Subject collection: Semiotics (98 titles, 1967–2015)

Iconicity: East Meets West presents an intersection of East-West scholarship on Iconicity. Several of its chapters thus deal with Asian languages and cultures, or a comparison of world languages. Divided into four categories: general issues; sound symbolism and mimetics; iconicity in literary texts; and iconic motivation in grammar, the chapters show the diversity and dynamics of iconicity research, ranging from iconicity as a driving force in language structure and change, to the various uses of images, diagrams and metaphors at all levels of the literary text, in both narrative and poetic forms, as well as on all varieties of discourse, including the visual and the oral.

Music is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture which many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.

How do readers make sense of a picture, a photograph, or a map in literary narratives in which visual signs play a critical role? How do authors accomplish their various objectives in constructing such complex texts? What strategies and techniques do they use to project fictional worlds and to provide their readers with the means for orienting themselves there? This book investigates the dynamics of the imaginary diagrams created by cartographers, photographers, and writers of narratives, giving ample evidence of how mapping practices have inspired the imagination of a vast number of authors from Thomas More up to contemporary writers. A special focus is on the effects created by the projection of photographs into the narrative space, and how our seemingly effortless interpretation of photographs and even maps masks complex cognitive processes. The theoretical horizon of this study encompasses the fields of cartography, mental maps, iconicity research, and the spatial turn in cultural studies.

When a reader picks up a book, the essence of the text has been translated into the visual space of the cover. Using Umberto Eco’s bestseller The Name of the Rose as a case study, this is the first study of book cover design as a form of intersemiotic translation based on the purposeful selection of visual signs to represent verbal signs. As an act of translation, the cover of a book ought to be an ‘equivalent representation’ of the text. But in the absence of any established interpretive criteria, how can equivalence between the visual and the verbal be determined and interpreted? Re-Covered Rose tackles this question in an original and creative way, laying the foundation for a new research trend in Translation Studies.

Marco Sonzogni is Senior Lecturer in Italian, School of Languages and Cultures, Victoria University of Wellington, New Zealand. A widely published academic and an award-winning editor, poet and literary translator, he is the Director of the New Zealand Centre for Literary Translation/Te Tumu Whakawhiti Tuhinga.

News coverage of EU negotiations, children’s war memories or TV series glamourising political processes – images pervade both private and public discourse, and visual communication plays a key role in our social negotiation of values. Conceptualising images as “images in use”, this volume considers the agencies behind visual communication and its impact on society.

Images in Use engages critically with traditional approaches to visual analysis, offers suggestions for alternative, socially situated analyses of images and demonstrates the explanatory force of thinking through “images in use” in a series of case studies. The conceptual contributions consider broader issues of critical theory, representation, as well as the mediatisation of politics. The case studies offer a survey of current visual communication including news coverage, political cartoons, political rhetoric, memory culture, celebrity humanitarianism, reality TV, as well as the narratives of blockbuster cinema and comics.

This volume proposes a new approach to visual communication, situating images in their social contexts and identifying the real, rhetorical and political impact of their use.

Karl Bühler (1879–1963) was one of the leading theoreticians of language of the twentieth century. Although primarily a psychologist, Bühler devoted much of his attention to the study of language and language theory. His masterwork Sprachtheorie (1934) quickly gained recognition in the fields of linguistics, semiotics, the philosophy of language and the psychology of language. This new edition of the English translation of Bühler’s theory begins with a survey on ‘Bühler’s legacy’ for modern linguistics (Werner Abraham), followed by the Theory of Language, and finally with a special ‘Postscript: Twenty-five Years Later …’ (Achim Eschbach). Bühler’s theory is divided into four parts. Part I discusses the four axioms or principles of language research, the most famous of which is the first, the organon model, the base of Bühler's instrumental view of language. Part II treats the role of indexicality in language and discusses deixis as one determinant of speech. Part III examines the symbolic field, dealing with context, onomatopoeia and the function of case. Part IV deals with the elements of language and their organization (syllabification, the definition of the word, metaphor, anaphora, etc).The text is accompanied by an Introduction (Achim Eschbach); Translator's preface (Donald Fraser Goodwin); Glossary of terms; and a Bibliography of cited works.

The title of this volume strives to capture the dynamic scope and range of the essays it contains, applying insights into the workings of iconicity to texts as far removed from each other in time as the Medieval tale of a bishop-fish and the war-poems of 20^th century Italian Futurist F.T. Marinetti, and as thematically diverse as the Pilgrim’s Progress and the poetry of e.e. cummings. Applications reference both language and linguistics as well as literature and literary theory – and related fields such as sign language and translation; the former approached from the point of view of Japan Sign Language, the latter with reference to translations of the Koran and the Sesotho Bible, as well as modern German and English Bible translations. On the language side, the intricate relationships between sound symbolism and etymology, and between analogy and grammaticalization are examined in depth. On the literary side, the iconic effects of techniques such as enjambment and metrical inversion are considered, but also the ways in which an understanding of iconicity can open up meanings in complex poetry, like that of the Afrikaans poet T.T. Cloete – in this particular instance three poems inspired by figures as diverse as Dante, Paul Klee and the pop icon Marilyn Monroe. In view of the fact that form is able to mime meaning and meaning itself can be mimed by meaning, the theoretical question is asked – on the basis of a wide range of examples from literature, language, music and other sign-systems – whether meaning can also mime form. An introduction to the work of H.C.T. Müller, an early scholar in the field of iconicity, highlights a regrettably little known South African contribution to the development of iconicity theory.

Iconicity has become a popular notion in contemporary linguistic research. This book is the first to present a synthesis of the vast amount of scholarship on linguistic iconicity which has been produced in the previous decades, ranging from iconicity in phonology and morpho-syntax to the role of iconicity in language change. An extensive analysis is provided of some basic but nonetheless fundamental questions relating to iconicity in language, including: what is a linguistic sign and how are linguistic signs different from signs in general? What is an iconic sign and how may iconicity be involved in language? How does iconicity pertain to the relation between language and cognition? This book offers a new and comprehensive theoretical framework for iconicity in language. It is argued that the linguistic sign is fundamentally arbitrary, but that iconicity may be involved on a secondary level, adding extra meaning to an utterance.

The field of color categorization has always been intrinsically multi- and inter-disciplinary, since its beginnings in the nineteenth century. The main contribution of this book is to foster a new level of integration among different approaches to the anthropological study of color. The editors have put great effort into bringing together research from anthropology, linguistics, psychology, semiotics, and a variety of other fields, by promoting the exploration of the different but interacting and complementary ways in which these various perspectives model the domain of color experience. By so doing, they significantly promote the emergence of a coherent field of the anthropology of color.

Now Open Access as part of the Knowledge Unlatched 2017 Backlist Collection.

How to speak of colors and odors? In many cases, we have to think about an adequate description of a perceived odor or shade of color. Words are not fluently available.The contributions discuss color and odor perception and its linguistic representation from different disciplinary angles: from neurobiology, neuropsychology, psycholinguistics, cognitive linguistics and philosophy. They show that linguistic representation of colors and odors depends highly on cultures of communication. Experts are skilled in discerning finer differences between their sense impressions and have at their disposal a special language which non-experts do not master. The color and odor vocabulary is rare, if there is no cultural habit to communicate the very sense impression. In cases where individuals have to speak of their sensory experiences more precisely they often turn to metaphors. The contributions discuss the lack of inter-individual conventions of naming and describing odors – compared to the more expanded linguistic representation of colors.

Insistent Images presents a number of new departures dealing with iconicity on the conceptual and the structural levels. On the level of structure, the interface between different aspects of iconicity, lexical meaning and grammar is discussed in reference to both spoken and signed languages. Novel approaches to aural iconicity investigate a wide range of phenomena from phonological iconicity to the role of iconic features in discourse, in the nineteenth century practice of reading aloud, in the almost magic incantations of fin de siècle poetry and in Tolkien’s invented languages. Several papers examine the function of iconicity in visual and avant-garde poetry, where iconic features allow a reduction of means, which, paradoxically, generates textual diversification and complexity. A discussion of iconic text strategies shows how texts are comprehended through iconic holistic transfer from complex natural and action patterns. ‘Liberature’, which integrates text, image and physical space, is another novel area of study, as are the investigations into the iconic properties of film and of multimedia performance. Film is intrinsically iconic, while at the same time being, like photography, indexical; in multimedia performance, on the other hand, iconicity functions intermedially by both integrating and reflecting processes of perception and conceptualization. These last two new fields of inquiry further enhance this truly interdisciplinary volume’s explorations of icons as ‘insistent images’.

While ideology has been treated widely in CDA-literature, the role played by the interaction of text and image in multiplying meaning and furthering ideological stances has not so far received a lot of attention. Mediating Ideology in Text and Image offers a number of approaches to such analysis, offering students and academics valuable tools for identifying possible discrepancies between the world and the way it is represented through various mediational means. The authors’ common aim is one of assisting the audience in reading between the lines, thus offering a variety of approaches that may contribute to a better understanding of how ideologies possibly work and how they may be denaturalised from text and image. The articles in part I look at rhetorical strategies used in meaning construction processes unfolding in various kinds of mass media. Part II focuses on the re-semiotization of meaning and looks at how analysing the combination of text and image may contribute to a better understanding of ideological processes brought about by multimodal resources. Foreword by Ruth Wodak.

This volume sign posts several paths of multimodality research and theory-building today. The chapters represent a cross-section of current perspectives on multimodal discourse with a special focus on theoretical and methodological issues (mode hierarchies, modelling semiotic resources as multiple semiotic systems, multimodal corpus annotation). In addition, it discusses a wide range of applications for multimodal description in fields like mathematics, entertainment, education, museum design, medicine and translation.

This volume, a sequel to Form Miming Meaning (1999) and The Motivated Sign (2001), offers a selection of papers given at the Third International Symposium on Iconicity in Language and Literature (Jena 2001). The studies collected here present a number of new departures. Special consideration is given to the way non-linguistic visual and auditory signs (such as gestures and bird sounds) are represented in language, and more specifically in ‘signed’ language, and how such signs influence semantic conceptualization. Other studies examine more closely how visual signs and representations of time and space are incorporated or reflected in literary language, in fiction as well as (experimental) poetry. A further new approach concerns intermedial iconicity, which emerges in art when its medium is changed or another medium is imitated. A more abstract, diagrammatic type of iconicity is again investigated, with reference to both language and literature: some essays focus on the device of reduplication, isomorphic tendencies in word formation and on creative iconic patterns in syntax, while others explore numerical design in Dante and geometrical patterning in Dylan Thomas. A number of theoretically-oriented papers pursue post-Peircean approaches, such as the application of reader-response theory and of systems theory to iconicity.

There is little hope of reconstructing by means of comparative or typological studies a lingua adamica essentially different from present-day languages. The distant preverbal past is however still present in live speech. Phonetic, syntactic and semantic rule transgressions, far from being products of a deficient output, are governed by a universal iconic apparatus, a sort of ‘anti-grammar’ or ‘proto-grammar’ which enables the speaker and the poet to express preconscious and subconscious mental contents that could not be conveyed by means of the grammar of any language. Secondary messages, generated by the proto-grammar are integrated into the primary grammatical message. The two messages whose structural and semantic divergence represents a chronological distance of hundreds of thousands of years, constitute a dialectic unity which characterize natural languages. The evolutive approach offers a different, perhaps better understanding of questions related to dynamic synchrony, vocal and verbal style, poetic language, language change.Chapters on: Diversity of the lexicon; Dual encoding: vocal style; Syntactic gesturing; Syntactic regressions; Prosodic expression of emotions; Poetry and vocal art; Situation and meaning; A hidden presence: verbal magic; Playing with language: joke and metaphor; Metaphor: a research instrument; Dynamics of poetic language; Semantic structure of possessive constructions; Semantic structure of punctuation marks; Why gestures?; Between acts and words; Language within language: dynamics, change and evolution.

Significant new developments in brain activity research have revived the debate on the universality of language and its neural basis. Within this debate, the question of language diversity and its implications for cognition remains central and controversial. It is here investigated in an original multimodal approach, covering various aspects of cross-linguistic variation, differences between spoken, signed and drum languages, between normal speech and pathological speech, and also between language and music, as revealed in electric brain activity associated with language processing. The various contributions (linguistic, anthropological, psychological and neurophysical) on the nature and status of variation and invariants in language provides evidence for complex interactions between language-specific processes and general cognitive faculties. This overview of some recent trends in cognitive linguistics opens up a promising new research area in the humanities as well as in the cognitive sciences.

Why is a raven like a writing-desk? The concept of similarity lies at the heart of this new book on contrastive analysis. Similarity judgements depend partly on properties of the objects being compared, and partly on what the person judging considers to be relevant to the assessment; similarity thus has both objective and subjective aspects. The author shows how contrastive analysis and translation theory make use of the concept in different ways, and explains how it relates to the problematic notions of equivalence and tertium comparationis. The book then develops a meaning-based contrastive methodology, and outlines one theory of semantic structure which can be used in this methodology. The approach is illustrated with four sample studies covering different kinds of phenomena in some European languages. The final part of the book proposes an extension of the theoretical framework to cover contrastive rhetoric: the aim is to suggest a unified approach linking aspects of semantics, pragmatics and rhetoric.

Keywords: similarity, contrastive analysis, functional grammar, semantics, rhetoric, translation.

The objective of this book is to better acquaint English-speaking linguistics with a corpus of texts hitherto untranslated, containing the cognitive-based research in formal linguistics of one of the most important theoreticians in the field: Antoine Culioli (b. 1924). Culioli's viewpoint is grounded in Emile Benveniste's (1902-1976) revolutionary answer to Saussure's opposition between competence (langue) and performance (parole) captured in the idea of énonciation, in which the relationship between an individual and a language is one of appropriation. The translation has been prepared to provide the reader with as obstacle-free a path as one can clear to a theory that requires, and indeed commands, a very close, attentive reading. As an additional aid to understand Culioli's argument, footnotes throughout the work show similarities and differences with the work of the cognitive linguist Ronald W. Langacker.

Several current linguistic approaches converge in rejecting the wide-spread idea that language is an autonomous system, i.e. that it is structured independently from the outside world and the natural equipment of language users. Around the world, semiotically biased linguistics (functionalism, naturalism, etc.) takes this position, which differentiates it very clearly from generative linguistics. One of the basic assumptions of such approaches is that language structure includes some non-arbitrary aspects, from the phonological through the textual level, and a great amount of research has occurred in the last decade regarding the “iconic aspects” of language(s). This volume focuses on generally neglected dimensions of language and semiotic activity, featuring contributions by philosophers, linguists, semioticians, and psychologists. After tracing the tradition of iconicity in the history of linguistic thought, the central section is devoted to specific analyses emphasizing the role of non-arbitrary phenomena in language foundation and linguistic structure. Specifically discussed are numeration systems, the gestural systems of communication among deaf people, the genesis of writing in children, and inter-ethnic communication.

Most of the essays collected in this book were presented at the Charles S. Peirce Sesquicentennial Congress (Harvard University, September 1989). The volume is devoted to themes within Peirce's value theory and offers a comprehensive view of less known aspects of his influential philosophy, in particular Peirce's work on ethics and aesthetics.The book is divided in four sections. Section I discusses the status of ethics as a normative science and its relation with logic; some applications are presented, e.g. in the field of bioethics. Section II investigates the specific position of Peircean aesthetics with regard to classical American philosophy, especially Buchler, to Husserlian phenomenology, and to European structuralism (Saussure, Jakobson). Section III contains papers on internal aspects of Peirce's aesthetics and its place in his thought. The final section presents applications of Peirce's aesthetic theory: analyses of visual art (mainly paintings), of literary texts and of musical meaning.

This book tells the story of how 18th-century European philosophy used Locke's theory of signs to build a natural history of speech and to investigate the semiotic tools with which nature and civil society can be controlled. The story ends at the point where this approach to language sciences was called into question. Its epilogue is the description of the birth of an alternative between empiricism and idealism in late 18th- and early 19th-century theories of language. This alternative has given rise to such irreducible dichotomies as empirical linguistics vs. speculative linguistics, philosophies of linguistics vs. philosophy of language. Since then philosophers have largely given up reflecting on linguistic practice and have left the burden of unifying and interpreting empirical research data to professional linguists, limiting themselves to the study of foundations and to purely self-contemplative undertakings. The theoretical and institutional relevance to the present of the problems arising from this situation is in itself a sufficient reason for casting our minds back over a period in which, as in no other, linguistic research was an integral part of the encyclopaedia of knowledge, and in which philosophers reflected, and encouraged reflection, upon the semiotic instruments of science and politics.

This is the first interdisciplinary book-length treatment of paralanguage, briefly defined as: nonverbal vocal or narial communication. After sensitizing the reader to our sound-generating movements and to all human external and environmental sounds for their unquestionable communicative qualities, it realistically combines an anatomical-physiological auditory approach to voice production (identifying many neglected articulations) with the analysis of its visual manifestations as the triple reality of speech: language-paralanguage-kinesics. The primary qualities of speech (loudness, pitch etc.) are extensively discussed, as are the many voice qualities. The longest chapter in the book deals with paralinguistic differentiators: laughter, crying, sighing, yawning, coughing, sneezing etc. Finally the author presents a model for analyzing paralinguistic alternants, word-like independent constructs (such as Pooh, Aah and Brrr). Throughout the discussion of these paralinguistic phenomena, extensive attention is given to cultural, social and psychological aspects. This first, ground-breaking interdisciplinary work on paralanguage will serve as a source of data and a theoretical/methodological model for phoneticians, linguists, anthropologists, sociologists, psychologists, speech therapists etc.

Cet ouvrage est consacré à l'analyse des modalités — épistémiques, aléthiques, déontiques et ontiques — et propose une réécriture de la théorie de Greimas à partir d'une nouvelle conception dynamique du phénomène modal. L'introduction et l'interrogation sémiotique de la théorie des catastrophes de R. Thom et de J. Petitot permettent de redéfinir l'actant, le faire, l'échange, le parcours narratif, et de repenser l'organisation discursive: l'aspectualité, la quantification, la véridiction, la condition, et la constitution des morphologies sémiques. A travers la mise en phrases des scénarios dynamiques, les effets modaux sont étudiés dans le domaine du mode grammatical, et finalement dans le champ de l'énonciation. Une conception morphogénétique du sens est proposée qui le suit à travers les strates de sa constitution modale. On aboutit à une sémiotique expliquant la relation entre iconicité dynamique et symbolisation, et s'ouvrant au dialogue actuel avec les sciences cognitives et au débat sur la répresentation des connaissances. En cours de route, une nouvelle théorie de la narrativité est développée.

Drawing largely on Propp's and Greimas' work on the narrative, this book is aimed at consolidating and extending their views through a series of concrete applications. The volume offers a critical examination of narrative structure in terms of its two basic syntactic units or sets of operations, namely the “eventual or dynamic configurations corresponding to communication or to contract or, more general, to the structure of exchange.” Because of the emphasis it lays on the logical frame underlying the syntagmatic dimension of the story, the book contributes to an integrated descriptive model deliberately centered on “narrative semiotics as a branch of descriptive poetics.” The discussion of value in its social and legal context brings to light the links between the theory of narrative and its anthropological sources. This book shows that a strict concern with story logic requires a reevaluation of the basic premises of semiotic theory and raises important epistemological questions about its evolution.

If you read or reread Freud, it is difficult not to find on a single page references to language: from speech to text, from slip of the tongue to word play, from letter to meaning-passing inevitably through the strange notion of literal meaning, that fascinated Freud. In short, the unconscious is linked to language. How could it be otherwise, if psychoanalysis is a cure through speech as indicated as early as 1881, by Fraülein Anna O.? The problem of the relationship between linguistic and psychoanalytic concepts necessarily arises. Until now this question has been examined mainly by psychoanalysts, from their own perspective, but here it is investigated by a linguist, who systematically explores two domains. The first is related to the sign and symbol, where the meeting of Freud, Saussure and Hjelmselv ocurred; whereas in the second, that of the signifier, Saussure reappears escorted by Lacan. But Freud is not far away, sine the Lacanian theory of the signifier is rooted not only in Saussure's Cours, but also in the Metapsychology and in Freud's Correspondence with Fliess. To aspire to unravel this knot, in fact corresponds to attempt a reading of the Lacanian aphorism “the unconscious is structured like a language”.

Reprint of the original Latin text Tentamina semiologica, sive quaedam generalem theoriam signorum spectantia (1789), edited, translated and with an Introduction by Robert E. Innis The 33 sections of this classic text by Hoffbauer have a twofold focus: a descriptive inventory of signs, and a comparison of the expressive and cognitive powers of different sign systems. Using his sign typology as a point of departure, Hoffbauer inquires into the elements of matter and form both necessary and adequate to arrive at a definition of the sign. His purpose in doing so is to present his own version of a general sign theory after pointing out significant errors and weaknesses in the characteristicae universalis of Leibniz, Becher, Toennis, Kalmar, etc. Against the background of criticism of the contemporary deductive sign theories of Lambert, Baumgarten, Mendelssohn, Daries, Wilkins, Kircher and others, Hoffbauer's general semiology gives shape to an outline of a deductive-hypothetical theory of signs. In this historical perspective, Hoffbauer's semiology is of outstanding importance and provides the opportunity to think through once again central and permanent problems of the general science of signs.

Like Roland Barthes' well-known book, L’Empire des signes, from which the title of the present collection is taken, this volume contains essays dealing with certain aspects of Japanese culture.

Fruit d’une décade tenue au Centre culturel de Cerisy en 1983, l’ouvrage réunit une quinzaine de contributions qui sont autant de signes d’ouverture de la part d’une discipline en cours d’évolution. La mise en question porte á la fois sur les postulats (philosophiques et épistémologiques) de la sémiotique, sur ses méthodes (notamment face à de nouveaux domaines d’investigation comme la musique ou l’architecture) et sur ses enjeux (en particulier quant au statut du ‘sujet’ – sujet d’énonciation, sujet ‘analytique’, sujet de l’interaction sociale). Avec une importante intervention d’A.J. Greimas, qui répond ice, sure un ton quasi improvisé, aux questions de l’assistance. Débat avec Paul Ricœur (résumé).

This book presents a semiotic analysis of the linguistic and extralinguistic elements of fortune-telling as part of a larger pragmatic-oriented theory of human communication. The material was collected in Israel, in Hebrew, and parallels are made with other languages and cultures. The analysis is based on dynamic relativism of the multidimensional, transcendental, holistic process of human communication.

This volume contains selected contributions from the colloquium From Sign to Text' (Ben Gurion University, 1985) and combines the diverse interdisciplinary interests and approaches of the contributors in a fundamentally shared definition of language seen as a flexible and open-ended system of systems' revolving around the notion of signs used by human beings to communicate. The special interrelationship between signs and texts is discussed both theoretically and methodologically. The collection consists of an English and a French section.

It has often been claimed that the aim of semiotics is to establish a general theory of systems of signification. However, as Jean-Claude Coquet notes in a recent collection of essays, what distinguishes one school of semiotics from another is the initial definition given of sign. If, for certain semioticians, the sign is first of all an observable phenomenon, for the Paris School it is first of all a construct and this point of departure has crucial theoretical and practical consequences. The essays appearing in these two volumes are representative of recent work carried out by members of this semiotic school. Essays in Volume I study problems more closely related to theoretical issues, while Volume II focuses more specifically on various fields of application.

This collective volume contains carefully selected papers presented at the international semiotics conference ‘Semiotique et pragmatique’ that took place in Perpignan on 17 to 19 November, 1983. The volume starts of with four debate papers by Searle, Apel, Greimas and Landowski, and is followed then by the main section which is subdivided by a historical, a theoretical and a practical section.

Ekstein's book brings together papers on a number of themes which have occupied his thinking during the last 40 years. In the Wiener Kreis, the Vienna circle of philosophers, he studied, together with his professor Moritz Schlick, the philosophy of science, the analysis of language, and the clarification of meaning. Throughout his life he has always been inspired by the work of Ludwig Wittgenstein. In the Vienna Psychoanalytic Institute his interest in psychotherapy and psychoanalysis was reinforced, and he established for himself a bridge between the kind of thinking that looks for philosophical clarification and that which searches for psychological meaning. The psychotherapeutic and psychoanalytic methods of psychological clarification depend on the language tools of the thinking process. But these language tools, referring now to different theories of psychoanalysis and psychotherapy in the various schools, have their usefulness as well as their limitations. Ekstein's chronological assessment allows us to arrive at a philosophical and psychological clarification of present psycho-therapeutic and psychoanalytic schools.

The traditional gulf between the theory and practice of literature and the various areas subjoined under anthropology has hindered the development of some very fruitful perspectives in the realm of poetics and the general theory of literature (particularly in its narrative forms). Poyatos' initial idea of literary anthropology as the study of people and their cultural manifestations through their national literatures - without doubt the richest source of documentation of human life-styles and the most advanced form of our projection in time and space and of communicating with contemporary and future generations - has been enriched by the thoughts of a multi-cultural group of scholars from both anthropology and literature who at a first symposium on the subject attempted to define this area leaving the way open to many more research possibilities.

Many of the fundamental ideas of the classical Prague School have guided or inspired much of the interdisciplinary post World War II research in linguistics, literary theory, semiotics, folklore and the arts. The Prague School promoted a humanistic and functional Leitmotiv of language as an open, flexible, adaptable, and abstract system of systems used by human beings to communicate. This hommage to the Prague School presents papers in five areas of research:- Prague School phonology and its theoretical and methodological implications, — The Prague School and functional discourse analysis, — The Prague School and aspects of literary criticism, — The sociological and ethnographical concerns of the Prague School, — The Prague School's semiotic approach to the arts.

In all disciplines there are specifiable basic concepts, our universes of discourse, which define special areas of inquiry. Semiotics is that ‘science of sciences’ which inquires into all processes of inquiry, and which seeks to discover methods of inquiry. Peirce held that semiotics was to be the method of methods. An account of semiotic method should distinguish between the way the term ‘sign’ is used in semiotics and the various ways this term was meant in nearly all the traditional disciplines. In this monograph Roberta Kevelson minutely explores Charles S. Peirce’s method of methods.

Although Richard Gätschenberger can be regarded as one of the important sign theorists in the first third of the 20^th century, nothing much about the man and his works is currently known. Long before there was a widespread philosophical interest in language, Gätschenberger had already laid the foundations of a semiotic turn although the linguistic turn had not even happened; but his role as a pioneer is one reason for the comparatively small response to his sematology. This volume contains a facsimile reprint of the Regensburger 1901 edition of Richard Gätschenberger’s dissertation Grundzüge einer Psychologie des Zeichens, and is preceded by a preface ‘Sematology as a Basic Science’ by Achim Eschbach.

The volume presents for the first time in book form in English the work of two major representatives of the so-called Moscow-Tartu school. The Introduction outlines their project for a poetics of expressiveness against the background of the structural-semiotic movement of the '60s and '70s. Part I is a systematic exposition of the theory, concentrating on the concepts of theme, expressive device, poetic world, etc. Part II and III apply these concepts to a structuralist portrayal of Leo Tolstoy's tales for children (shown to be A War and Peace in miniature) and of the medieval Latin author Archpoet of Cologne (with special emphasis on his Mock Penitent). The volume is provided with a Bibliography of the poetics of expressiveness and a Glossary of its metalanguage.

This bibliography of semiotic studies covering the years 1975-1985 impressively reveals the world-wide intensification in the field. During this decade, national semiotic societies have been founded allover the world; a great number of international, national, and local semiotic conferences have taken place; the number of periodicals and book series devoted to semiotics has increased as has the number of books and dissertations in the field. This bibliography is the result of a dedicated effort to approach complete coverage.

La sémiotique a-t-elle quelque chose à dire sure la littérature en tant que sœur des ‘beaux-arts’? Peut-elle rendre compte des raisons d’une réussite d’écriture? – Intention naïve, dira-t-on, que de vouloir décourvrir, sure la base des seules méthodes structurales, pourquoi une œuvre nous captive. Si le problème, et son enjeu, sont immenses (car il y va de la constitution d’une esthétique structurale), le terrain choisi pour l’aborder est, lui, partiellement défriché: l’écriture dite ‘réaliste’ relève d’une poétique dotée de ses méchanismes propres. A la suite notamment de A.J. Greimas, de H. Mitterand et de Ph. Hamon, D. Bertrand en reprend ici l’ analyse et en approfondit la portée grâce à une exploration systématique des figures de la spatialité dans le Germinal de Zola. Transcendant les distinctions entre figurativité et abstraction, un imaginaire topologique régit les divers niveaux de signification du roman et en garandit l’efficacité symbolique.

La réflexion sur le droit et la morale a conduit Georges Kalinowski à la logique et à la philosophie. Au début des années cinquante, il crée – à côté de G.H. von Wright et O. Becker – la logique des normes. Sémiotique et philosphie prolonge ses différentes études de logique, métalogique (sémiotique) et philosophie. Kalinowski y discute les idées sur le langage d’une part, et certaines notions sémiotiques d’autre part, issues des anciens (Aristote, les Stoïciens, les scolastiques) et des modernes (Carnap, Frege, Husserl, Lesniewski, Quine, Russell, Saussure, von Wright, Zinov’ev). Il procède en même temps à un affinement de l’outillage conceptuel d’analyse en sémiotique, en proposant des distinctions telles que désignation forte ou faible, vérité au sens fort ou faible, analycité a priori et a posteriori, ou indicatif et conditionnel en sémantique des mondes possibles.

The volume presents perspectives in the theory of drama and theatre that are new for the following reasons: 1) the contributions reflect the international cooperation in developing drama and theatre as well as its theories; 2) this collection is the first attempt of presenting papers within the context of (Analytical) Theory of Science; 3) it is the first consistent set of papers starting from semiotics a s a meta-theory. The volume is divided into four sections: I Fundamental of Theatre Research, II Theory of Drama and Theatre, III Descriptive Theatre Research, IV Applied Theatre Research. The fifth and final section offers a selective bibliography of analytical approaches to drama and theatre.

This volume brings together a number of articles representative of the present outlook on the importance of metaphors, and of the work done on metaphors in several domains of (psycho)linguistics. The first part of the volume deals with metaphor and the system of language. The second part offers papers on metaphor and language use. In the third part psychological and psycholinguistic aspects of metaphor are discussed.

This study poses the problems of theoretical and philosophical pedagogy in the practice of teaching. The research goal was to improve my teaching. A concrete experience of undergraduate lecturing is the subject. This unconventional New Paradigm research strives for an immediacy of contact between text and practice. How does a beginning lecturer grapple with this job? What is it like to establish oneself as a teacher? The emphasis is upon the experience of teaching, of the school, and what is expected of one as instructor.

This volume brings together a collection of papers on the general theoretical and methodological problems in the historiography of semiotics. It is not a history in the conventional sense, even though the main periods and figures in the development of semiotics are given due prominence. Nevertheless, it should offer the reader stimulation and food for thought in the critical approach to even the least questioned facts of semiotic history and the emphasis given to hitherto neglected problems and persons.

Looking at the ‘semiotic landscape’ – the panorama of constituted semiotics – two traditions seem to have developed separately and without interpenetration. Anglo-Saxon semioticians consider the Peircean framework to provide the adequate conceptual apparatus, whereas so-called ‘Continental’ semioticians refer to the sign theory in Saussure and in its interpretation by Hjelmslev (for instance, the École sémiotique de Paris). Evaluating each other’s projects, methods, and results could lead to a balanced view. The purpose of this monograph is to get the best out of the adequate insights from both sides, and to make suggestions how the semioticians from the Peircean or Saussuro-Hjelmslevian school can be removed from their isolationist positions. A comparison and homologation of these two orientations will be carried out from the angle of the impact of pragmaticism on both semiotic orientations. How intentionality, action, conventionality, interlocution are integrated in both orientations will be given particular emphasis.

These papers on the structure of the literary process were brought together in memory of Felix Vodička (1909–1974). Contributions by: Jacek Baluch, Miroslav Červenka, Květoslav Chvatík, E.M. van Dam-Havelková, Sergej Davydov, Lubomir Doležel, Miroslav Drozda, Jan van der Eng, F.W. Galan, Mojmír Grygar, Wolfgang Iser, Milan Jankovič, Hans Robert Jauss, Renate Lachmann, Gail Lenhoff, Ladislav Matějka, Tone Pretnar, Lucylla Pszczołowska, Janice A. Radway, Charles Eric Reeves, Herta Schmid, Miloš Sedmidubský, Peter Steiner, Wendy Steiner, Oleg Sus, Ronald Vroon.

By focusing on the “East European” dialogues and polemics, both contemporary and past, the present volume pursues two aims: 1) It would like to locate the discussion between semiotics and dialectics in an historical context. 2) It would like to make the reader familiar with the solutions proposed by theoreticians like Bakhtin, Lotman, Voloshinov, Fischer and Mukařovský, solutions which, in the past, were frequently ignored by European Marxists, semioticians and sociologists of literature. At present, one cannot help feeling that if they had been familiar with the works of these authors, Marxism, Critical Theory, semiotics and the sociology of literature (of the text) would have evolved differently.

Vorliegende Arbeit, welche die Bedeutung der Musik im antiken Rom zum Gegenstand hat, versucht eine Zusammenschau hundertjähriger Einzelforschung verschiedener Disziplinen, um Altertums- und Musikwissenschaft durch Darstellung und Quellendokumentation zu neuem Verständnis und neuer Bewertung einer bislang teils unbekannten, teils verkannten Epoche abendländischer Musik- und Geistesgeschichte anzuregen.Inhalt: I. Einführung in Problem und Beweisziel, Geschichte der Forschung und Form der Darstellung; II. Die Musik im kultischen Leben der Römer; III. Die Musik im militärischen Leben der Römer; IV. Gesang und Instrumentalmusik im täglichen Leben der Römer; V. Die Musik im römischen Theater und Zirkus, bei Unterhaltung und Tanz; VI. Das Kunstlied im alten Rom; VII. Die Musik in der römischen Gesellschaft; VIII. Das Verhältnis früher römischer Christen zur Musik; IX. Die Musik in der römischen Bildung; X. Musikalische Bildung in Rhetorik, Grammatik und Mythologie; XI. Nachrichten über Musik in Werken der Geschichtsschreibung, Architektur, Kunstgeschichte, Paradoxographie und Astrologie; XII. Die spätantiken lateinischen Musiktheoretiker; XIII. Zusammenfassung; Register.