History and Classics of Modern Semiotics -- Sign and Meaning -- Semiotics, Code, and the Semiotic Field -- Language and Language-Based Codes -- From Structuralism to Text Semiotics: Schools and Major Figures -- Text Semiotics: The Field -- Nonverbal Communication -- Aesthetics and Visual Communication.
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.
This series of HANDBOOKS OF LINGUISTICS AND COMMUNICATION SCIENCE is designed to illuminate a field which not only includes general linguistics and the study of linguistics as applied to specific languages, but also covers those more recent areas which have developed from the increasing body of research into the manifold forms of communicative action and interaction. For "classic" linguistics there appears to be a need for a review of the state of the art which will provide a reference base for the rapid advances in research undertaken from a variety of theoretical standpoints, while in the more recent branches of communication science the handbooks will give researchers both an verview and orientation. To attain these objectives, the series will aim for a standard comparable to that of the leading handbooks in other disciplines, and to this end will strive for comprehensiveness, theoretical explicitness, reliable documentation of data and findings, and up-to-date methodology. The editors, both of the series and of the individual volumes, and the individual contributors, are committed to this aim. The languages of publication are English, German, and French. The main aim of the series is to provide an appropriate account of the state of the art in the various areas of linguistics and communication science covered by each of the various handbooks; however no inflexible pre-set limits will be imposed on the scope of each volume. The series is open-ended, and can thus take account of further developments in the field. This conception, coupled with the necessity of allowing adequate time for each volume to be prepared with the necessary care, means that there is no set time-table for the publication of the whole series. Each volume will be a self-contained work, complete in itself. The order in which the handbooks are published does not imply any rank ordering, but is determined by the way in which the series is organized; the editor of the whole series enlist a competent editor for each individual volume. Once the principal editor for a volume has been found, he or she then has a completely free hand in the choice of co-editors and contributors. The editors plan each volume independently of the others, being governed only by general formal principles. The series editor only intervene where questions of delineation between individual volumes are concerned. It is felt that this (modus operandi) is best suited to achieving the objectives of the series, namely to give a competent account of the present state of knowledge and of the perception of the problems in the area covered by each volume.
This comprehensive survey of semiotics examines its development from pre-Socratic philosophy to Peirce’s Sign Theory and beyond. In Introducing Semiotics, renowned philosopher and semiotician John Deely provides a conceptual overview of the field, covering its development across centuries of Western philosophical thought. It delineates the foundations of contemporary semiotics and concretely reveals just how integral and fundamental the semiotic point of view really is to Western culture. In particular, the book bridges the gap from St. Augustine in the fifth century to John Locke in the seventeenth. The appeal of semiotics lies in its apparent ability to establish a common framework for all disciplines, a framework rooted in the understanding of the sign as the universal means of communication. With its clarity of exposition and careful use of primary sources, Introducing Semiotics is an essential text for newcomers to the subject and an ideal textbook for semiotics courses.
Peirce's (1906) proposal that the universe as a whole, even if it does not consist exclusively of signs, is yet everywhere perfused with signs, is a thesis that better than any other sums up the life and work of Thomas A. Sebeok, "inventor" of semiotics as we know it today. Semiotics - the doctrine of signs - has a long and intriguing history that extends back well beyond the last century, two and a half millennia to Hippocrates of Cos. It ranges through the teachings of Augustine, Scholastic philosophy, the work of Peirce and Saussure. Yet a fully-fledged doctrine of signs, with many horizons for the future, was the result of Sebeok's work in the twentieth century. The massive influence of this work, as well as Sebeok's convening of semiotic projects and encouragement of a huge number of researchers globally, which, in turn, set in train countless research projects, is difficult to document and has not been assessed until now. This volume, using the testimonies of key witnesses and participants in the semiotic project, offers a picture of how Sebeok, through his development of knowledge of endosemiotics, phytosemiotics, biosemiotics and sociosemiotics, enabled semiotics in general to redraw the boundaries of science and the humanities as well as nature and culture.
"History, Singing in" is a double-entendre indicating the dual purpose of this book. First it marks the initial effort by a practicing historian to demonstrate the usefulness of semiotics for the discipline of history. Second, the essays in this volume on Charles S. Peirce, predecessors and successors of Peirce in the United States, the interpretation of historical texts such as Declaration of Independence and the Constitution, and the historical significance of music and film illustrate the working of signs in both history and the interpretation of history by great thinkers.
of those problems in law which we inherit and/or retrieve in order to reconstruct and interpret in the light of legal semiotics, however defined. In addition to three main areas of underlying metaphysical assumptions there are also three main areas of possible editorial focus and these should be mentioned. The three areas of focus are: 1) the state-of-the-art of legal semiotics; 2) the dynamic, intense and exceptionally interactive quality of conference participation, and 3) the content of the papers presented which is the material of this volume. My choice of this triad of focal possibilities is to exclude the last since the papers speak for themselves and need but a brief reportorial caption. I also eliminate the second possible focus as the main focus since the discussion was not taped for editing into this volume and must remain for all those who participated a quality of scholarly meetings to be remembered, savored and hoped for. My main focus is on the "state-of-the-art" of legal semiotics. II At the conclusion of the First Round Table on Law and Semiotics (1987) it was noted that there were no working paradigms, in Kuhn's sense, that thus far emerged but rather that several problematic areas were disclosed which warrant attention. Therefore the first concern of Legal Semiotics should be to address the surface, i. e.
The series Handbooks of Linguistics and Communication Science is designed to illuminate a field which not only includes general linguistics and the study of linguistics as applied to specific languages, but also covers those more recent areas which have developed from the increasing body of research into the manifold forms of communicative action and interaction.
Reading art from a semiotic perspective, this book offers a new interpretation of the development of Chinese landscape painting and outlines a new framework for contemporary semiotics and critical theory. It will appeal to those interested in visual art, Chinese studies, critical theory, semiotics, and other relevant fields, and will allow the reader to learn how to put theory into the practice of studying art, how to give new life to an important theory, and how to acquire a new point of view in appreciating and enjoying art with a certain critical theory.
This is the first book of its kind that explains the basic concepts, theoretical foundations and systematic research of linguistic semiotics, so as to establish a well-founded framework for linguistic semiotics as an independent discipline. While examining the major claims of different schools of semiotics, it also addresses 12 central issues concerning linguistic semiotics, and outlines semiotic studies in China focusing on the multiple research areas and accomplishments. In addition to illustrations and tables, the book offers an “Index of References in Linguistic Semiotics” consisting of 1,063 entries, including monographs, journal papers, conference proceedings, etc. in Chinese, English and Russian.