Semiotic Research Research Articles

관광 기호 체계와 의미 생성 : 소쉬르의 구조언어학에 기반한 개념적 접근

This study explores the objective structures and mechanisms that generate meaning in tourism through a semiotic approach. It conceptualizes tourism as a non-linguistic sign system and reconfigures the tourism framework accordingly. Drawing on Saussure’s structural linguistics, the research examines the structures that underpin meaning creation in the tourism sign system. First, Ferdinand de Saussure’s views on language and epistemology are reviewed, along key concepts such as langue and parole, signifier and signified, syntagmatic and paradigmatic relations, and synchrony and diachrony. The study differentiates between signifier and signified in tourism signs, emphasizing that the ‘langue of tourism’ is not an independent 'substance' with inherent “content” but rather a “form” and “social fact” collectively constructed in the minds of potential tourists’ mind. Meaning in tourism emerges through syntagmatic and paradigmatic relations, demonstrating how meaning is produced in the tourism sign system. Through this process, the objective structures and mechanisms of meaning creation in the tourism sign system are revealed. This study complements prior semiotic research by providing a framework for understanding the objective foundations that enable subjective tourist experiences. Finally, the implications and limitations of this study are discussed.

Introduction. Our relationships with GenAI and the media: Testing the limits of transparency, trust and moral agency

We present the last part of this special issue on Use of Artificial Intelligence in Communication: Ethical Implications for Media. This editorial examines the role that humans should play in the responsible use of generative artificial intelligence (GenAI) in the media. It provides an overview of transparency as an ethical obligation in relation to trust and truthfulness when using GenAI to create different kinds of content. Finally, it enters into the debate about the moral status of machines as we anticipate ethical questions in the study of ethics and GenAI in the media. Six articles complete this special issue with studies examining implications of GenAI for semiotics research, public relations, advertising, fact checking, information literacy and journalism education.

Calligraphic Semiotic Interpretation in Jewelry Design: Culture, Identity and Expression

This article places the application of calligraphy in jewelry design under the perspective of semiotic research. It is a targeted study based on whether calligraphy can be organically integrated with semiotic characteristics for jewelry design. Supplemented by qualitative analysis, based on the relationship between the form and connotation of calligraphy and the signifier and the signified in semiotics, the positive impact of the integration and mutual promotion of calligraphy semiotics and jewelry design was deeply explored. This article first introduces the principles of semiotics, cultural semiotics and the research theory of traditional Chinese cultural symbols, then explains the essential characteristics and significance of jewelry design, and then focuses on the multi-dimensional and diversified connection between calligraphy, jewelry design and semiotics. After discussion and research, we finally reflected on jewelry design and attached relevant suggestions. The perspective chosen in this article is one of the outstanding features of this study. Although calligraphy and symbols originated from different cultural backgrounds in the East and the West, they have common attributes and functions that can be learned from each other. Based on the theoretical intersection of calligraphy and semiotics, the value and application of the combination of calligraphy symbols and jewelry design are discussed, which fully illustrates the close connection between Chinese calligraphy and semiotics and jewelry design. This article attempts to start with Chinese calligraphy and use semiotic research as a guide to construct a more practical "symbol"-"calligraphy"-"culture" jewelry design model. Through theoretical framework analysis, literature review, and empirical research, this article delves into how calligraphic symbols contribute to cultural heritage conservation, personal identity expression, and artistic expression in the context of jewelry design.

Communication in the Mirror of Social Semiotics

Introduction. The subject of this article is communicative resources, which are selected by partners from a huge variety of linguistic means, functional styles, rhetorical techniques, and subject activities, and through which a common semantic space between individuals is generated.Methodology and sources. As a methodological platform we propose the principles of praxis-oriented social semiotics. Being one of the relatively late trends of semiotic research, social semiotics focuses attention not so much on signs or sign systems as on social signifying practices as regular, repetitive, recognisable types of actions: the actions of communication participants are endowed with the properties of sign systems through which relations between individuals are discovered, made visible and meaningful. The mechanisms of meaning production, from the point of view of the participants of the event, are analysed using the concept of ‘discursive practices’, understood as speech actions in order to solve a variety of practical interpersonal tasks.Results and discussion. As an individual learns a variety of interpersonal discursive practices, different relational systems become available to him/her. Specific discursive practices allow individuals to present different versions of their self, justify their actions, maintain dominance and/or subordination relations, thus demonstrating mastery of the communicative situation. Following the principles of praxis-oriented social semiotics, it can be argued that interpersonal relationships involve what can be called a discourse of trust, personal involvement in relationships, intimacy/closeness.Conclusion. The described symbolic regulators allow not only to semiotically comprehend the social positions of interacting parties, but also to offer self-control procedures and an arsenal of communicative actions to the participants of interpersonal communication as means of behaviour management in situations of interpersonal communication.

Концепции поэтики и симуляции смыслов: философский дискурс о киноискусстве

Cinematic art possesses a unique capacity to engender alternative realms, fabricate spatial-temporal realities, and thereby engender the poetics of meaning. The existing modern research in philosophy, history, semiotics, cinematic reality, phenomenology, and narrative structure within cinematic art furnishes an extensive foundation for profound exploration into the quandaries of meaning and the logical construction of filmic language. The concepts of poetics and the simulation of meanings within cinematic art are intriguing to trace and analyze from diverse philosophical standpoints and perceptions. The art of cinema is based on and appeals to early forms of thinking, semantic image, ideal forms, representations of the world and art. The theories and worldview of ancient thinkers seem to have antedated the articulation of the authentic concept of cinema. Phenomenological research aims to fill the gaps in the system of human judgment, contemplation, logic, cognition and reason. Through the prism of philosophy, we glean a finer comprehension of how cinematic art shapes our perception of reality through replicas of natural world perception, portraying human existence within a simulacrum, which itself constitutes its own reality. As further investigations into these philosophical domains are pursued, a deeper comprehension of the complex relationship between cinema, perception, and the intricacies of human experience is developed.

Doing citizen sociosemiotics in the Covid-19 pandemic

In May 2020, in the beginning of the Covid-19 pandemic, we set up the transmedia space PanMeMic, and involved our social networks, in a snowball fashion, to exchange observations and reflections on the changes in communication and social interactions ensuing from the restrictions imposed. We adopted a citizen approach towards co-constructing knowledge about semiotic practices, by integrating tenets of social semiotics, ethnography and citizen sociolinguistics. The article reports on the activities and discusses the potentials and limitations of the approach through analysis of the posts and discussions that took place in the PanMeMic Facebook group. It shows results quantitatively and then zooms in to offer a qualitative analysis of one discussion thread, with the aim of illustrating the potential and limitations of PanMeMic as a platform for citizen semiotic research and providing indications for future socially engaged and engaging research.

Modern Trends in Semiotic Research in the Media Field (2013-2022)

تلبية للضرورة العلمية، قمنّا بدراسة الواقع الحالي للدراسات الكيفية في مجال تطبيقات الإعلام، بهدف تقديم رؤية شاملة حول النتاج الأكاديمي في هذا المجال، فضلًا عن تحليل نقاط القوة والضعف النظرية والمنهجية، لذلك تناولت هذه الأوراق البحثية الاتجاهات الحديثة في بحوث الإعلام، وركزت على استخدام المنهج السيميائي في المدارس العربية والغربية، ولتحقيق ذلك، قمنّا بتحليل 151 دراسة، توزعت بين الدراسات العربية والأجنبية، خلال المدة من 2013 إلى 2022. وخلصت الدراسة إلى وجود اختلاف في تطبيق مقاربات التحليل بين المدرستين العربية والأجنبية في مجال الإعلام، وإن معظم بحوث المدارس العربية تقتصر على استخدام عدد قليل من المقاربات، دون التركيز على التطورات في تطبيق المنهج السيميائي، بالمقابل حاولت المدارس الغربية الاستفادة من تطبيق هذا المنهج، مع التوسع في مجالات التحليل، وبناءً على ذلك، يمكننا الاستنتاج بأن هناك حاجة مستقبلية لتطوير الدراسات الكيفية في مجال الإعلام، ولا سيما المدرسة العربية، وذلك من خلال توسيع نطاق المقاربات المستخدمة، والتركيز على التطورات في تطبيق المنهج السيميائي.

Architectural Semiotics: Reading Symbolic Meanings in Modern Building Design

Semiotics, as the study of signs and meaning, is a theoretical basis for analyzing the symbolic meanings hidden in architectural elements. This research aims to explore the meaning of symbols contained in modern building design through an architectural semiotic approach. In this research, a qualitative approach was used with descriptive methods. The results of research in architectural semiotics reveal that modern building design can be understood as a symbolic language that carries deep meaning. Through analysis of design elements, such as geometric shapes, innovative materials, and use of space, this research identifies symbols that communicate certain values, aesthetics, and concepts. Involvement of the user's cultural, social context, and subject experience helps refine symbolic interpretation, creating a more contextual and relevant understanding. Overall, architectural semiotics research contributes to constructing a systematic and in-depth picture of symbolic language in modern building design, opening a window for a broader understanding of the complex role of design elements in imbuing the meaning of contemporary architecture.

Template cohesion in perfume advertisements

The article deals with features of perfume advertisements, in particular, cooperation of verbal and visual semiotic modes. It has been found that this cooperation is reflected in multimodal cohesion which is realized as reiteration of some mode components and sub-components in the set of perfume advertisements chosen for semiotic research. Reiteration of visual mode components is the background for selecting advertisements chosen according to the template cohesion. The whole multimodal cohesion investigation rests on template reiteration of verbal and corresponding visual components. For more detailed and thorough research the perfume advertisements of two different types have been chosen. The first type which has been distinguished as professional trader's catalogue advertisement functions as a detailed verbal representation of perfume information, goods description. It represents verbal semiotic mode involving all mode components and a net of sub-components. The second type has been recognized as potential consumer's advertisement. It has stressed on the visual semiotic mode representing detailed visualization of perfumery goods advertised giving some visual information which is not relevant to the perfume mentioned and described in the verbal semiotic mode. The whole research rests on template cohesion which belongs to the cross-advertisement cohesion, reiteration of visual semiotic mode components in the set of advertisements. Correlation of verbal and visual semiotic mode component and sub-component reiteration has helped to distinguish cryptic cohesion which has the intermediate position between verbal and visual semiotic modes, being a semi-independent element, it belongs simultaneously to both (verbal and visual) modes and it is very problematic to distinguish its definite belonging and connection with a definite mode. Revealing the cohesion is a very uncertain, hidden procedure. Verbal visualization creates cryptic cohesion which rests on typeface. According to the class of design typeface is divided into basic and additional. All classes are separated into eight cases of design devices. Further division is represented in twenty variations, which reflect typography codification as a set of typeface parameters. Cryptic cohesion has provided additional consolidation of perfume advertisements, grasping together verbal and visual semiotic modes, twisting these modes firmly in the chain of advertisements.

IMAGES-SYMBOLS OF TRADITIONAL ARTISTIC CRAFTS IN THE FORMATION OF THE CULTURAL CODE OF THE CITY

The article is devoted to the analysis of the use of images-symbols of traditional applied arts for the Ryazan region (embroidery, lace weaving, weaving) in shaping the appearance of the city, reflecting its cultural code. Based on semiotic studies of the phenomenon of the concept in question, the author aims to trace the ways of symbolic expression of the cultural code of the city and their role in creating the mental sphere of culture in the elements of the urban environment. The assumption that the formation of the cultural memory of the city is carried out in two interrelated directions, allowing you to feel involved in your own history, culture and create unique images-symbols characterizing the cultural values of a particular region in order to identify it, is confirmed in the extensive illustrative material of the article. The author explores both historically established ways of broadcasting such elements in the urban environment (architraves, house decorations, bridge fences), stylized as recognizable elements of lace weaving, embroidery, weaving, and modern elements of urban space (design of fountains, light structures, festive decorations) with these symbols expressing the cultural memory of the city. The techniques used to identify a place from the point of view of its history and culture through characteristic, iconic elements in traditional applied art, lead the researcher to the conclusion that symbolic images can be not only markers that increase the level of patriotism of the city's indigenous inhabitants, but also business cards of the city, which are part of the geocultural space, capable of forming, including tourist the area code, which increases the importance of semiotic research in the framework of the formation of a cultural spatial environment.

Visual history and semiotics

This paper investigates the reflection of “visual turn”in semiotic research, the relationship between visual history and semiotics. The aim of the research is to investigate the relationship between visual history and semiotics and to reflect this relationship in scholarly research. The English-language works of such famous researchers and cultural theorists as Ferdinand de Saussure, Michel Foucault, Algirdas Julius Greimas, Jean Francois Lyotard, Jacques Lacan, Ludwig Wittgenstein, Jacques Derrida Jacques Derrida, Umberto Eco, Mi-chael Halliday, Charles Peirce, Noam Chomsky, and others were analyzed in this paper. History does not speak for itself, so the work of аhistorian is always interpretive. The appeal to the visual here is not a turn away from other ways, other meanings of making history. The visual is seen here as a special form of knowledge, requiring its own ways of apprehending it. This engagement with the visual will undoubtedly have a significant impact on our understanding of archives and historiography in general but does not claim to privilege the visual domain as offering a special kind of access to the past

Objects of industrial heritage as elements of city’s geocultural image

The role of industrial heritage objects in the image of a city is considered. Using specimens of industrial architecture from Nizhny Novgorod as research material, three scenarios of their functioning in the urban socio-cultural space are demonstrated: architectural object as an illustration of the phenomenon of industrialization of the country; as a monument of engineering thought, and as an object that brings about material artifacts that become symbols of the region. Methodologically, the study displays a value-based approach: not only does industrial architecture perform a utilitarian function in the urban space, but it also contributes to the image of the city, reflecting the values that dominate and guide its communities and development strategies. A review of domestic semiotic research suggests three ways by which objects of industrial heritage become key elements in the geocultural image of Nizhny Novgorod. These include communication of invariant information, actualization of citizens’ creative activities, and preservation of iconic elements of its history and achievements in the city's memory. By performing the above informative, creative and memorial functions, objects of industrial heritage influence the formation of the so-called phenomenon of urban patriotism. Acting through its industrial facilities, urban space concentrates in itself the memory of significant events and achievements of both the city and the country about people who contributed to the development of the city, thereby forming a special mental field that can be considered as a local axiological paradigm. Action being taken to integrate former industrial facilities into the socio-cultural space of the city contributes to the understanding of the city as a mental structure.

Kaip medžiaga medžiagą mėgdžiojo: istorinio dekoratyvinio popieriaus tyrinėjimai

Crossing the boundaries of any one discipline, the article provides an overview of research into historical decorated paper conducted by the author over the last several years. Examples of this seemingly very specific, ephemeral material, considered as an imitation of other materials, applied in bindings of printed books and manuscripts during the 18th and 19th centuries, are presented as anonymous artifacts of the past, strikingly characterised by their own materiality and thus involving also the researcher’s senses. Besides a historical overview of the main techniques of paper decoration in Europe, the place of this applied decorative element in the three-dimensional structure of the handmade book is also explored. The second part of the paper addresses the relevant problem of ornament as a plastic discourse, which has so far received less attention in semiotic research. Through a closer analysis of a several samples of decorated paper, questions about the semantic structure of the ornament and its effects are raised. Finally, when placed in the context of certain habits, needs and interests of eighteenth-century European society, decorated paper and its ornamental language emerge as a multilayered object with a culturally defined meaning.

An Analysis of Metaphorical Symbols in The Da Vinci Code

When explaining the story background and process of the novel The Da Vinci Code, the author Dan Brown describes the knowledge of semiotics, religion, culture, art and many other aspects incisively and vividly, and there are also many signs in the text. In The Da Vinci Code, it is the story plot containing various metaphorical symbols that can make it more wonderful.Peirce, known as the father of semiotics, was a famous semiotician who devoted his life to the theoretical research of semiotics and the application of semiotics in related categories. His three-part method of signs created a new perspective of semiotics research, made great contributions to the in-depth development of semiotics, and also provided a reference value for the theoretical framework of religious semiotics research.Using Peirces sign tripartite method, we can divide the signs involved in Dan Browns Da Vinci Code into three metaphorical symbols: star metaphorical symbol, flower metaphorical symbol and holy Grail metaphorical symbol. Through the analysis of the commonality and individuality of these signs, we can get the interpretation of the interlocking sign network in The Da Vinci Code, and finally summarize the role of these signs in the construction of the theme.

The Nomenclature of Traditional Ornaments in Latvian and Lithuanian

Abstract The traditional ornaments, characteristic for the Latvian and Lithuanian ethnographic regions, are an essential part of traditional Baltic culture. Since the 19th century researchers have studied their technical aspects and semiotics (Brastiņš, 1923; Dzērvīts, 1925; Celms 2007) but little attention has been paid to empirical terminology. The name is an integral part of the sign, it often carries semantic information helping to reveal its usage and significance. In Latvia, the names of traditional signs have been influenced by the work of Brastiņš and dievturi (“Keepers of Dievs”) who attributed the names of Baltic mythological deities to ornaments linking them to the manifestations of the deity mentioned in the denominations. While these denominations are very popular in Latvia, in Lithuania very similar ornaments are called and interpreted differently. This research focuses on collecting and analysing Baltic ornament nomenclature published in Latvia and Lithuania in the first half of the 20th century. It compares the ornament naming traditions in both countries and highlights the main parallels and differences. It also reviews previous research of ornament in Latvia and Lithuania where significant differences can be seen – while semiotic research dominates in Latvia, in Lithuania more attention has been paid to the nomenclature, although in both countries the nomenclature has often been viewed separately from the visual form, making the research of ornament evolution and typology difficult. It has been found that the spectrum of ornament nomenclature at the beginning of the 20th century in Latvia was more diverse than it is now; that it is common for Latvians and Lithuanians to view ornament as a pattern rather than separate graphic elements and that geometric, plant, animal, artefact and celestial body denominations dominate the nomenclature of both languages. Symbols appearing in Baltic culture are also present in ornament nomenclature.

Representasi Seksisme dalam Film Kim Ji-Young: Born 1982

<p><em>Kim Ji-Young: Born 1982 is a gender role-themed film that raises the issue of sexism against women in South Korea. This study seeks to answer research questions about how sexism is represented in the Kim Ji-Young: Born 1982 film. The type of this research is descriptive qualitative with a critical paradigm and uses Roland Barthes' semiotic research method to find out the denotations meaning, connotations meaning and myths that are formed about sexism in the film Kim Ji-Young: Born 1982. The results of this research indicate that women are depicted as a figure identified with domestic work, girls who are considered not to have more value than boys, women that are considered as figures who must serve men, women that are considered to be less competent than men in the workplaces, women that are considered to have a limited role as a caregiver, women that are considered weaker and helpless, and women who are also considered as sexual objects only.</em></p>

Animal representations in Margaret Atwood’s novels: a study based on pan-indexicality model

Abstract Margaret Atwood is a Canadian author of more than thirty-five books and the winner of prestigious literary prizes, such as the Booker Prize, the Giller Prize, and the Governor General’s Award. Her influence on Canadian literature and contemporary literature as a whole is phenomenal. Nevertheless, little is known with respect to how Atwood represents animals covering the full range of her novels. This paper reports on the analysis of animal representations in Atwood’s seventeen novels through Python programming and close reading under the framework of a new semiotic research finding, a pan-indexicality model within the context of literature and the environment. This study investigates the frequencies of animal vocabulary in the seventeen novels, the changes of animal representations in her novels before 1990s and after 1990s, and the implication of the ever-changing animal representations during the fifty years. This paper concludes that nonhuman animal descriptions in Atwood’s novels of 1970s and 1980s run at a high level and decrease in her novels of 1990s, while scientific animal descriptions increase in her novels of 2000s and 2010s. Nonhuman animals in her novels of 1970s and 1980s are instrumentalized as a vehicle for indigenization and national individuation from the United States, and scientific animals in her novels of 2000s and 2010s are instrumentalized in the service of environmental apocalypticism. This study suggests that the pan-indexicality model can be employed to understand the meaning of signs in literature and the environment from the perspective of authorial intention, with reference to authors’ encyclopedic knowledge, personal experience, social, and cultural background information.

МОРФОЛОГІЧНИЙ АНАЛІЗ ЯК ІНСТРУМЕНТ У ПРОЕКТУВАННІ

Student research work begins with a description of the object of study. The parametric, functional, semantic description of the object will always be associated with its elements, structure, construction, i.e. morphology. The researcher receives a set of variants of interchangeable elements for a certain characteristic, and this set can be systematised in the form of a morphological model, which in the field of design research can be called a «combinatorial matrix». The purpose of the article is to confirm the universality of morphological analysis by applying the method not only to the analysis of the physical nature of an object but also to the symbolic and sign nature, i.e. in the field of semiotic research. In the present study, morphological analysis is applied to the symbolic and sign nature of an object. The tables 1) a morphological model based on meanings and sets of signs that represent these meanings and 2) an example of using a morphological model / combinatorics matrix in design are complied. Designing on the basis of a morphological model reflects the interconnection of analysis and synthesis methods. Morphological analysis is a generalised concept in relation to specialised methods, such as formal analysis in art or code articulation in semiotic research. A morphological model is a tool in design, helps generate ideas, and allows to create new combinations with both a maximum set of elements and a minimum set. Morphological analysis is advisable to use when the object or phenomenon under study has numerous variants, alternatives, which, accordingly, will also be created by combinations of its elements/attributes. Morphological analysis is related to the field of metadesign as a method that helps to find innovative solutions, for example, it is possible to experiment with the rules of synthesis/syntax of combinations of elements. The versatility of morphological analysis lies not only in the fact that: 1) it is used in various fields of knowledge, human activity, 2) its result is a morphological model, which is a tool for synthesis/combination of elements, but also 3) in the nature of the characteristics of the studied/designed object, which can be very different both mentally imaginary (symbolic and sign nature) and physical (parameters, functions of the object).

ROLAND BARTHES' SEMIOTIC ANALYSIS OF THE MEANING OF HARAM IN THE QURAN

The purpose of this research is to find meanings that are in accordance with the context of meaning at the time when the Qur'an was revealed and take the main message (significance) contained in the meaning to be contextualized in the present with appropriate meaning. Through the existing problem the word haram is often interpreted as a word prohibition, this understanding starts from the meaning of haram in the translation of the Qur'an itself but in fact the word haram itself has another meaning when presented in a textually different letter metamorphose. This research will be presented through Roland Barthes' linguistic semiotics research method by examining the word haram through a Semiotics approach. This analysis will be through the search for the meaning of Connotation and Denotation which explains the disclosure of myths behind a sign or writing. The results of this study produced an analysis of new meanings related to the word haram. This haram word algorithm changes its nature depending on the text and context of the verse. Not when haram is said to be a prohibition, but in this myth it turns out to have other meanings such as haram is an antonym of the word halal which means halal is in its place, while haram is not a prohibition but not in its place or limitation.

Symbolism of Artistic Language and Principles of Image Making in Oleh Denysenko’s Art Books

The purpose of the article is to highlight the tools of symbolism of the artistic language of the art books of Lviv artist Oleh Denysenko in the context of contemporary artistic processes. The research methodology is based on hermeneutical, axiological, and semiotic research methods as the basis for understanding the sacred meaning of the sign system in the artist's work. Complex, chronological, biographical, and comparative methods of analysis of the author's works are used. The scientific novelty lies in the attempt to conduct a comprehensive analysis of the art book phenomenon in the context of contemporary art, not only from the standpoint of its positioning as a design category and a graphic phenomenon, but also taking into account the technological side of the work's production. Conclusions. The article is an analysis of one of the most characteristic components of the creative work of the contemporary Lviv graphic artist Oleh Denysenko, who can be attributed to the flagship of the Lviv school of graphics. The article examines the peculiarities and figurative construction of the “artist's book” – art book – in O. Denysenko’s work, taking into account technological characteristics, i.e. it studies all stages of the process from the idea, concept to the visualisation of the idea, the technological side of its implementation. The basic principles of imagery and symbolism of the artistic language used in the approaches to solving the general idea emphasise the value of manual labour and the exclusivity of the artwork. The most interesting examples of the author's creative work presented in the design solutions of art objects are considered. The creative experiments of Lviv graphic artrist Oleh Denisenko, graphic design and technological features of execution emphasise the importance of his contribution to the formation of cultural values and the perception of works of art by society. Attention is paid to the interpretation of signs and symbols that serve as a means of communication between generations and the transmission of the artist's own experience and thoughts. Key words: Oleh Denysenko, symbolism, artistic language, imagery, style dominant, figurative and symbolic language, art book.