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semiotics</title> <meta name="description" content="Search results for: semiotics"> <meta name="keywords" content="semiotics"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="semiotics"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 70</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: semiotics</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">70</span> Aspects of Semiotics in Contemporary Design: A Case Study on Dice Brand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laila%20Zahran%20Mohammed%20Alsibani">Laila Zahran Mohammed Alsibani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the research is to understand the aspects of semiotics in contemporary designs by redesigning an Omani donut brand with localized cultural identity. To do so, visual identity samples of Dice brand of donuts in Oman has been selected to be a case study. This study conducted based on semiotic theory by using mixed method research tools which are: documentation analysis, interview and survey. The literature review concentrates on key areas of semiotics in visual elements used in the brand designs. Also, it spotlights on the categories of semiotics in visual design. In addition, this research explores the visual cues in brand identity. The objectives of the research are to investigate the aspects of semiotics in providing meaning to visual cues and to identify visual cues for each visual element. It is hoped that this study will have the contribution to a better understanding of the different ways of using semiotics in contemporary designs. Moreover, this research can be a review of further studies in understanding and explaining current and future design trends. Future research can also focus on how brand-related signs are perceived by consumers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brands" title="brands">brands</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a> </p> <a href="https://publications.waset.org/abstracts/158274/aspects-of-semiotics-in-contemporary-design-a-case-study-on-dice-brand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158274.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">160</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">69</span> Traditional Terms, Spaces, Forms and Artifacts in Cultural Semiotics of Southwest Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ajibade%20Adeyemo">Ajibade Adeyemo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper examined local terms used for spaces, forms and building practices in southwest Nigeria as cultural semiotics. Housing has more cultural meaning than mere shelter as shown in building terms such as ‘roof over my head’. The study is significant in the study area because its people were traditionally orally centered until ‘culture contact’ led to graphical presentation and appreciation in the form of drawings which is a modern language of architecture. This semiotic study will facilitate the understanding of the wholesomeness of traditional building practices and thoughts. This is in the culture of the traditional multi-sensory appreciation of architecture, urban design and the arts. It will analyze traditional aphoristic words and terms which are like proverbs which are significant in language because of their metaphorical essence. Many of such terms in the dominant Yoruba language of the study area are oftentimes phenomenal reducing universal terms like the earth and heaven to the simple module of housing. These words could be worth investigating because they are symbolic serve as codes which are cultural tool of regional ethnic significance. Sassure’s and Pierce’s concepts of Semiotics in line with Eco’s concept of semiotics of metaphor shall be deployed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20terms" title="traditional terms">traditional terms</a>, <a href="https://publications.waset.org/abstracts/search?q=spaces" title=" spaces"> spaces</a>, <a href="https://publications.waset.org/abstracts/search?q=forms" title=" forms"> forms</a>, <a href="https://publications.waset.org/abstracts/search?q=artifacts" title=" artifacts"> artifacts</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20semiotics" title=" cultural semiotics"> cultural semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=southwest" title=" southwest"> southwest</a> </p> <a href="https://publications.waset.org/abstracts/75045/traditional-terms-spaces-forms-and-artifacts-in-cultural-semiotics-of-southwest-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/75045.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">276</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">68</span> Discourse Analysis and Semiotic Researches: Using Michael Halliday's Sociosemiotic Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Deyu%20Yuan">Deyu Yuan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Discourse analysis as an interdisciplinary approach has more than 60-years-history since it was first named by Zellig Harris in 'Discourse Analysis' on Language in 1952. Ferdinand de Saussure differentiated the 'parole' from the 'langue' that established the principle of focusing on language but not speech. So the rising of discourse analysis can be seen as a discursive turn for the entire language research that closely related to the theory of Speech act. Critical discourse analysis becomes the mainstream of contemporary language research through drawing upon M. A. K. Halliday's socio-semiotic theory and Foucault, Barthes, Bourdieu's views on the sign, discourse, and ideology. So in contrast to general semiotics, social semiotics mainly focuses on parole and the application of semiotic theories to some applicable fields. The article attempts to discuss this applicable sociosemiotics and show the features of it that differ from the Saussurian and Peircian semiotics in four aspects: 1) the sign system is about meaning-generation resource in the social context; 2) the sign system conforms to social and cultural changes with the form of metaphor and connotation; 3) sociosemiotics concerns about five applicable principles including the personal authority principle, non-personal authority principle, consistency principle, model demonstration principle, the expertise principle to deepen specific communication; 4) the study of symbolic functions is targeted to the characteristics of ideational, interpersonal and interactional function in social communication process. Then the paper describes six features which characterize this sociosemiotics as applicable semiotics: social, systematic, usable interdisciplinary, dynamic, and multi-modal characteristics. Thirdly, the paper explores the multi-modal choices of sociosemiotics in the respects of genre, discourse, and style. Finally, the paper discusses the relationship between theory and practice in social semiotics and proposes a relatively comprehensive theoretical framework for social semiotics as applicable semiotics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title="discourse analysis">discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=sociosemiotics" title=" sociosemiotics"> sociosemiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=pragmatics" title=" pragmatics"> pragmatics</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a> </p> <a href="https://publications.waset.org/abstracts/91226/discourse-analysis-and-semiotic-researches-using-michael-hallidays-sociosemiotic-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91226.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">351</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">67</span> Social Semiotics in the Selected Films of Chito S. Roño</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hannah%20Jennica%20P.%20Ello">Hannah Jennica P. Ello</a>, <a href="https://publications.waset.org/abstracts/search?q=Regina%20Via%20G.%20Garcia"> Regina Via G. Garcia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Films are famous expressions of art in the country. As an expression of art, it serves as a medium in which a culture is reflected. This paper studied how films reflected the Filipino culture. In this study, social semiotics was used to analyze the semiotic resources identified in the film. The films studied were 'Feng Shui', 'Sukob', and 'The Healing', which were three of the highest grossing horror films of Chito S. Roño. The objectives of the paper were (1) to identify the semiotic resources in the film, (2) to extract their meanings, and (3) to determine how these resources were perceived in the Filipino culture. The semiotic resources identified in each film are organized into three categories: color, practices and supernatural occurrences. Each semiotic resource is analyzed through the four dimensions of social semiotics, genre, style, modality, and discourse. For color, some of the semiotic resources identified are red, white and blue; for practices, Hagiolatry, and Mariolatry, faith healing and the belief in superstitions; and for supernatural occurrences, haunting ghosts, doppelganger attacks and returning from the dead were identified. The practices that are prominent in the films are Hagiolatry and Mariolatry, belief in feng shui and belief in faith healers and albularyos. The belief of these practices shows that Filipinos have a dual faith; belief in religion and a belief in superstitions. In short, Filipinos highly practice folk Catholicism and because of this, a mixture of different cultures can be seen, as having molded the Filipino culture to what it is today. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20semiotics" title=" social semiotics"> social semiotics</a> </p> <a href="https://publications.waset.org/abstracts/76923/social-semiotics-in-the-selected-films-of-chito-s-rono" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76923.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">338</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">66</span> Beyond Baudrillard: A Critical Intersection between Semiotics and Materialism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Francesco%20Piluso">Francesco Piluso</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, to restore the deconstructive power of semiotics implies a critical analysis of neoliberal ideology, and, even more critically, a confrontation with materialist perspective. The theoretical path of Jean Baudrillard is crucial to understand the ambivalence of this intersection. A semiotic critique of Baudrillard’s work, through tools of both structuralism and interpretative semiotics, has the aim to give materialism a new consistent semiotic approach and vice-versa. According to Baudrillard, the commodity form is characterized by the same abstract and systemic logic of the sign-form, in which the production of the signified (use-value) is a mere ideological mean for the reproduction of the signifiers-chain (exchange-value). Nevertheless, this parallelism is broken by the author himself: if the use-value is deconstructed in its relative logic, the signified and the referent, both as discrete and positive elements, are collapsed on the same plane at the shadows of the signified forms. These divergent considerations lead Baudrillard to the same crucial point: the dismissal of the material world, replaced by the hyperreality as reproduction of a semiotic (genetic) Code. The stress on the concept of form, as an epistemological and semiotic tool to analyse the construction of values in the consumer society, has led to the Code as its ontological drift. In other words, Baudrillard seems to enclose consumer society (and reality) in this immanent and self-fetishized world of signs–an ideological perspective that mystifies the gravity of the material relationships between Northern-Western World and Third World. The notion of Encyclopaedia by Umberto Eco is the key to overturn the relationship of immanence/transcendence between the Code and the economic political of the sign, by understanding the former as an ideological plane within the encyclopedia itself. Therefore, rather than building semiotic (hyper)realities, semiotics has to deal with materialism in terms of material relationships of power which are mystified and reproduced through such ideological ontologies of signs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Baudrillard" title="Baudrillard">Baudrillard</a>, <a href="https://publications.waset.org/abstracts/search?q=Code" title=" Code"> Code</a>, <a href="https://publications.waset.org/abstracts/search?q=Eco" title=" Eco"> Eco</a>, <a href="https://publications.waset.org/abstracts/search?q=Encyclopaedia" title=" Encyclopaedia"> Encyclopaedia</a>, <a href="https://publications.waset.org/abstracts/search?q=epistemology%20vs.%20ontology" title=" epistemology vs. ontology"> epistemology vs. ontology</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics%20vs.%20materialism" title=" semiotics vs. materialism"> semiotics vs. materialism</a> </p> <a href="https://publications.waset.org/abstracts/95467/beyond-baudrillard-a-critical-intersection-between-semiotics-and-materialism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95467.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">65</span> Nonverbal Signs in Television Advertisements: A Semiotics Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yemi%20Mahmud">Yemi Mahmud</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Semiotics is the study of signs and symbols as significations in a communication process. Television advertisement combines verbal and nonverbal signs to apprise consumers of products’ deliverables. This makes the language of television advertisement an important area of semiotic research. This paper focuses on nonverbal signs in television advertisement in purposively selected advertisements of two Nivea beauty products television advertisements: New Nivea Natural Fairness and Nivea Natural Fairness Lotion in Nigeria to investigate signs in meaning construction. It studies the interpretative realities of the signification of the nonverbal signs in television advertisements in Nigeria; examining signs in relation to the embedded and contextual meanings they are capable of exhuming vis-a-vis, viewers’ social and cultural senses extrapolated to draw inferences. The paper anchors its research on visual rhetorics and concludes that signs, as nonverbal elements in television advertisements, form part of the entire linguistic system of meaning transmission, noting that interpretations do not rely, solely, on the intrinsic properties of signs as signifiers, but on the imbued sociocultural elements that suggest meaning to viewers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nivea" title="Nivea">Nivea</a>, <a href="https://publications.waset.org/abstracts/search?q=nonverbal%20signs" title=" nonverbal signs"> nonverbal signs</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=signification" title=" signification"> signification</a>, <a href="https://publications.waset.org/abstracts/search?q=signifiers" title=" signifiers"> signifiers</a>, <a href="https://publications.waset.org/abstracts/search?q=television%20advertisement" title=" television advertisement"> television advertisement</a> </p> <a href="https://publications.waset.org/abstracts/97490/nonverbal-signs-in-television-advertisements-a-semiotics-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97490.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">165</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">64</span> Aqua Logo Design 2013 Decomposition and Meanings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peni%20Rizki">Peni Rizki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article presents decomposition on Aqua logo design 2013 as well as exploration on the meanings denoting marketing resolution. In the analysis, it is described decomposition details on Aqua logo design 2013, a semiotics implementation on marketing enterprise. 2013’s design is different in parts from its first establishment in 1973. Upon that, design elements such as pictures and colors are examined in semiotic theories of sign utilized as directives to the meaning constructed. Each part of the design is analyzed based on its significations that generate denotation and connotation as well as myth. At the end will be concluded the converses of Aqua logo design 2013 in reflection to its initiated marketing creativity; what pictures and colors do in it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design" title="design">design</a>, <a href="https://publications.waset.org/abstracts/search?q=aqua" title=" aqua"> aqua</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=signification" title=" signification"> signification</a> </p> <a href="https://publications.waset.org/abstracts/45954/aqua-logo-design-2013-decomposition-and-meanings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45954.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">377</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> Randomness in Cybertext: A Study on Computer-Generated Poetry from the Perspective of Semiotics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hongliang%20Zhang">Hongliang Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of chance procedures and randomizers in poetry-writing can be traced back to surrealist works, which, by appealing to Sigmund Freud's theories, were still logocentrism. In the 1960s, random permutation and combination were extensively used by the Oulipo, John Cage and Jackson Mac Low, which further deconstructed the metaphysical presence of writing. Today, the randomly-generated digital poetry has emerged as a genre of cybertext which should be co-authored by readers. At the same time, the classical theories have now been updated by cybernetics and media theories. N· Katherine Hayles put forward the concept of ‘the floating signifiers’ by Jacques Lacan to be the ‘the flickering signifiers’ , arguing that the technology per se has become a part of the textual production. This paper makes a historical review of the computer-generated poetry in the perspective of semiotics, emphasizing that the randomly-generated digital poetry which hands over the dual tasks of both interpretation and writing to the readers demonstrates the intervention of media technology in literature. With the participation of computerized algorithm and programming languages, poems randomly generated by computers have not only blurred the boundary between encoder and decoder, but also raises the issue of human-machine. It is also a significant feature of the cybertext that the productive process of the text is full of randomness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cybertext" title="cybertext">cybertext</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20poetry" title=" digital poetry"> digital poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry%20generator" title=" poetry generator"> poetry generator</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a> </p> <a href="https://publications.waset.org/abstracts/96100/randomness-in-cybertext-a-study-on-computer-generated-poetry-from-the-perspective-of-semiotics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96100.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Memory and Myth in Future Cities Case Study: Walking to Imam Reza Holy Shrine of Mashhad, Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samaneh%20Eshraghi%20Ivaria">Samaneh Eshraghi Ivaria</a>, <a href="https://publications.waset.org/abstracts/search?q=Torkild%20Thellefsenb"> Torkild Thellefsenb</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article discusses the significance of understanding the semiotics of future cities and recognizing the signs of cultural identity in contributing to the preservation of citizens' memories. The identities of citizens are conveyed through memories in urban planning, and with the rapid advancements in technology, cities are constantly changing. Therefore, preserving memories in the design of future cities is essential in maintaining a quality environment that reflects the citizens' identities. The article focuses on the semiotics of the movement pattern morphology in Mashhad city's historical area, using the historical interpretation method. The practice of walking to the shrine of Imam Reza as a religious building has been a historical and religious custom among Shiites from the past until now. By recognizing the signs that result from this religious and cultural approach on the morphology of the city, the aim of the research is to preserve the place of memories in future cities. Overall, the article highlights the importance of recognizing the cultural and historical significance of cities in designing future urban spaces. By doing so, it is possible to preserve the memories and identities of citizens, ensuring that the urban environment reflects the unique cultural heritage of a place. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memories" title="memories">memories</a>, <a href="https://publications.waset.org/abstracts/search?q=future%20cities" title=" future cities"> future cities</a>, <a href="https://publications.waset.org/abstracts/search?q=movement%20pattern" title=" movement pattern"> movement pattern</a>, <a href="https://publications.waset.org/abstracts/search?q=mashhad" title=" mashhad"> mashhad</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a> </p> <a href="https://publications.waset.org/abstracts/165425/memory-and-myth-in-future-cities-case-study-walking-to-imam-reza-holy-shrine-of-mashhad-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165425.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> The Grammar of the Content Plane as a Style Marker in Forensic Authorship Attribution</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dayane%20de%20Almeida">Dayane de Almeida</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work aims at presenting a study that demonstrates the usability of categories of analysis from Discourse Semiotics – also known as Greimassian Semiotics in authorship cases in forensic contexts. It is necessary to know if the categories examined in semiotic analysis (the ‘grammar’ of the content plane) can distinguish authors. Thus, a study with 4 sets of texts from a corpus of ‘not on demand’ written samples (those texts differ in formality degree, purpose, addressees, themes, etc.) was performed. Each author contributed with 20 texts, separated into 2 groups of 10 (Author1A, Author1B, and so on). The hypothesis was that texts from a single author were semiotically more similar to each other than texts from different authors. The assumptions and issues that led to this idea are as follows: -The features analyzed in authorship studies mostly relate to the expression plane: they are manifested on the ‘surface’ of texts. If language is both expression and content, content would also have to be considered for more accurate results. Style is present in both planes. -Semiotics postulates the content plane is structured in a ‘grammar’ that underlies expression, and that presents different levels of abstraction. This ‘grammar’ would be a style marker. -Sociolinguistics demonstrates intra-speaker variation: an individual employs different linguistic uses in different situations. Then, how to determine if someone is the author of several texts, distinct in nature (as it is the case in most forensic sets), when it is known intra-speaker variation is dependent on so many factors?-The idea is that the more abstract the level in the content plane, the lower the intra-speaker variation, because there will be a greater chance for the author to choose the same thing. If two authors recurrently chose the same options, differently from one another, it means each one’s option has discriminatory power. -Size is another issue for various attribution methods. Since most texts in real forensic settings are short, methods relying only on the expression plane tend to fail. The analysis of the content plane as proposed by greimassian semiotics would be less size-dependable. -The semiotic analysis was performed using the software Corpus Tool, generating tags to allow the counting of data. Then, similarities and differences were quantitatively measured, through the application of the Jaccard coefficient (a statistical measure that compares the similarities and differences between samples). The results showed the hypothesis was confirmed and, hence, the grammatical categories of the content plane may successfully be used in questioned authorship scenarios. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=authorship%20attribution" title="authorship attribution">authorship attribution</a>, <a href="https://publications.waset.org/abstracts/search?q=content%20plane" title=" content plane"> content plane</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20linguistics" title=" forensic linguistics"> forensic linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=greimassian%20semiotics" title=" greimassian semiotics"> greimassian semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=intraspeaker%20variation" title=" intraspeaker variation"> intraspeaker variation</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a> </p> <a href="https://publications.waset.org/abstracts/56959/the-grammar-of-the-content-plane-as-a-style-marker-in-forensic-authorship-attribution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56959.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">242</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Aesthetics and Semiotics in Theatre Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=P%C4%83curar%20Diana%20Istina">Păcurar Diana Istina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Structured in three chapters, the article attempts an X-ray of the theatrical aesthetics, correctly understood through the emotions generated in the intimate structure of the spectator that precedes the triggering of the viewer’s perception and not through the superposition, unfortunately common, of the notion of aesthetics with the style in which a theater show is built. The first chapter contains a brief history of the appearance of the word aesthetic, the formulation of definitions for this new term, as well as its connections with the notions of semiotics, in particular with the perception of the message transmitted. Starting with Aristotle and Plato, and reaching Magritte, their interventions should not be interpreted in the sense that the two scientific concepts can merge into one discipline. The perception that is the object of everyone’s analysis, the understanding of meaning, the decoding of the messages sent, and the triggering of feelings that culminate in pleasure, shaping the aesthetic vision, are some elements that keep semiotics and aesthetics distinct, even though they share many methods of analysis. The compositional processes of aesthetic representation and symbolic formation are analyzed in the second part of the paper from perspectives that include or do not include historical, cultural, social, and political processes. Aesthetics and the organization of its symbolic process are treated, taking into account expressive activity. The last part of the article explores the notion of aesthetics in applied theater, more specifically in the theater show. Taking the postmodern approach that aesthetics applies to the creation of an artifact and the reception of that artifact, the intervention of these elements in the theatrical system must be emphasized –that is, the analysis of the problems arising in the stages of the creation, presentation, and reception, by the public, of the theater performance. The aesthetic process is triggered involuntarily, simultaneously, or before the moment when people perceive the meaning of the messages transmitted by the work of art. The finding of this fact makes the mental process of aesthetics similar or related to that of semiotics. No matter how perceived individually, beauty, the mechanism of production can be reduced to two. The first step presents similarities to Peirce’s model, but the process between signified and signified additionally stimulates the related memory of the evaluation of beauty, adding to the meanings related to the signification itself. Then, the second step, a process of comparison, is followed, in which one examines whether the object being looked at matches the accumulated memory of beauty. Therefore, even though aesthetics is derived from the conceptual part, the judgment of beauty and, more than that, moral judgment come to be so important to the social activities of human beings that it evolves as a visible process independent of other conceptual contents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title="aesthetics">aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20composition" title=" symbolic composition"> symbolic composition</a>, <a href="https://publications.waset.org/abstracts/search?q=subjective%20joints" title=" subjective joints"> subjective joints</a>, <a href="https://publications.waset.org/abstracts/search?q=signifying" title=" signifying"> signifying</a>, <a href="https://publications.waset.org/abstracts/search?q=signified" title=" signified"> signified</a> </p> <a href="https://publications.waset.org/abstracts/167158/aesthetics-and-semiotics-in-theatre-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167158.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">109</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Silence the Silence No More: A Translanguaging Analysis of Two Silent Scenes in Wong Kar-Wai’s Multi-Genre Film ‘2046’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liu%20M.%20Hanmin">Liu M. Hanmin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Wong Kar-Wai’s multi-genre film 2046, world premiered in 2004, comes with a vibrant mediascape made up of multiple named languages, code-switching, intertitles, news footage from the real world, and extra-linguistic means of communication. In film- and multilingual studies it is still a challenge to incorporate non-languages into an analytical framework with conventional languages. This paper uses translanguaging theory to read silent practices in Wong Kar-Wai’ 2046. Two scenes that feature the silence experience the most are taken as case studies. In these two scenes, we can identify two tropes of intersemiotic relationships that are co-articulated by silence: patriarchy and unfinished romance, respectively. The conclusion argues that silence in Wong Kar-Wai’s 2046 exerts multimodal agency by ‘speaking’ directly to the audience and in mutual directions to characters. Thereby, it moves beyond the passive role of merely accentuating or assisting the aural register of a film. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translanguaging" title="translanguaging">translanguaging</a>, <a href="https://publications.waset.org/abstracts/search?q=Wong%20Kar-Wai" title=" Wong Kar-Wai"> Wong Kar-Wai</a>, <a href="https://publications.waset.org/abstracts/search?q=multimodality" title=" multimodality"> multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=inter%20semiotics" title=" inter semiotics"> inter semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Hong%20Kong%20media" title=" Hong Kong media"> Hong Kong media</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20culture" title=" film culture"> film culture</a> </p> <a href="https://publications.waset.org/abstracts/163911/silence-the-silence-no-more-a-translanguaging-analysis-of-two-silent-scenes-in-wong-kar-wais-multi-genre-film-2046" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163911.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">103</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">58</span> Cultural Semiotics of the Traditional Costume from Banat’s Plain from 1870 to 1950 from Lotman’s Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Glavan%20Claudiu">Glavan Claudiu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> My paper focuses on the cultural semiotic interpretation of the Romanian costume from Banat region, from the perspective of Lotman’s semiotic theory of culture. Using Lotman’s system we will analyse the level of language, text and semiosphere within the unity of Banat’s traditional costume. In order to establish a common language and to communicate, the forms and chromatic compositions were expressed through symbols, which carried semantic meanings with an obvious significant semantic load. The symbols, used in this region, receive a strong specific ethnical mark in its representation, in its compositional and chromatic complexity, in accordance with the values and conceptions of life for the people living here. Thus the signs become a unifying force of this ethnic community. Associated with the signs, were the fabrics used in manufacturing the costumes and the careful selections of colours. For example, softer fabrics like silk associated with red vivid colours were used for young woman sending the message they ready to be married. The unity of these elements created the important message that you were sending to your community. The unity of the symbol, fabrics and choice of colours used on the costume carried out an important message like: marital status, social position, or even the village you belonged to. Using Lotman’s perspective on cultural semiotics we will read and analyse the symbolism of the traditional Romanian art from Banat. We will discover meaning in the codified existence of ancient solar symbols, symbols regarding fertility, religious symbols and very few heraldic symbols. Visual communication makes obvious the importance of semiotic value that the traditional costume is carrying from our ancestors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20costume" title="traditional costume">traditional costume</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Lotman%E2%80%99s%20theory%20of%20culture" title=" Lotman’s theory of culture"> Lotman’s theory of culture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20culture" title=" traditional culture"> traditional culture</a>, <a href="https://publications.waset.org/abstracts/search?q=signs%20and%20symbols" title=" signs and symbols"> signs and symbols</a> </p> <a href="https://publications.waset.org/abstracts/123159/cultural-semiotics-of-the-traditional-costume-from-banats-plain-from-1870-to-1950-from-lotmans-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123159.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">57</span> Gestural Pragmatic Inference among Primates: An Experimental Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Siddharth%20Satishchandran">Siddharth Satishchandran</a>, <a href="https://publications.waset.org/abstracts/search?q=Brian%20Khumalo"> Brian Khumalo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Humans are able to derive semantic content from syntactic and pragmatic sources. Multimodal evidence from signaling theory, which examines communication between individuals within and across species, suggests that non-human primates possess similar syntactic and pragmatic capabilities. However, the extent remains unknown because primate pragmatics are relatively under-examined. Our paper reviews research within communication theory amongst non-human primates to understand current theoretical trends. We examine evidence for primate pragmatic capacities through observational, experimental, and theoretical work on gestures. Given fragmented theoretical perspectives, we provide a unified framework of communication for future research that contextualizes the available research under code biology. To achieve this, we rely on biological semiotics (biosemiotics), the philosophy of biology investigating prelinguistic meaning-making as a function of signs and codes. We close by discussing areas of potential research for studying gestural pragmatics amongst non-human primates, particularly chimpanzees (Pan troglodytes), Diana monkeys (Cercopithecus diana), and other potential candidates. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pragmatics" title="pragmatics">pragmatics</a>, <a href="https://publications.waset.org/abstracts/search?q=non-human%20primates" title=" non-human primates"> non-human primates</a>, <a href="https://publications.waset.org/abstracts/search?q=gestural%20communication" title=" gestural communication"> gestural communication</a>, <a href="https://publications.waset.org/abstracts/search?q=biological%20semiotics" title=" biological semiotics"> biological semiotics</a> </p> <a href="https://publications.waset.org/abstracts/186271/gestural-pragmatic-inference-among-primates-an-experimental-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186271.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">39</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> From Sound to Music: The Trajectory of Musical Semiotics in a Selected Soundscape Environment in South-Western Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olatunbosun%20Samuel%20Adekogbe">Olatunbosun Samuel Adekogbe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper addresses the question of musical signification, revolving around nature and its natural divides; the paper tends to examine the roles of the dispositional apparatus of listeners to react to sounding environments through music as coordinated sound that focuses on the powerful strain between vibrational occurrences of sound and potentials of being structured. This paper sets out to examine music as a simple conventional design that does not allude to something beyond music and sound as a vehicle to communicate through production, perception, translation, and reaction with regard to melodic and semiotic functions of sounds. This paper adopts the application of questionnaire and evolutionary approach methods to probe musical adaptation, reproduction, and natural selection as the basis for explaining specific human behavioural responses to musical sense-making beyond the above-sketched dichotomies, with a major focus on the transition from acoustic-emotional sensibilities to musical meaning in the selected soundscapes. It was observed that music has emancipated itself from the level of mere acoustic processing of sounds to a functional description in terms of allowing music users to share experiences and interact with the soundscaping environment. The paper, therefore, concludes that the audience as music participants and listeners in the selected soundscapes have been conceived as adaptive devices in the paradigm shift, which can build up new semiotic linkages with the sounding environments in southwestern Nigeria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiotics" title="semiotics">semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=soundscape" title=" soundscape"> soundscape</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a> </p> <a href="https://publications.waset.org/abstracts/176301/from-sound-to-music-the-trajectory-of-musical-semiotics-in-a-selected-soundscape-environment-in-south-western-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176301.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">65</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">55</span> The Semiotic Analysis of Thai Social Contexts in Thai Post’s News Articles</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pakpoom%20Hannapha">Pakpoom Hannapha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper investigates the implications of social and political contexts in Thai Post’s news articles written by a columnist, Khon Plai Soy. Samples included twenty eight news articles published between 28th May 2015 and 28th June 2015 selected and analyzed according to Semiotics including implications, connotation, cultural politics, and Thai usage in newspaper articles. The data analysis can be divided into two parts; first, an analysis of signs/signifiers appearing in the articles and second, an analysis of the columnist’s purposes. This study demonstrated representations of signs in the selected articles that were categorized into four groups: events, actions, persons, and organizations. In this study, implications of the news articles were analyzed in two aspects according to Semiotics. It was found that the columnist mostly points out purposes for education, facts, and personal opinions in his works. Also, he offers some solutions to problems discussed in the articles. The writer often explicated knowledge and facts in accordance with either his personal opinions or problem-solutions. According to the research result, studying the implications of news articles in the Thai Post based on the Semiotic approach can help clarify and understand connotative meanings in terms of contents and the writer’s purposes. This paper can enhance readers’ understanding of Semiotic implications through signs and meanings in the texts and thus be used as a model to explore other political news articles <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiotic%20analysis" title="semiotic analysis">semiotic analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20social%20contexts" title=" Thai social contexts"> Thai social contexts</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20Post%E2%80%99s%20news" title=" Thai Post’s news"> Thai Post’s news</a>, <a href="https://publications.waset.org/abstracts/search?q=articles" title=" articles"> articles</a> </p> <a href="https://publications.waset.org/abstracts/76490/the-semiotic-analysis-of-thai-social-contexts-in-thai-posts-news-articles" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76490.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> Signs and Symbols of a Modern Sufi Ceremony in Istanbul</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Antonio%20De%20Lisa">Antonio De Lisa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this contribution is to describe a Sufi ceremony personally observed and recorded in Istanbul. It is part of research on the semiotics of religion that has been going on for some time. Over the centuries, Sufism has produced remarkable literature, elaborated mainly in the context of Arabic literature and Persian literature, but has also found expression in many other languages (Turkish, Indian, Malayo-Indonesian, etc.). Among the genres cultivated are: devotional books (prayers, meditation, spiritual exercises, etc.); the hagiographic texts, containing the biographies and sentences of the best-known Sufis; the texts that illustrate the abodes or stations of the spiritual path; finally, the theoretical treatises on various topics, often of an apologetic nature. Another typical expression of Sufism is in the literature in verse, which includes first-rate poets of both Arabic (Ibn al-Farid, Ibn 'Arabi) and Persian (Farid al-Din al-Attar, Rumi, Hafez, Gohar Shahi) expression. To observe an authentic Sufi ceremony, we contacted the Silivrikapı Mevlana Cultural Center in Istanbul. The ceremony we will talk about is a characteristic of the brotherhood called Mevleviyye (Mawlawiyya), so called from Mawlānā ('our lord', in Turkish: Mevlānā) Jalāl al-Dīn Muḥammad Rūmī (13th century) better known as the brotherhood of the Whirling Dervishes, founded in Konya. The characteristic of the order is to pray about one's love for Allah with music and dance in a ritual that has the name of Semà. The dance is a swirling movement in a group, representing a mystical journey of the spiritual ascent of man through the mind and love for the 'perfect'. Turning towards the truth, the follower of the group ascends towards love, passing beyond the World and Nothingness. After asceticism, he returns to the common world to communicate his own experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiotics%20of%20religion" title="semiotics of religion">semiotics of religion</a>, <a href="https://publications.waset.org/abstracts/search?q=sufi" title=" sufi"> sufi</a>, <a href="https://publications.waset.org/abstracts/search?q=rumi" title=" rumi"> rumi</a>, <a href="https://publications.waset.org/abstracts/search?q=islamic%20philosophy" title=" islamic philosophy"> islamic philosophy</a> </p> <a href="https://publications.waset.org/abstracts/163825/signs-and-symbols-of-a-modern-sufi-ceremony-in-istanbul" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163825.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">53</span> The Image of Saddam Hussein and Collective Memory: The Semiotics of Ba'ath Regime's Mural in Iraq (1980-2003)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Pirdehghan">Maryam Pirdehghan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During the Ba'ath Party's rule in Iraq, propaganda was utilized to justify and to promote Saddam Hussein's image in the collective memory as the greatest Arab leader. Consequently, urban walls were routinely covered with images of Saddam. Relying on these images, the regime aimed to provide a basis for evoking meanings in the public opinion, which would supposedly strengthen Saddam’s power and reconstruct facts to legitimize his political ideology. Nonetheless, Saddam was not always portrayed with common and explicit elements but in certain periods of his rule, the paintings depicted him in an unusual context, where various historical and contemporary elements were combined in a narrative background. Therefore, an understanding of the implied socio-political references of these elements is required to fully elucidate the impact of these images on forming the memory and collective unconscious of the Iraqi people. To obtain such understanding, one needs to address the following questions: a) How Saddam Hussein is portrayed in mural during his rule? b) What of elements and mythical-historical narratives are found in the paintings? c) Which Saddam's political views were subject to the collective memory through mural? Employing visual semiotics, this study reveals that during Saddam Hussein's regime, the paintings were initially simple portraits but gradually transformed into narrative images, characterized by a complex network of historical, mythical and religious elements. These elements demonstrate the transformation of a secular-nationalist politician into a Muslim ruler who tried to instill three major policies in domestic and international relations i.e. the arabization of Iraq, as well as the propagation of pan-arabism ideology (first period), the implementation of anti-Israel policy (second period) and the implementation of anti-American-British policy (last period). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ba%27ath%20Party" title="Ba'ath Party">Ba'ath Party</a>, <a href="https://publications.waset.org/abstracts/search?q=Saddam%20Hussein" title=" Saddam Hussein"> Saddam Hussein</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=Iraq" title=" Iraq"> Iraq</a>, <a href="https://publications.waset.org/abstracts/search?q=propaganda" title=" propaganda"> propaganda</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20memory" title=" collective memory"> collective memory</a> </p> <a href="https://publications.waset.org/abstracts/76678/the-image-of-saddam-hussein-and-collective-memory-the-semiotics-of-baath-regimes-mural-in-iraq-1980-2003" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76678.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">326</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">52</span> Integrating Critical Stylistics and Visual Grammar: A Multimodal Stylistic Approach to the Analysis of Non-Literary Texts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shatha%20Khuzaee">Shatha Khuzaee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study develops multimodal stylistic approach to analyse a number of BBC online news articles reporting some key events from the so called ‘Arab Uprisings’. Critical stylistics (CS) and visual grammar (VG) provide insightful arguments to the ways ideology is projected through different verbal and visual modes, yet they are mode specific because they examine how each mode projects its meaning separately and do not attempt to clarify what happens intersemiotically when the two modes co-occur. Therefore, it is the task undertaken in this research to propose multimodal stylistic approach that addresses the issue of ideology construction when the two modes co-occur. Informed by functional grammar and social semiotics, the analysis attempts to integrate three linguistic models developed in critical stylistics, namely, transitivity choices, prioritizing and hypothesizing along with their visual equivalents adopted from visual grammar to investigate the way ideology is constructed, in multimodal text, when text/image participate and interrelate in the process of meaning making on the textual level of analysis. The analysis provides comprehensive theoretical and analytical elaborations on the different points of integration between CS linguistic models and VG equivalents which operate on the textual level of analysis to better account for ideology construction in news as non-literary multimodal texts. It is argued that the analysis well thought out a plan that would remark the first step towards the integration between the well-established linguistic models of critical stylistics and that of visual analysis to analyse multimodal texts on the textual level. Both approaches are compatible to produce multimodal stylistic approach because they intend to analyse text and image depending on whatever textual evidence is available. This supports the analysis maintain the rigor and replicability needed for a stylistic analysis like the one undertaken in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodality" title="multimodality">multimodality</a>, <a href="https://publications.waset.org/abstracts/search?q=stylistics" title=" stylistics"> stylistics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20grammar" title=" visual grammar"> visual grammar</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20semiotics" title=" social semiotics"> social semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=functional%20grammar" title=" functional grammar"> functional grammar</a> </p> <a href="https://publications.waset.org/abstracts/77486/integrating-critical-stylistics-and-visual-grammar-a-multimodal-stylistic-approach-to-the-analysis-of-non-literary-texts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77486.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">221</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">51</span> The Storm in Us All: An Etymological Study of Tempest</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=David%20N.%20Prihoda">David N. Prihoda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper charts the history of the English word Tempest from its origins in Proto-Indo European to its modern usage as a term for storms, both literal and metaphorical. It does so by way of considering the word’s morphology, semiotics, and phonetics. It references numerous language studies and dictionaries to chronicle the word’s many steps along that path, from demarcation of measurement to assessment of time, all the way to an observation about the weather or the human psyche. The conclusive findings show that tempest has undergone numerous changes throughout its history, and these changes interestingly parallel its connotations as a symbol for both chaotic weather and the chaos of the human spirit <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tempest" title="Tempest">Tempest</a>, <a href="https://publications.waset.org/abstracts/search?q=etymology" title=" etymology"> etymology</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20origins" title=" language origins"> language origins</a>, <a href="https://publications.waset.org/abstracts/search?q=English" title=" English"> English</a> </p> <a href="https://publications.waset.org/abstracts/158273/the-storm-in-us-all-an-etymological-study-of-tempest" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158273.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">50</span> Learning Physics Concepts through Language Syntagmatic Paradigmatic Relations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C.%20E.%20Laburu">C. E. Laburu</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20A.%20Barros"> M. A. Barros</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20F.%20Zompero"> A. F. Zompero</a>, <a href="https://publications.waset.org/abstracts/search?q=O.%20H.%20M.%20Silva"> O. H. M. Silva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The work presents a teaching strategy that employs syntagmatic and paradigmatic linguistic relations in order to monitor the understanding of physics students’ concepts. Syntagmatic and paradigmatic relations are theoretical elements of semiotics studies and our research circumstances and justified them within the research program of multi-modal representations. Among the multi-modal representations to learning scientific knowledge, the scope of action of syntagmatic and paradigmatic relations belongs to the discursive writing form. The use of such relations has the purpose to seek innovate didactic work with discourse representation in the write form before translate to another different representational form. The research was conducted with a sample of first year high school students. The students were asked to produce syntagmatic and paradigmatic of Newton’ first law statement. This statement was delivered in paper for each student that should individually write the relations. The student’s records were collected for analysis. It was possible observed in one student used here as example that their monemes replaced and rearrangements produced by, respectively, syntagmatic and paradigmatic relations, kept the original meaning of the law. In paradigmatic production he specified relevant significant units of the linguistic signs, the monemas, which constitute the first articulation and each word substituted kept equivalence to the original meaning of original monema. Also, it was noted a number of diverse and many monemas were chosen, with balanced combination of grammatical (grammatical monema is what changes the meaning of a word, in certain positions of the syntagma, along with a relatively small number of other monemes. It is the smallest linguistic unit that has grammatical meaning) and lexical (lexical monema is what belongs to unlimited inventories; is the monema endowed with lexical meaning) monemas. In syntagmatic production, monemas ordinations were syntactically coherent, being linked with semantic conservation and preserved number. In general, the results showed that the written representation mode based on linguistic relations paradigmatic and syntagmatic qualifies itself to be used in the classroom as a potential identifier and accompanist of meanings acquired from students in the process of scientific inquiry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiotics" title="semiotics">semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=high%20school" title=" high school"> high school</a>, <a href="https://publications.waset.org/abstracts/search?q=physics%20teaching" title=" physics teaching"> physics teaching</a> </p> <a href="https://publications.waset.org/abstracts/93217/learning-physics-concepts-through-language-syntagmatic-paradigmatic-relations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93217.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">49</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">48</span> Analysing Architectural Narrative in 21st-Century Museums</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ihjaz%20Zubair%20Pallakkan%20Tharammal">Ihjaz Zubair Pallakkan Tharammal</a>, <a href="https://publications.waset.org/abstracts/search?q=Lakshmi%20S.%20R."> Lakshmi S. R.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Storytelling has been an important part of human life over the course of history. It allows corporations to unlearn, examine and relearn. There are unique mediums of storytelling which can be used in an individual's normal life. For instance, the mind is shared through oral stories, comics, music, art, shape, etc. The research dreams of studying and looking at the ability of museums and the importance of incorporating architectural narratives in museums, mainly in 21st-century India. The research is also an exploratory and comparative assessment of narrative elements like semiotics, symbolism, spatial form, etc., and in the long run, derives strategies to format regions that communicate to the users. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum" title="museum">museum</a>, <a href="https://publications.waset.org/abstracts/search?q=architectural%20narrative" title=" architectural narrative"> architectural narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=narratology" title=" narratology"> narratology</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20storytelling" title=" spatial storytelling"> spatial storytelling</a> </p> <a href="https://publications.waset.org/abstracts/148568/analysing-architectural-narrative-in-21st-century-museums" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148568.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">180</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">47</span> Dominant Ideology among Filipino Women as Dictated by Cosmopolitan Magazine</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yvonne%20Christelle%20M.%20de%20Guzman">Yvonne Christelle M. de Guzman</a>, <a href="https://publications.waset.org/abstracts/search?q=Charity%20Faye%20T.%20Cabie"> Charity Faye T. Cabie</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study analyzed the contents of ten issues of Cosmopolitan Magazine from 2011 to 2015. The researcher found out the hegemony among Filipino women as dictated by Cosmopolitan magazine through the use of Semiotic Analysis, Laura Mulvey’s Male Gaze and Gramsci’s concept of hegemony. The researcher also looked at the themes of cover stories, words used to describe women, meanings behind the color of magazine’s front cover, clothing, physique and pose such as gesture and facial expression used by the cover girl. However, the entire content of the magazine was not taken into account. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dominant%20ideology" title="dominant ideology">dominant ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women "> women </a> </p> <a href="https://publications.waset.org/abstracts/43162/dominant-ideology-among-filipino-women-as-dictated-by-cosmopolitan-magazine" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43162.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">390</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">46</span> A Semiotic Analysis of the Changes in the Visual Sign System of International Advertisements in the Arab World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nabil%20Mohammed%20Nasser%20Salem">Nabil Mohammed Nasser Salem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> International advertisements targeting the Arab world are usually modified to be compatible with the conservative culture in many Arab countries. The portrayal of female models in international advertisements in Arab magazines avoids direct sexual representation. Arab culture is guided by religious teachings and social restrictions that prohibit the display of many parts of the female body. Exposure of shoulders, arms, armpits, cleavage, legs, thighs, etc., of the female body is usually avoided in international advertisements published in Arab magazines. Exposure to parts of the female body other than the face and hands may be considered offensive in many parts of Arab countries. Although extensive research has been conducted on Arabic advertisements, to our best knowledge, there are no publications in the literature that address the recent changes in the visual sign system in international advertisements in Arab magazines using semiotics as a research method. The present study aims to analyze the changes in the visual sign system of international advertisements published in Arab magazines that promote female fragrances. It tries to analyze the differences in the sexual representations of the same female models in some selected advertisements during different periods. The magazines are randomly selected from the period between 2000 and 2019. The selection of magazines is based on their availability and popularity. The study focuses on the Dior Jadore ads because they reflect important changes in the appearance of the same female model between 2000 to 2019. The result of the study shows important changes in the sexual representation of the same female body. The Dior Jadore advertisement in 2000 shows only the head of the female model. The model is modestly portrayed and shows clear cultural and religious restrictions on the sexual representation of the female body. The result shows that the same female model is portrayed differently in the Dior Jadore advertisement from the period 2005 to 2019. These versions of advertisements show more parts of the female body that are covered in the older versions and show stronger sexual representations. The study is an important contribution as it fills an important gap in the literature by extending semiotic research to the study of recent visual changes in the sign system of international advertisements published in Arab magazines during an important period in the history of international advertisement targeting the Arab world, as they reflect changes in the sexual representation of female models. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arab%20magazine" title="Arab magazine">Arab magazine</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20body" title=" female body"> female body</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20advertisements" title=" international advertisements"> international advertisements</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=sexual%20representation" title=" sexual representation"> sexual representation</a> </p> <a href="https://publications.waset.org/abstracts/161250/a-semiotic-analysis-of-the-changes-in-the-visual-sign-system-of-international-advertisements-in-the-arab-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161250.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">45</span> The Connection Between the Semiotic Theatrical System and the Aesthetic Perception</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=P%C4%83curar%20Diana%20Istina">Păcurar Diana Istina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The indissoluble link between aesthetics and semiotics, the harmonization and semiotic understanding of the interactions between the viewer and the object being looked at, are the basis of the practical demonstration of the importance of aesthetic perception within the theater performance. The design of a theater performance includes several structures, some considered from the beginning, art forms (i.e., the text), others being represented by simple, common objects (e.g., scenographic elements), which, if reunited, can trigger a certain aesthetic perception. The audience is delivered, by the team involved in the performance, a series of auditory and visual signs with which they interact. It is necessary to explain some notions about the physiological support of the transformation of different types of stimuli at the level of the cerebral hemispheres. The cortex considered the superior integration center of extransecal and entanged stimuli, permanently processes the information received, but even if it is delivered at a constant rate, the generated response is individualized and is conditioned by a number of factors. Each changing situation represents a new opportunity for the viewer to cope with, developing feelings of different intensities that influence the generation of meanings and, therefore, the management of interactions. In this sense, aesthetic perception depends on the detection of the “correctness” of signs, the forms of which are associated with an aesthetic property. Fairness and aesthetic properties can have positive or negative values. Evaluating the emotions that generate judgment and implicitly aesthetic perception, whether we refer to visual emotions or auditory emotions, involves the integration of three areas of interest: Valence, arousal and context control. In this context, superior human cognitive processes, memory, interpretation, learning, attribution of meanings, etc., help trigger the mechanism of anticipation and, no less important, the identification of error. This ability to locate a short circuit produced in a series of successive events is fundamental in the process of forming an aesthetic perception. Our main purpose in this research is to investigate the possible conditions under which aesthetic perception and its minimum content are generated by all these structures and, in particular, by interactions with forms that are not commonly considered aesthetic forms. In order to demonstrate the quantitative and qualitative importance of the categories of signs used to construct a code for reading a certain message, but also to emphasize the importance of the order of using these indices, we have structured a mathematical analysis that has at its core the analysis of the percentage of signs used in a theater performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiology" title="semiology">semiology</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20semiotics" title=" theatre semiotics"> theatre semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20performance" title=" theatre performance"> theatre performance</a>, <a href="https://publications.waset.org/abstracts/search?q=structure" title=" structure"> structure</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20perception" title=" aesthetic perception"> aesthetic perception</a> </p> <a href="https://publications.waset.org/abstracts/163469/the-connection-between-the-semiotic-theatrical-system-and-the-aesthetic-perception" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163469.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">44</span> Narratives and Meta-Narratives in the News of People Killed in 2022 Iranian Protests</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abbas%20Rezaei%20Samarin">Abbas Rezaei Samarin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In October 2022, protests began following the death of Mahsa Amini and were followed by the deaths of those arrested by Iran's morality police which Iran's official media and foreign Persian-language satellite channels presented to the audience different narratives of how they were killed. These two types of media produced two different and sometimes conflicting narratives when faced with the news of a certain person's death, and the conflict is found between the narratives in some cases. This study has focused on the semiotics of these narratives, the interpretation of discourses supporting the narratives, and finally, their analysis within the framework of narrative theories. In the present study, the researcher has used a qualitative approach and has concluded that the narrative of both types of media is structured around the functions of the existing and ideal political system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=narrative" title="narrative">narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=iran" title=" iran"> iran</a>, <a href="https://publications.waset.org/abstracts/search?q=fake%20news" title=" fake news"> fake news</a>, <a href="https://publications.waset.org/abstracts/search?q=protests" title=" protests"> protests</a>, <a href="https://publications.waset.org/abstracts/search?q=manipulation%20of%20reality" title=" manipulation of reality"> manipulation of reality</a> </p> <a href="https://publications.waset.org/abstracts/159190/narratives-and-meta-narratives-in-the-news-of-people-killed-in-2022-iranian-protests" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159190.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">43</span> Comparative Analysis of Identity Semiotics in Iran’s Modern and Traditional House Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Ghasemi">Maryam Ghasemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most significant components that provide comfort and protection is having a shelter called a house. Even if components and regions are changed or restored to meet new functions, the house's identity must be preserved. In the contemporary era, houses are increasingly being built regardless of cultural identity. This misunderstanding caused a sense of unease. This study analyses archaic and modern architecture to find semiotic areas and qualities in the latter, using the former as a reference. This study's technique used an exploratory assessment of architectural components from both periods. The Abbasid residence and the Ekbatan architectural complex were used as case studies. The identity of Iranian architecture does not correlate with current buildings. The other part is privacy, which is a missing link between traditional and modern Iranian architecture because it is directly related to the identities of homes based on the cultures of their residents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=housing" title="housing">housing</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=privacy" title=" privacy"> privacy</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotic" title=" semiotic"> semiotic</a> </p> <a href="https://publications.waset.org/abstracts/166841/comparative-analysis-of-identity-semiotics-in-irans-modern-and-traditional-house-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166841.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">107</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">42</span> A Polyphonic Look at Trends</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Turquesa%20Topper">Turquesa Topper</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The reflection focuses on recording and explaining the considerations, conceptualizations and methodological approach with which from the University, that is to say, from the academic field, the study of Trends is addressed with the intention of training professionals in the area, an area that requires disciplinary boundaries and builds a polyphonic vision. When referring to the objective of our Laboratory the detection of aesthetic trends of consumption, we find ourselves in the requirement to define our object: trends, aesthetic trends of consumption, more specifically. The pages cover a conception of trends from a theoretical framework that incorporates contributions from linguistics, semiotics, sociology, cultural studies and project disciplines, in order to consolidate a polyphonic look. The text investigates in the pre-discursive aspect of the trends, in the circulation of the notion of style and in the dynamics of affirmation - denial as the constitutive dynamics of Fashion linked to any process of innovation. From such inquiry, it is presented to Fashion as a system that operates directly on the construction of socio-individual identities unfolding through the liquefaction of signs in trends. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=methodology" title=" methodology"> methodology</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=trends" title=" trends"> trends</a> </p> <a href="https://publications.waset.org/abstracts/72616/a-polyphonic-look-at-trends" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72616.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">250</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">41</span> Representation of the Iranian Community in the Videos of the Instagram Page of the World Health Organization Representative in Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naeemeh%20Silvari">Naeemeh Silvari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The phenomenon of the spread and epidemic of the corona virus caused many aspects of the social life of the people of the world to face various challenges. In this regard, and in order to improve the living conditions of the people, the World Health Organization has tried to publish the necessary instructions for its contacts in the world in the form of its media capacities. Considering the importance of cultural differences in the discussion of health communication and the distinct needs of people in different societies, some production contents were produced and published exclusively. This research has studied six videos published on the official page of the World Health Organization in Iran as a case study. The published content has the least semantic affinity with Iranian culture, and it has been tried to show a uniform image of the Middle East with the predominance of the image of the culture of the developing Arab countries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=corona" title="corona">corona</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=instagram" title=" instagram"> instagram</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20communication" title=" health communication"> health communication</a> </p> <a href="https://publications.waset.org/abstracts/159070/representation-of-the-iranian-community-in-the-videos-of-the-instagram-page-of-the-world-health-organization-representative-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/159070.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">93</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=semiotics&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=semiotics&page=3">3</a></li> <li class="page-item"><a class="page-link" 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