":"Alexander Barulin","profile_url":"https://iling-ran.academia.edu/BarulinAlexander?f_ri=98","photo":"https://0.academia-photos.com/672477/794815/33826422/s65_alexander.barulin.jpg"}</script></span></span></li><li class="js-paper-rank-work_1906653 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1906653"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1906653, container: ".js-paper-rank-work_1906653", }); 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$(".js-view-count[data-work-id=1906653]").text(description); $(".js-view-count-work_1906653").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1906653").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="1906653"><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="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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="49558" rel="nofollow" href="https://www.academia.edu/Documents/in/Evolution_of_Language">Evolution of Language</a>, <script data-card-contents-for-ri="49558" type="text/json">{"id":49558,"name":"Evolution of Language","url":"https://www.academia.edu/Documents/in/Evolution_of_Language?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="173032" rel="nofollow" href="https://www.academia.edu/Documents/in/Glottogenesis">Glottogenesis</a>, <script data-card-contents-for-ri="173032" type="text/json">{"id":173032,"name":"Glottogenesis","url":"https://www.academia.edu/Documents/in/Glottogenesis?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="388849" rel="nofollow" href="https://www.academia.edu/Documents/in/Foundations_of_Semiotics">Foundations of Semiotics</a><script data-card-contents-for-ri="388849" type="text/json">{"id":388849,"name":"Foundations of Semiotics","url":"https://www.academia.edu/Documents/in/Foundations_of_Semiotics?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1906653]'), work: {"id":1906653,"title":"Основания семиотики. Знаки. Знаковые системы, коммуникация. Ч. 1. Базовые понятия. Эволюционная теория происхождения языка (Foundations of Semiotics. Signs. Sign Systems. Communication. Draft). Изд-во \"Спорт и культура-2000\". 2002. 464 стр.","created_at":"2012-09-03T04:54:58.593-07:00","url":"https://www.academia.edu/1906653/%D0%9E%D1%81%D0%BD%D0%BE%D0%B2%D0%B0%D0%BD%D0%B8%D1%8F_%D1%81%D0%B5%D0%BC%D0%B8%D0%BE%D1%82%D0%B8%D0%BA%D0%B8_%D0%97%D0%BD%D0%B0%D0%BA%D0%B8_%D0%97%D0%BD%D0%B0%D0%BA%D0%BE%D0%B2%D1%8B%D0%B5_%D1%81%D0%B8%D1%81%D1%82%D0%B5%D0%BC%D1%8B_%D0%BA%D0%BE%D0%BC%D0%BC%D1%83%D0%BD%D0%B8%D0%BA%D0%B0%D1%86%D0%B8%D1%8F_%D0%A7_1_%D0%91%D0%B0%D0%B7%D0%BE%D0%B2%D1%8B%D0%B5_%D0%BF%D0%BE%D0%BD%D1%8F%D1%82%D0%B8%D1%8F_%D0%AD%D0%B2%D0%BE%D0%BB%D1%8E%D1%86%D0%B8%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D1%82%D0%B5%D0%BE%D1%80%D0%B8%D1%8F_%D0%BF%D1%80%D0%BE%D0%B8%D1%81%D1%85%D0%BE%D0%B6%D0%B4%D0%B5%D0%BD%D0%B8%D1%8F_%D1%8F%D0%B7%D1%8B%D0%BA%D0%B0_Foundations_of_Semiotics_Signs_Sign_Systems_Communication_Draft_%D0%98%D0%B7%D0%B4_%D0%B2%D0%BE_%D0%A1%D0%BF%D0%BE%D1%80%D1%82_%D0%B8_%D0%BA%D1%83%D0%BB%D1%8C%D1%82%D1%83%D1%80%D0%B0_2000_2002_464_%D1%81%D1%82%D1%80?f_ri=98","dom_id":"work_1906653","summary":"Вводятся базовые понятия семиотики: понятие коммуникативного акта, понятие знака и понятие знаковой системы. Знак определяется как разновидность цепочки моделей объекта. Подробно рассматривается структура простой знаковой системы - шлагбаума, на примере которой показывается, как работают введенные базовые семиотические понятия, в том числе синхроническое и диахроническое описания объекта. Во второй главе ставятся проблемы описания эволюции знаковых систем, намечаются этапы усложнения коммуникативных систем, строится эволюционная теория происхождения языка","downloadable_attachments":[{"id":66043130,"asset_id":1906653,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":672477,"first_name":"Alexander","last_name":"Barulin","domain_name":"iling-ran","page_name":"BarulinAlexander","display_name":"Alexander Barulin","profile_url":"https://iling-ran.academia.edu/BarulinAlexander?f_ri=98","photo":"https://0.academia-photos.com/672477/794815/33826422/s65_alexander.barulin.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":49558,"name":"Evolution of Language","url":"https://www.academia.edu/Documents/in/Evolution_of_Language?f_ri=98","nofollow":true},{"id":173032,"name":"Glottogenesis","url":"https://www.academia.edu/Documents/in/Glottogenesis?f_ri=98","nofollow":true},{"id":388849,"name":"Foundations of Semiotics","url":"https://www.academia.edu/Documents/in/Foundations_of_Semiotics?f_ri=98","nofollow":true},{"id":603537,"name":"Semiogenesis","url":"https://www.academia.edu/Documents/in/Semiogenesis?f_ri=98"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67113277 coauthored" data-work_id="67113277" 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/67113277/2022_The_Visage_as_Text_CFP_Special_Issue_Chinese_Semiotic_Studies_De_Gruyter_">2022 - The Visage as Text - CFP Special Issue Chinese Semiotic Studies (De Gruyter)</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 fascination with the study of the human face is constant in the history of humanity. Whilst the face is a visible element of the anatomy and appearance of the human species, it remains a quite enigmatic subject and very difficult to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_67113277" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The fascination with the study of the human face is constant in the history of humanity. Whilst the face is a visible element of the anatomy and appearance of the human species, it remains a quite enigmatic subject and very difficult to fathom. From ancient treatises on physiognomy to the introduction of automated face detection (Kosinki 2021) and AI face recognition systems in modern-day “cultures of surveillance” (Gates  2011), the face remains a subject of profound interest that cuts across a fan of disciplines, from evolutionary biology to artificial intelligence.</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/67113277" 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="9f77fabb9341462b6947945d438b28d5" rel="nofollow" data-download="{"attachment_id":78053282,"asset_id":67113277,"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/78053282/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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=98","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.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-67113277">+1</span><div class="hidden js-additional-users-67113277"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unito.academia.edu/RemoGramigna">Remo Gramigna</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-67113277'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-67113277').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_67113277 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="67113277"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 67113277; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=67113277]").text(description); $(".js-view-count-work_67113277").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_67113277").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="67113277"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</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=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3798" rel="nofollow" href="https://www.academia.edu/Documents/in/Physiognomy">Physiognomy</a>, <script data-card-contents-for-ri="3798" type="text/json">{"id":3798,"name":"Physiognomy","url":"https://www.academia.edu/Documents/in/Physiognomy?f_ri=98","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="210226" rel="nofollow" href="https://www.academia.edu/Documents/in/Massimo_Leone">Massimo Leone</a><script data-card-contents-for-ri="210226" type="text/json">{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=98","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=67113277]'), work: {"id":67113277,"title":"2022 - The Visage as Text - CFP Special Issue Chinese Semiotic Studies (De Gruyter)","created_at":"2022-01-04T10:59:59.430-08:00","url":"https://www.academia.edu/67113277/2022_The_Visage_as_Text_CFP_Special_Issue_Chinese_Semiotic_Studies_De_Gruyter_?f_ri=98","dom_id":"work_67113277","summary":"The fascination with the study of the human face is constant in the history of humanity. Whilst the face is a visible element of the anatomy and appearance of the human species, it remains a quite enigmatic subject and very difficult to fathom. From ancient treatises on physiognomy to the introduction of automated face detection (Kosinki 2021) and AI face recognition systems in modern-day “cultures of surveillance” (Gates 2011), the face remains a subject of profound interest that cuts across a fan of disciplines, from evolutionary biology to artificial intelligence.","downloadable_attachments":[{"id":78053282,"asset_id":67113277,"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=98","photo":"https://0.academia-photos.com/16611/5595/59281751/s65_massimo.leone.jpeg"},{"id":751077,"first_name":"Remo","last_name":"Gramigna","domain_name":"unito","page_name":"RemoGramigna","display_name":"Remo Gramigna","profile_url":"https://unito.academia.edu/RemoGramigna?f_ri=98","photo":"https://0.academia-photos.com/751077/255361/32894694/s65_remo.gramigna.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":3798,"name":"Physiognomy","url":"https://www.academia.edu/Documents/in/Physiognomy?f_ri=98","nofollow":true},{"id":210226,"name":"Massimo Leone","url":"https://www.academia.edu/Documents/in/Massimo_Leone?f_ri=98","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_44769436" data-work_id="44769436" 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/44769436/Siyasal_Reklamc%C4%B1l%C4%B1kta_G%C3%B6stergelerin_Kullan%C4%B1m%C4%B1_ve_K%C3%BClt%C3%BCrel_Kodlar_2014_Cumhurba%C5%9Fkanl%C4%B1%C4%9F%C4%B1_Se%C3%A7imlerinde_Recep_Tayyip_Erdo%C4%9Fan_%C4%B1n_Fors_Reklam_Filmi_%C3%9Czerine_Bir_%C4%B0nceleme">Siyasal Reklamcılıkta Göstergelerin Kullanımı ve Kültürel Kodlar: 2014 Cumhurbaşkanlığı Seçimlerinde Recep Tayyip Erdoğan’ın Fors Reklam Filmi Üzerine Bir İnceleme</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Bireylerin tüketim alışkanlarının şekillenmesinde, reklamların belirli ölçülerde etkili olduğu, kabul edilen bir gerçektir. Ancak ciddi bir seçmen kitlesi, "reklamı iyi olduğu için siyasi bir partiye oy verilebilir" şeklinde bir düşünceye... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44769436" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Bireylerin tüketim alışkanlarının şekillenmesinde, reklamların belirli ölçülerde etkili olduğu, kabul edilen bir gerçektir. Ancak ciddi bir seçmen kitlesi, "reklamı iyi olduğu için siyasi bir partiye oy verilebilir" şeklinde bir düşünceye sahiptir. Bu sorunun haklılık payı yüksektir. Çünkü seçmenlerin büyük bölümü reklamlardan etkilenmediğini söylemekte, yüzde 10-15 arasında değişen bir kitle reklamların oy verme davranışını etkileyebileceğini belirtmektedir. Bu bağlamda siyasiler ve siyasi partilerin seçmenleri etkileyebilmek adına her seçim döneminde siyasal reklamcılığı kullandıkları görülmektedir. Türkiye Cumhuriyeti Cumhurbaşkanı Recep Tayyip Erdoğan da seçim kampanyalarında özellikle televizyon reklamlarına önem vermektedir. Duygusal mesajlar görüntü ve sesin gücünün birlikte kullanılması nedeniyle televizyonda daha kolay verilmektedir. Erdoğan'ın kamuoyunu ikna için halkın inanç ve kültür değerlerini ve sembollerini ne ölçüde kullandığının tespit edilmesi amacıyla Cumhurbaşkanlığı seçimi sürecinde yayınlanan "Fors" reklamı olarak bilinen reklam filmi göstergebilimsel açıdan incelenmiştir. Sözlü mesajlardan çok, reklamda duygulara hitap eden milli ve dini göstergelerin yoğun olarak kullanıldığı belirlenmiştir. <br /><br />ABSTRACT <br /><br />Heading for to buy a product after people watched advertisings is an admissible realty. But remarkable part of elector has such a thinking like "it could be given vote a political party because of good advertising" There is merit of this question. While big part of voters are telling that we are not affected the advertisings, %10-15 of them point out that advertisings can affect our behaviour of voting. In this context, it is seen that politicians and political parties use political advertising in order to impress voters in every election period. Also President of Republic of Turkey, Recep Tayyip Erdoğan especially cares television advertisings in the election campaigns. Emotional messages are given easily in television because of the usage of image and voice together. It’s seen that national and religious indicators are used intensely rather than verbal messages in the advertisements.</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/44769436" 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="8909d1eca5d3901279ba828629b9d955" rel="nofollow" data-download="{"attachment_id":65259986,"asset_id":44769436,"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/65259986/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="58286078" href="https://selcuk.academia.edu/SelmanSelimAky%C3%BCz">Selman Selim Akyüz (Assoc. Prof.)</a><script data-card-contents-for-user="58286078" type="text/json">{"id":58286078,"first_name":"Selman Selim","last_name":"Akyüz (Assoc. Prof.)","domain_name":"selcuk","page_name":"SelmanSelimAkyüz","display_name":"Selman Selim Akyüz (Assoc. 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Ancak ciddi bir seçmen kitlesi, \"reklamı iyi olduğu için siyasi bir partiye oy verilebilir\" şeklinde bir düşünceye sahiptir. Bu sorunun haklılık payı yüksektir. Çünkü seçmenlerin büyük bölümü reklamlardan etkilenmediğini söylemekte, yüzde 10-15 arasında değişen bir kitle reklamların oy verme davranışını etkileyebileceğini belirtmektedir. Bu bağlamda siyasiler ve siyasi partilerin seçmenleri etkileyebilmek adına her seçim döneminde siyasal reklamcılığı kullandıkları görülmektedir. Türkiye Cumhuriyeti Cumhurbaşkanı Recep Tayyip Erdoğan da seçim kampanyalarında özellikle televizyon reklamlarına önem vermektedir. Duygusal mesajlar görüntü ve sesin gücünün birlikte kullanılması nedeniyle televizyonda daha kolay verilmektedir. Erdoğan'ın kamuoyunu ikna için halkın inanç ve kültür değerlerini ve sembollerini ne ölçüde kullandığının tespit edilmesi amacıyla Cumhurbaşkanlığı seçimi sürecinde yayınlanan \"Fors\" reklamı olarak bilinen reklam filmi göstergebilimsel açıdan incelenmiştir. Sözlü mesajlardan çok, reklamda duygulara hitap eden milli ve dini göstergelerin yoğun olarak kullanıldığı belirlenmiştir. \n\nABSTRACT \n\nHeading for to buy a product after people watched advertisings is an admissible realty. But remarkable part of elector has such a thinking like \"it could be given vote a political party because of good advertising\" There is merit of this question. While big part of voters are telling that we are not affected the advertisings, %10-15 of them point out that advertisings can affect our behaviour of voting. In this context, it is seen that politicians and political parties use political advertising in order to impress voters in every election period. Also President of Republic of Turkey, Recep Tayyip Erdoğan especially cares television advertisings in the election campaigns. Emotional messages are given easily in television because of the usage of image and voice together. It’s seen that national and religious indicators are used intensely rather than verbal messages in the advertisements.","downloadable_attachments":[{"id":65259986,"asset_id":44769436,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":58286078,"first_name":"Selman Selim","last_name":"Akyüz (Assoc. Prof.)","domain_name":"selcuk","page_name":"SelmanSelimAkyüz","display_name":"Selman Selim Akyüz (Assoc. Prof.)","profile_url":"https://selcuk.academia.edu/SelmanSelimAky%C3%BCz?f_ri=98","photo":"https://0.academia-photos.com/58286078/15531069/39920144/s65_selman_selim.aky_z_asst._prof_.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=98","nofollow":true},{"id":132073,"name":"Göstergebilim","url":"https://www.academia.edu/Documents/in/G%C3%B6stergebilim?f_ri=98","nofollow":true},{"id":315712,"name":"Recep Tayyip Erdoğan","url":"https://www.academia.edu/Documents/in/Recep_Tayyip_Erdo%C4%9Fan?f_ri=98","nofollow":true},{"id":1250298,"name":"Siyasal Reklamcılık","url":"https://www.academia.edu/Documents/in/Siyasal_Reklamcilik?f_ri=98","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_40182026 coauthored" data-work_id="40182026" 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/40182026/Mysticism_and_Meaning_Multidisciplinary_Perspectives_edited_by_Alex_S_Kohav">Mysticism and Meaning: Multidisciplinary Perspectives, edited by Alex S. Kohav</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 collection of essays that explores the many dimensions of the mystical, including personal, theoretical, and historical. Kohav, a professor of philosophy at the Metropolitan State College of Denver and the editor of this collection,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40182026" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A collection of essays that explores the many dimensions of the mystical, including personal, theoretical, and historical. <br /> <br />Kohav, a professor of philosophy at the Metropolitan State College of Denver and the editor of this collection, provocatively asks why mysticism is such an "objectionable" topic and considered intellectually disreputable. Borrowing from Jacques Derrida's distinction between aporia (or unsolvable confusion) and a solvable problem, the author suggests mystical phenomena are better understood through the lens of mysterium, that which is beyond the categories of reason and can only be captured by dint of intuition and personal experience. In fact, the contributors to this intellectually kaleidoscopic volume present several autobiographical accounts of precisely such an encounter with the mystically inscrutable. For example, in one essay, Gregory M. Nixon relates "the shattering moment in my life when I awoke from the dream of self to find being as part of the living world and not in my head." The religious dimensions of mystical experience are also explored: Buddhist, Christian, and Judaic texts, including the Bible, are examined to explicate and compare their divergent interpretations. Contributor Jacob Rump argues that the ineffable is central to Wittgenstein's worldview, and Ori Z. Soltes contends that philosophers like Socrates and Spinoza, famous for their valorization of reason, are incomprehensible without also considering the limits they impose on reason and the value they assign to ineffable experience. The collection is precisely as multidisciplinary as billed. It includes a wealth of varying perspectives, both personal and scholarly. Furthermore, the book examines the application of these ideas to contemporary debates. Richard H. Jones, for instance, challenges that mysticism and science ultimately converge into a single explanatory whole. The prose can be prohibitively dense--much of it is written in a jargon-laden academic parlance--and the book is not intended for a popular audience. Within a remarkably technical discussion of the proper interpretive approach to sacred texts, contributor Brian Lancaster declares: "For these reasons I propose incorporating a hermeneutic component to extend the integration of neuroscientific and phenomenological data that defines neurophenomenology." However, Kohav's anthology is still a stimulating tour of the subject, philosophically enthralling and wide reaching. An engrossing, diverse collection of takes on mystical phenomena.                                                          <br />                                                                      - Kirkus Reviews <br /> <br />The volume investigates the question of meaning of mystical phenomena and, conversely, queries the concept of “meaning” itself, via insights afforded by mystical experiences. The collection brings together researchers from such disparate fields as philosophy, psychology, history of religion, cognitive poetics, and semiotics, in an effort to ascertain the question of mysticism’s meaning through pertinent, up-to-date multidisciplinarity. The discussion commences with Editor’s Introduction that probes persistent questions of complexity as well as perplexity of mysticism and the reasons why problematizing mysticism leads to even greater enigmas. One thread within the volume provides the contextual framework for continuing fascination of mysticism that includes a consideration of several historical traditions as well as personal accounts of mystical experiences: Two contributions showcase ancient Egyptian and ancient Israelite involvements with mystical alterations of consciousness and Christianity’s origins being steeped in mystical praxis; and four essays highlight mysticism’s formative presence in Chinese traditions and Tibetan Buddhism as well as medieval Judaism and Kabbalah mysticism. A second, more overarching strand within the volume is concerned with multidisciplinary investigations of the phenomenon of mysticism, including philosophical, psychological, cognitive, and semiotic analyses. To this effect, the volume explores the question of philosophy’s relation to mysticism and vice versa, together with a Wittgensteinian nexus between mysticism, facticity, and truth; language mysticism and “supernormal meaning” engendered by certain mystical states; and a semiotic scrutiny of some mystical experiences and their ineffability. Finally, the volume includes an assessment of the so-called New Age authors’ contention of the convergence of scientific and mystical claims about reality. The above two tracks are appended with personal, contemporary accounts of mystical experiences, in the Prologue; and a futuristic envisioning, as a fictitious chronicle from the time-to-come, of life without things mystical, in the Postscript. The volume contains thirteen chapters; its international contributors are based in Canada, United Kingdom, and the United States.</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/40182026" 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="713d5690132f396441a0adacdf7b501f" rel="nofollow" data-download="{"attachment_id":60404886,"asset_id":40182026,"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/60404886/download_file?st=MTc0MDA0NTAyMSw4LjIyMi4yMDguMTQ2&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="2411565" href="https://msudenver.academia.edu/AlexSKohav">Alex Shalom Kohav</a><script data-card-contents-for-user="2411565" type="text/json">{"id":2411565,"first_name":"Alex Shalom","last_name":"Kohav","domain_name":"msudenver","page_name":"AlexSKohav","display_name":"Alex Shalom Kohav","profile_url":"https://msudenver.academia.edu/AlexSKohav?f_ri=98","photo":"https://0.academia-photos.com/2411565/1017585/89290404/s65_alex_s..kohav.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40182026">+4</span><div class="hidden js-additional-users-40182026"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://brocku.academia.edu/harryhunt">harry hunt</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://athabascau.academia.edu/BurtVoorhees">Burt Voorhees</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://webplus.academia.edu/GregoryNixon">Gregory M Nixon</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uqar.academia.edu/LouisH%C3%A9bert">Louis Hébert</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40182026'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40182026').html(); 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Kohav","created_at":"2019-08-26T20:09:33.353-07:00","url":"https://www.academia.edu/40182026/Mysticism_and_Meaning_Multidisciplinary_Perspectives_edited_by_Alex_S_Kohav?f_ri=98","dom_id":"work_40182026","summary":" A collection of essays that explores the many dimensions of the mystical, including personal, theoretical, and historical.\r\n\r\nKohav, a professor of philosophy at the Metropolitan State College of Denver and the editor of this collection, provocatively asks why mysticism is such an \"objectionable\" topic and considered intellectually disreputable. Borrowing from Jacques Derrida's distinction between aporia (or unsolvable confusion) and a solvable problem, the author suggests mystical phenomena are better understood through the lens of mysterium, that which is beyond the categories of reason and can only be captured by dint of intuition and personal experience. In fact, the contributors to this intellectually kaleidoscopic volume present several autobiographical accounts of precisely such an encounter with the mystically inscrutable. For example, in one essay, Gregory M. Nixon relates \"the shattering moment in my life when I awoke from the dream of self to find being as part of the living world and not in my head.\" The religious dimensions of mystical experience are also explored: Buddhist, Christian, and Judaic texts, including the Bible, are examined to explicate and compare their divergent interpretations. Contributor Jacob Rump argues that the ineffable is central to Wittgenstein's worldview, and Ori Z. Soltes contends that philosophers like Socrates and Spinoza, famous for their valorization of reason, are incomprehensible without also considering the limits they impose on reason and the value they assign to ineffable experience. The collection is precisely as multidisciplinary as billed. It includes a wealth of varying perspectives, both personal and scholarly. Furthermore, the book examines the application of these ideas to contemporary debates. Richard H. Jones, for instance, challenges that mysticism and science ultimately converge into a single explanatory whole. The prose can be prohibitively dense--much of it is written in a jargon-laden academic parlance--and the book is not intended for a popular audience. Within a remarkably technical discussion of the proper interpretive approach to sacred texts, contributor Brian Lancaster declares: \"For these reasons I propose incorporating a hermeneutic component to extend the integration of neuroscientific and phenomenological data that defines neurophenomenology.\" However, Kohav's anthology is still a stimulating tour of the subject, philosophically enthralling and wide reaching. An engrossing, diverse collection of takes on mystical phenomena. \r\n - Kirkus Reviews \r\n\r\nThe volume investigates the question of meaning of mystical phenomena and, conversely, queries the concept of “meaning” itself, via insights afforded by mystical experiences. The collection brings together researchers from such disparate fields as philosophy, psychology, history of religion, cognitive poetics, and semiotics, in an effort to ascertain the question of mysticism’s meaning through pertinent, up-to-date multidisciplinarity. The discussion commences with Editor’s Introduction that probes persistent questions of complexity as well as perplexity of mysticism and the reasons why problematizing mysticism leads to even greater enigmas. One thread within the volume provides the contextual framework for continuing fascination of mysticism that includes a consideration of several historical traditions as well as personal accounts of mystical experiences: Two contributions showcase ancient Egyptian and ancient Israelite involvements with mystical alterations of consciousness and Christianity’s origins being steeped in mystical praxis; and four essays highlight mysticism’s formative presence in Chinese traditions and Tibetan Buddhism as well as medieval Judaism and Kabbalah mysticism. A second, more overarching strand within the volume is concerned with multidisciplinary investigations of the phenomenon of mysticism, including philosophical, psychological, cognitive, and semiotic analyses. To this effect, the volume explores the question of philosophy’s relation to mysticism and vice versa, together with a Wittgensteinian nexus between mysticism, facticity, and truth; language mysticism and “supernormal meaning” engendered by certain mystical states; and a semiotic scrutiny of some mystical experiences and their ineffability. Finally, the volume includes an assessment of the so-called New Age authors’ contention of the convergence of scientific and mystical claims about reality. The above two tracks are appended with personal, contemporary accounts of mystical experiences, in the Prologue; and a futuristic envisioning, as a fictitious chronicle from the time-to-come, of life without things mystical, in the Postscript. The volume contains thirteen chapters; its international contributors are based in Canada, United Kingdom, and the United States. 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