The semiotic ideologies of religious silence

During my early introduction to architecture I found that I was motivated not only by matters pertaining to what architecture is, but also, to what it can do. Thus, the questions motivating this work derive from my education in architecture which, at their most rudimentary level, entail a deep fascination with the nature of space, and thus the problem of time. And, subsequently, a practical desire to understand the conditions that constituted experience, and thus perception, sensation and mind. My interest also developed from a general disposition towards others and world founded in principles of human equality and rights with respect to both freedom and responsibility. During my years practicing architecture, these questions as they were brought through the perspective of design continued to inspire me. At the same time, my interest in investigating these questions through theoretical and philosophical research persisted until my aspiration to engage in critical thought outpaced my desire to practice. Hence, a turn in career to work as an academic in the discipline of architecture and the area of architecture theory. This research may be perceived by some as situated outside the realm of architecture. However, this is not the case. My approach to architecture theory is not one that begins with a study of the object, or, for some, one might say the subject of architecture. That is, if the object is understood as the manifestation in thought, process or form of the building or built environment (real or conceived) itself; and if the subject is understood as the thought or idea emanating from the mind of the architect (as author). While there is much architecture theory advanced from this perspective lining my own bookshelves and utilized in my work as an educator. The concerns that have always called me towards thinking about architecture as the imagined and constructed world in which we live are those that query the very nature of concepts, notions, ideologies and intellectual constructions and beliefs upon which culture and society – architecture as both a cultural product and a social actor – are formed. This goes, as well, to the considerations that motivate my concern for people, not users or inhabitants as such, but as ontologically situated beings in the world. Accordingly, my work primarily deals with the content, history and effects of architecture as it relates to theories of space, time, the body, and cognition. Employing and developing theories and methods from disciplines including philosophy, cultural studies, literary theory, political, social and economic theory, cognitive psychology, and the neurosciences in the broadest sense. Admittedly, the nature of theoretical discourse has shown itself to be problematic over the past fifty-plus years; it has also proven to be transformative. Critical thinkers in the late 1960s developed a sustained critique of their philosophical predecessors – primarily in regard to Marx on one hand and Heidegger on the other – with a critique of social history and a displacement of metaphysics resulting in a repositioning of social and cultural discourse. Of course, the debate unfolded against the philosophical and aesthetic background of not only Marx and Heidegger, but also Nietzsche, Hegel and Freud on one hand, and Manet, Cézanne, Baudelaire and Mallarmé, Wagner and Debussy on the other. In architecture, the debate extended to Ruskin and Wölfflin, and to Wright and Corbusier, amongst others. This period, in itself, refers to an unprecedented artistic, scientific, economic, and technological mutation. Prevalent underpinnings remain identifiable, for instance an attack on the absolute nature of knowledge, which has brought about a fundamental rethinking of both the nature of consciousness, as well as a critique of science. As Foucault suggested, one of the great problems that arose in the 1950s was that of the political status of science and the ideological functions that it could serve. Another rebuke can be seen as the challenge to the primacy of truth as an adequation of subject to thing. This culminated in a radical critique of subjectivity resulting, some years later, in the so-called post-humanist-subject. In order to be rid of the subject itself, Foucault, in ‘Truth and Power’ (1977) argued that it was necessary to dispense with the essentialist subject both at the extremes and in-between the enlightenment’s humanist subject and its ideals of knowledge as self-constituting; as well as phenomenology’s fabrication of the subject as evolving through and embodying the course of history. Reflecting on this history, that post-war moment of theory, one cannot help but be struck by the complexity and the ambiguity of the adventure; qualities most evident in the fact that new spaces and new means of writing and drawing, of thinking and making emerged. Ideas that modified our understanding of both communication and the image, of both space and time. Discourses, when combined with a reflexivity within certain architectures and certain texts, rendered them somehow indefinitely open. In the 1960s, literary theory transformed thought on both sides of the Atlantic. For instance, Roland Barthes’s de-sanctioning of the biography-centric author, or the removal of authority from the author turned scriptor in ‘The Death of the Author’ (1967), or Julia Kristeva’s concept of intertextuality with ‘Word, Dialogue and Novel’ (1969). These works impacted our thinking on linguistic phenomena and the origin (or non-originality) of textual content and further, on the invention of new forms of writing and affective relations. Such theories informed and redirected thinking in architecture, for instance, Diana Agrest and Mario Gandelsonas’s work ‘Semiotics and Architecture: Ideological Consumption or Theoretical Work’ was published in the first issue of Oppositions, an architectural journal produced between 1973 and 1984 by the Institute for Architecture and Urban Studies in New York. With this, the influence of the French intellectual climate as well as the Italian discourse on semiotics was brought to the centre of Anglo-American discourse in architecture theory. The intellectual trajectory along which this history is traced and the terrain on which it now takes place will be recognisable to anyone familiar with the work of such thinkers as Henri Bergson, Louis Althusser, Gabriel Tarde, Walter Benjamin, Pierre Bourdieu, Michel Foucault, Jacques Derrida, Jacques Lacan, Jean-Francois Lyotard, and, of course, Félix Guattari, Gilles Deleuze, and Maurizio Lazzarato. The importance of the radically original works that emerged in the seventies and eighties cannot be overestimated, for instance: Foucault’s Discipline and Punish and his lectures at the Collège de France, The Birth of Biopolitics, and Deleuze and Guattari’s Capitalism and Schizophrenia volumes Anti-Oedipus and A Thousand Plateaus. These works, translated into English shortly after their original publication, were being read throughout many disciplines outside of philosophy including schools of architecture, and their influence can only be said to have increased. I share the above brief history so as to situate my work for those less familiar with the work of theory – whether architecture or otherwise – as this, too, is the intellectual trajectory and exploration along which my own work, as well as many of my contemporaries, travels. In my own work, the influence of the nineteenth/ twentieth-century French vitalist philosopher Henri Bergson – the great thinker of time and, as Walter Benjamin suggested, a seminal source to consult in considering the problem of experience – has quite profoundly informed my thinking and shaped its outcomes. Both with respect to time and space as well as body and brain, his influence is reflected in the title of this volume. That said, this is not a collection of chapters on Bergson’s philosophy. It is a collection on critical concepts I believe to be of importance for contemporary critique, delivered through topics that are relevant – at times directly and at others indirectly – to our current moment. This is a work of great commitment and it has sustained itself over time. It is my hope the reader finds some value in this as well.

The coronavirus epidemic and anti-epidemic measures, such as quarantine restrictions on social activity, wide use of disinfectants, requirements for the use of personal protective equipment, as well as changes in church liturgy, rituals and sacraments lead to the creation of medical conspiracy myths. This article analyses two most important conspiracy mythologemes that are formed as a result of a conspiracy interpretation of the epidemic: the vaccination mythologeme and the microchipping mythologeme. The author proceeds from the assumption that modern eschatological conspiracy myths are based on the original non-eschatological myth, which provided a rational non-religious hermeneutics of epidemics. The eschatological version of the vaccinophobic conspiracy myth is formed on the basis of a non-eschatological conspiracy as a result of medical conspiracy theories merging with the modern version of the technophobic myth. The invariant core of the latter consists of mythologemes and mythotheologemes that interpret modern technologies within the framework of eschatological semiotics. As a result of convergence, these mythologemes form a single mythotheological complex, which, in turn, becomes a trigger for a new eschatological mythology. The paper analyses the semantic structure of this mytho-theological complex, its semiotic features, pragmatic potential and reasons for its popularity. The research was carried out within the framework of a semiotic and hermeneutic study of mythological discourse applying the method of categorical semiotics. As illustrations the author used fragments of original texts posted on conspiracy websites devoted to eschatological issues.

This study aims to reveal the symbolic meanings embedded in the traditional Sasak wedding attire by employing Roland Barthes’ semiotic framework, which conceptualizes clothing as a system of signs operating on three levels: denotation, connotation, and myth. The research focuses on identifying the physical components of the attire, interpreting the cultural values attached to each element, and understanding how Sasak cultural ideology is expressed through these symbolic representations. This study applies a descriptive qualitative method supported by Barthes’ semiotic analysis. Data were collected through observation, documentation, and interviews. The analysis involved identifying signifiers and signifieds at the denotative level, interpreting cultural meanings at the connotative level, and uncovering ideological narratives at the myth level. The results indicate that Sasak wedding attire constitutes a complex cultural sign system. Elements such as songket, motifs, crowns, and traditional jewelry function not only as aesthetic components but also convey meanings related to honor, fertility, social status, and ancestral protection. At the mythic level, the attire reinforces cultural narratives of identity and social legitimacy within Sasak society. The study implies that semiotic analysis is essential for preserving local cultural identity and contributes theoretically to the study of traditional attire semiotics in Indonesia.

This study examines the role of religious education in shaping students' independence and character development, particularly within Islamic boarding schools (pesantren). Religion plays a fundamental role in instilling moral values and guiding behavior, and in the pesantren environment, religious practices such as communal prayers, Qur’an recitation, and adherence to Islamic rituals foster noble character traits among students. Islamic education in pesantren not only deepens students' religious knowledge but also encourages the application of Islamic teachings in daily life, promoting personal growth and social responsibility. This study uses the Service Learning (SL) approach, combining academic learning with real-world community engagement. SL projects were conducted within pesantren settings, allowing students to practice autonomy and responsibility through community-centered projects that reflect Islamic values of self-reliance and compassion. Results indicate that students demonstrate a significant understanding of independence, relating it to Islamic principles such as self-sufficiency, resilience, and trust in God after putting forth effort. Findings suggest that students internalize the concept of independence not only as the ability to manage their own needs but also as a commitment to positively impacting their surroundings. The SL approach strengthens this sense of responsibility, bridging theoretical lessons with practical applications that enhance social skills, critical thinking, and self-discipline. The study concludes that pesantren education, enriched with SL-based activities, effectively nurtures independent, socially responsible individuals prepared to face contemporary challenges. Contribution: This research contributes to the discourse on educational methodologies in religious contexts, providing a framework for enhancing character education through experiential learning that aligns with Islamic principles.

Thesis,This study aims to reveal the meaning of symbols in the process of acculturation between Malay and Chinese Islamic cultures in the architecture of the Old Mosque on Gang Bengkok Street in Medan, as well as to understand how these symbols are interpreted by the community and Generation Z. The main issue examined is how architectural elements resulting from the encounter between these two cultures function as signs and form meaning at the denotative, connotative, and mythical levels according to Roland Barthes' semiotic theory. This study uses a descriptive qualitative method through in depth interviews, field observations, and documentation, which are then analyzed using Barthes' semiotic framework. The results show that architectural elements such as temple style roofs, hanging bee ornaments, green and yellow colors, main pillars, and circular motifs form a system of signs that reflect harmony, egalitarianism, and the collective identity of the Malay and Chinese community. The discussion also found that the local community responded positively to this acculturation and turned it into a social myth about cross ethnic harmony, while Generation Z interpreted these symbols as part of a relevant cultural heritage that needs to be preserved. This research confirms that the architecture of the Old Mosque of Gang Bengkok not only functions as a place of worship but also as a representation of a living multicultural narrative that is passed down from generation to generation.

This study seeks to examine and elucidate the da'wah messages present in the film via the lens of Roland Barthes' semiotic theory. The primary emphasis of the research pertains to communications concerning faith, sharia, ethics, and worship. This research employs a descriptive qualitative methodology, utilizing data collection approaches such as examination of textual content, documents, photographs, and literature review. The acquired data was processed utilizing Nvivo 12 Pro software, which facilitates coding and symbolic interpretation of semiotic aspects in the film. The research findings indicate that the film "The Journey of Proving Love" consistently communicates da'wah messages encompassing faith, sharia, ethics, and worship. Every aspect of preaching is conveyed through visual signs, speech, and narrative, which are examined using Roland Barthes' semiotic approach, elucidating the denotative, connotative, and mythological significance of each symbol in the video. This study demonstrates that the film "The Journey of Proving Love" communicates a da'wah message utilizing Roland Barthes' semiotic framework. The analysis indicates that moral principles, sharia, and faith are interwoven in the speech and relationships among the characters. The moral message is underscored through dialogue that stresses the significance of ethical discourse, while the Shari'a and creed are articulated through the imperative of wearing the headscarf and counsel on fostering a deeper relationship with Allah in personal affairs.

General Background: Social class representation in films plays a significant role in shaping public perceptions of societal hierarchies. Specific Background: The film Satria Dewa: Gatotkaca integrates cultural narratives of Pandawa and Kurawa, offering a rich medium for exploring class distinctions. Knowledge Gap: Despite the prevalence of social stratification themes in Indonesian cinema, limited studies have examined them through Roland Barthes’ semiotic framework. Aims: This study analyzes the representation of social class in Satria Dewa: Gatotkaca using a descriptive qualitative approach with Barthes’ semiotic theory. Results: Analysis identified four key aspects: lifestyle disparities, differences in attire, implicit social boundaries, and class identity shaped by royal lineage. Novelty: The study extends semiotic analysis to a contemporary Indonesian superhero film, linking visual and narrative signs to socio-cultural constructs of class. Implications: Findings provide insights for media scholars and filmmakers on how cinematic signs reinforce or challenge social stratification, highlighting the role of visual storytelling in cultural discourse. Highlights: Identifies visual and symbolic cues of class in Satria Dewa: Gatotkaca. Connects royal lineage to contemporary class identity in film. Offers a semiotic framework for analyzing Indonesian popular cinema. Keywords: Representation, Roland Barthes, Semiotic, Social Class, Film Analysis

In advertising, females are frequently positioned as the center of attention to establish product image through culturally recognized signs and symbols. Advertisements transcend their promotional function, acting as media that both reflect and influence societal perceptions, including gender roles within daily life. This is exemplified in the Vicks VapoRub advertisement titled "Mother's Amazing Hands," which portrays women as mothers perpetually prepared to care for their families. This study investigates the representation of the mother's role within the aforementioned advertisement using Roland Barthes' semiotic theory. The research aims to twofold: 1) identify the denotative, connotative, and mythical meanings embedded within the Vicks VapoRub "Mother's Amazing Hands" ad; and 2) analyze the portrayal of the mother figure through the lens of Barthes' semiotic framework. The research employed a qualitative descriptive approach, utilizing Barthes' semiotic analysis method alongside concepts of social construction of reality, cinematography techniques, and the societal role of mothers. Through the analysis of verbal, non-verbal, audio, and visual elements within the advertisement, the study revealed the multifaceted representation of the mother's role. This includes functions of caregiving, nurturing, and treatment of family members, ultimately portraying the tangible actions a mother takes in providing for her family.

Nyctophobia is a fear of the dark that is common among children, especially at night. Stereotypes of night as a quiet, lonely and mysterious time of day reinforce this fear. This study examines how the night entity characters in Orion and the Dark (2024) represent Orion's fear of darkness. While most previous studies have focused on main character or narrative structures, few have explored how supporting characters symbolically shape children’s emotional development. Addressing this gap, the present study interprets the night entities as semiotic representations that influence Orion’s perception of darkness during his childhood. Using a qualitative approach and Barthes' semiotic theory, the analysis shows that denotatively, the night entities are shown in a variety of colors that explicitly describe their behaviors and characters. Connotatively, these colors and behaviors form symbolic meanings related to emotions such as fear, tranquility, and anxiety. These meanings have developed into a myth that night is synonymous with scary things. However, Dark's character who is portrayed as protective becomes a turning point for Orion, showing that night through other entities can also bring serenity and beauty. Hence, through the analysis of signs and meanings based on Barthes’ semiotic framework, this study suggests that positive representations and supportive interactions contribute to reshaping children’s perceptions of darkness, thereby helping to overcome nyctophobia and improve their mental health and well-being.

Semiotics refers to an analytical discipline concerned with understanding the mechanisms through which signs function and generate meaning. This study examines Roland Barthes’ semiotic framework, which expands upon the fundamental concepts introduced by Ferdinand de Saussure, aiming to extend the application of sign analysis to broader cultural and communicative contexts. This semiotic research seeks to analyze the symbolic meanings within the anime One-Piece among Indonesia’s Generation Z, focusing on their critical stance toward governmental arbitrariness. Employing a qualitative descriptive approach and a constructivist paradigm through Roland Barthes’ semiotic analysis, this study explores symbols such as the Straw Hat, Jolly Roger, Will of D, and Grand Line. The findings reveal that these symbols are not merely fictional elements but serve as representations of solidarity, courage, and resistance against corruption, parliamentary allowance increases, mass layoffs, and unjust tax burdens. Generation Z uses One-Piece symbols as expressions of political resistance, both in public demonstrations and through digital culture, establishing a new resistance narrative that reaffirms their role as agents of socio-political change. Keywords: One Piece, Generation Z, Semiotics, Roland Barthes, Solidarity, Political Resistance

This research aims to increase understanding of symbolism in Indonesian literature, especially in the short story "Haji Bangladesh" by Hasan Al Banna, through a semiotic theory approach. This analysis explores the signs and symbols in the story and their interactions in social, cultural and religious contexts. By using semiotic theory, it is hoped that narrative elements, characters and settings can be revealed that convey moral messages and critique the reality of society. The article entitled "Unpacking Symbolism: A Semiotic Approach in the Short Story 'Haji Bangladesh'" has academic and analytical benefits, and can increase readers' cultural awareness. The results and discussion section will explain the findings on symbolism and its contribution to the central theme of the short story. The conclusion will summarize the results of the analysis and provide recommendations for further research. Through Roland Barthes' semiotic study, this short story reveals the myth of the Hajj as a symbol of success and piety, and depicts the struggle of migrant workers. This approach allows in-depth analysis of the cultural symbols and social criticism contained in the narrative.

This study aims to reveal how children's theater posters construct multilayered cultural narratives through visual and textual elements. The research adopts a qualitative design based on semiotic analysis. To enable an in-depth examination, the scope was limited to 10 posters exhibited by State Theaters in Ankara, Istanbul, and Izmir. Each poster is systematically analyzed using Roland Barthes’ semiotic framework. The significance of the study lies in demonstrating that these posters serve not only as promotional tools but also play a key role in the reconstruction of social values. The analysis reveals both idealized childhood themes such as innocence, freedom, hope, and creativity, and broader themes including social and individual identity, critical thinking, and free will.

General Background: The growth of short video platforms has accelerated the development of digital content formats, including VTuber performances that combine animation technology, storytelling, and convergent media communication. Specific Background: VTubers use Live2D avatars and narrative content to present visual communication integrating gaming, Japanese mythology, and anime aesthetics through YouTube Shorts. Knowledge Gap: Previous studies mainly discuss VTubers in general visual communication, while limited research analyzes symbolic meaning construction in short video storytelling using semiotic approaches. Aims: This study analyzes how visual and symbolic signs construct identity and meaning in VTuber Yatagarasu no Yuta using Roland Barthes’ semiotic framework. Results: The findings show that avatar visual elements such as crow attributes and formal clothing represent literal meaning, while Minecraft creepypasta storytelling reflects symbolic themes of mystery, isolation, and digital threats. Mythological elements through characters like Herobrine, Entity 303, and Null represent digital urban legends reflecting collective fears in virtual environments. Novelty: This research integrates semiotic analysis with VTuber short video storytelling to explain layered signification in convergent media. Implications: The findings provide insights into VTuber identity formation, digital myth construction, and audience interaction patterns within virtual entertainment and digital culture studies. Highlights: Multi-Layered Sign Interpretation Reveals Symbolic Representation Within Gaming Narrative Elements. Short-Form Narrative Content Constructs Cultural Meaning in Virtual Community Interactions. Digital Legends Derived From Creepypasta Strengthen Virtual Persona Authenticity. Keywords: Vtuber Identity, Semiotic Analysis, YouTube Shorts, Digital Storytelling, Roland Barthes

The convergence of digital platforms and television content has reshaped global media consumption, offering new opportunities for cultural communication and branding. This study examines how Turkish Netflix dramas utilize historical locations to contribute to city branding and public diplomacy. Departing from traditional narratives, contemporary Turkish series strategically integrate iconic cultural and historical sites into diverse genres, creating a visual narrative that elevates the touristic and cultural value of cities. Employing a qualitative methodology grounded in Charles Sanders Peirce’s semiotic framework, the research analyzes historical locations in Turkish series as visual signs that construct meaning through narrative positioning. The study reveals three main functions of these representations: (1) reinforcing national identity through symbolic cultural imagery, (2) enhancing global visibility of cities as cultural destinations, and (3) supporting public diplomacy efforts by framing Turkey’s heritage in a globally accessible format. This research contributes to the evolving discourse on digital media, cultural representation, and city branding by highlighting the symbolic power of audiovisual storytelling in shaping international perceptions of place and identity. Turkish television dramas, which have garnered considerable global popularity, often embed historical settings into their storylines. Whereas earlier internationally exported productions largely centered on historical narratives, more recent Turkish series on platforms such as Netflix display genre diversity while purposefully incorporating cultural and historical landmarks. This research contends that such spatial representations actively contribute to the branding of cities by framing them as sites of cultural and touristic significance, ultimately shaping international perceptions of Turkey’s cultural identity and heritage. Utilizing a qualitative methodology grounded in Charles Sanders Peirce’s semiotic framework, the study explores the role of historical sites as signifiers within Turkish television narratives. The analysis reveals that these representations fulfill three core functions: (1) reinforcing national identity through cultural symbolism, (2) enhancing the global visibility of cities as cultural destinations, and (3) advancing the objectives of public diplomacy through digitally mediated storytelling. By examining the nexus of digital platforms, media imagery, and urban representation, this study offers a fresh lens on how visual storytelling can function as a potent symbolic mechanism for cultural communication and identity construction. The integration of television content into digital platforms has redefined the consumption and distribution of audiovisual media, enabling global accessibility across multiple countries and cities. This shift challenges traditional media theories and raises questions regarding the strategic functions of TV series and films beyond entertainment. One significant aspect of this transformation is its role in public diplomacy and city branding, particularly through the representation of historical and cultural locations. Turkish TV series, which have gained substantial international recognition, frequently incorporate historical sites as narrative elements. While earlier productions exported abroad predominantly featured historical themes, recent Turkish series on platforms like Netflix encompass a wider range of genres while strategically utilizing historical locations and cultural landmarks. This study argues that such representations contribute to the branding of cities by positioning them as cultural and touristic destinations, thereby influencing global perceptions of Turkey’s heritage and identity. Employing a qualitative approach grounded in Charles Sanders Peirce’s semiotic analysis, this study examines how historical places function as signs within the context of Turkish TV series. The findings suggest that the use of historical sites in these productions serves three primary functions: (1) reinforcing national cultural identity, (2) enhancing the international visibility of cities as cultural hubs, and (3) contributing to broader public diplomacy efforts through digital media. By exploring the intersection of digital platforms, media representation, and city branding, this study offers a novel perspective on the symbolic power of audiovisual narratives in shaping cultural perception.

General Background: Religious songs have increasingly functioned as alternative media for conveying Islamic values within contemporary digital communication. Specific Background: The song Assalamualaikum by Opick communicates religious messages through symbolic lyrics that integrate spirituality, humanity, and everyday social life. Knowledge Gap: However, focused academic analysis of the layered Islamic preaching meanings in this song remains limited, particularly through a semiotic perspective. Aims: This study aims to examine the Islamic preaching messages embedded in the song Assalamualaikum using Roland Barthes’ semiotic framework. Results: Employing a qualitative descriptive approach, the findings show that the song represents a balanced Islamic worldview through three interconnected meanings: the salam as a symbol of prayer and brotherhood, remembrance of God and charity as spiritual responses to life difficulties, and sustained hope for divine forgiveness. These meanings operate across denotative, connotative, and mythological levels, illustrating harmony between devotion to God and social relations. Novelty: This study offers a focused semiotic reading of a single religious song within the context of digital-era da’wah, providing a more specific analytical emphasis than previous studies. Implications: The findings contribute to Islamic communication scholarship by demonstrating how religious music functions as a meaningful medium of contemporary preaching and as a cultural text conveying spiritual and social values simultaneously. Highlights • The song communicates Islamic preaching through layered semiotic meanings• Salam is represented as prayer, brotherhood, and social harmony• Remembrance and charity are framed as spiritual responses to life challenges Keywords Islamic Preaching Message; Religious Song; Semiotic Analysis; Roland Barthes; Islamic Communication