Semiotic Symbols Research Articles

SYMBOLIC MEANINGS of MANUK RULU in KARONESE MARRIAGE TRADITION

Semiotics thus includes different resources, such as language, images, music, sound and embodied action, and the meanings which arise as choices from these resources combine in semiotic phenomena such as texts, interactions and events (KAY L O’HALLORAN: 2020). This research is concerned with the symbolic meaning of Manuk Rulu in Karonese Marriage Tradition. Manuk Rulu is a tradition or culture in Karo people usually presented by the couple of marriage and the groom’s parents to Kalimbubu. It indicates the respect given to Kalimbubu in the hope that through the pray of them to the Almighty God, the marriage couple can get harmonious, happy, peaceful life and getting descendant, son and daughter. The aim of this research is to find and elaborate the symbolic meaning of Manuk Rulu in Karo tradition. This tradition is found in Deli Serdang Region. Manuk Rulu consists of: Manuk Raja Mulia “the symbol of Respectfulness, Loyalty, Obedience to Kalimbubu so that through this tribute hopingly the marriage couple can get blessing from God. The result of this research can be shown here such as those symbolic meanings are found here such such bravery in facing the life, sincere heart, quality or glory of speech. The method of research is done by descriptive qualitative research proposed by Hancock (1998). The main theory to support this research is the theory of Semiotics by Charles Sanders Pierce (1990). This research can be concluded that the local tradition of Karo people can reflect the Semiotic Symbols which are considered valuable to the language learners.

Analisis Semiotik Simbol Terhadap Bangunan Rumah Adat Suku Simalungun Kabupaten Simalungun

The problem in this research is analyzing the semiotic symbols in the traditional house buildings of the Simalungun tribe. The type of research used is a qualitative descriptive research method. Qualitative research has a special position that makes the researcher the key instrument. Data collection techniques are the most strategic step in research, because the main aim of research is to obtain data. Data collection techniques in this research are listening techniques and note-taking techniques. Data analysis techniques are the process of systematically searching and compiling the data obtained by organizing the data into categories, breaking it down into units, synthesizing it, arranging it into patterns, selecting the important meanings that will be studied, and making conclusions so that it is easy. understood. The results of research on the traditional house buildings of the Simalungun tribe show that there are many symbols found in the traditional house buildings of the Simalungun tribe.

The Semiotics of the Thresholds in (Sunset Garden) Diwan of the Poet Ghazi Al-Qasaibi

This study is concerned with revealing the semiotics of thresholds, and its role in building textual coherence at the form and semantic level in Sunset Garden Diwan of the Saudi poet Ghazi Al-Qasaibi. This research aims to spotlight on the semiotic theme of the title threshold and its relation to other thresholds. As the death phenomenon and absence dominated the poetic achievement space through intertwined semiotic relationships that lead to each other through the parallel text semiotics.This study is based on the semiotic method which concerns with searching for the interpretive connotations and revealing the profound symbols in the threshold structure and its role in the whole formation of the Diwan. Among the most prominent conclusions for this study is that; AlQasaibi was concerned with the thresholds poetics in his book Sunset Garden and he was able to transfer the meaning of thresholds from the margin to the centre when he revealed the significance of the symbols and connotations of the thresholds in the Diwan, which contributed to the space and coherence of the text.It also balanced between the centrality of receiving. Moreover, the poetic thresholds and their semiotic symbols contributed to the manifestation of the Diwan purposes and its contents, forming a unified texture starting with the front cover and ending with the back cover of the Diwan. The semiotic analysis of the poetic threshold in Sunset Garden Diwan showedAlQasaibi special vision of death and absence merged with nostalgia, eulogy and reconciliation with the concept and reality of death. The title also represents the first thresholds of the text that cannot be crossed.That is because it has the codes and symbols that help the reader and recipient to introspect the entire work.

SEMIOTIC UNITS AND THEIR TRANSLATION IN THE TRAGEDY OF W.SHAKESPEARE "RICHARD III"

The scientific article analyzes the representation of semiotic symbols in the language of the world- classic writer W. Shakespeare in the language of Richard 3, how the image of the world in British culture is represented by linguistic symbols and its differences from Kyrgyz culture. Analyzing the Kyrgyz translation of the work, we not only study how English semiotic symbols are transmitted, but also represent the worldview, mentality and living conditions of people from two different cultures.

The Semiotic Representation Analysis of Wedding Ceremony in West Sumatera Province

This study examines the symbolic representations of cultural meanings behind the traditional wedding procession in West Sumatra. This study is a descriptive qualitative study whose data were collected by literature study. The collected data were analyzed using a descriptive approach based on Roland Barthes’s theory of semiotics which includes the discussion on denotative and connotative meaning as well as myth. The results of the analysis were presented in the form of a description of Roland Barthes's semiotic symbols. By examining the marriage procession, there are two interesting topics that can be studied further more. Firstly, the wedding procession itself. Secondly, the variety of materials and objects which are used when performing the traditional wedding procession.

Representing Realities: The Role of Documentary in It all Started at the End (2015) by Luis Ospina

Representing Realities: The Role of Documentary in It all Started at the End (2015) by Luis Ospina Cindy Bonilla Documentaries, then, do not differ from fictions in their constructedness as texts, but in the representations they make. At the heart of documentary is less a story and its imaginary world than an argument about the historical world. Bill Nichols, Representing Reality (1991) It all started in 1971, according to Luis Ospina and his entourage—a film renaissance that flowed through Cali changing the very essence of the city, its people and the way that cinema was produced in Colombia. It is from this period that the main characters from It All Started at the End (2015) emerged: Andrés Caicedo, Carlos Mayolo, and of course, Luis Ospina, the director. These three visionaries were the protagonists of an entire generation obsessed by cinema in the city of Cali, Colombia. This group of self-identified cinephiles are responsible for the creation and production of a collection of cinematographic works which have come to be considered a fundamental component of Colombia’s film catalogue. Victims of the so-called mal de cinesífilis, they managed to build a network that fashioned the foundation for cinema in Colombia. Between 1971 and 1991, a number of young people from Cali joined the three originators to grow a strong audiovisual tradition in an unfocused country—a country that at the time was being torn apart by violence, death, and drugs. This documentary film is a collaborative effort (much like many of the films that were produced by the Grupo de Cali coalition) to tell the story of the Grupo de Cali from those who remain. At first glance, this feature appears to be a memoir of the work and life of Ospina, who at the time of the production of this film was struggling with a serious form of cancer. However, this documentary goes far beyond this initial evaluation to uncover the story of the origins of the cinema movement that transformed Cali. Despite the war, violence, and drugs that were prevalent during this time period, Cali grew into a film Mecca, and the Group of Cali came to be known as Caliwood. This documentary is also a narrative [End Page 132] that pays homage to the living and fallen members of Caliwood. The film successfully transports its audience through time and space to deliver an insider view of what inspired this film in particular, and also the events that transpired throughout the 20-year period that this film seeks to represent. This brief analysis will attempt to explore the documentary techniques used within the film, through the perspective of critics like that of Bill Nichols in Representing Reality (1991). Additionally, due to the structure of the film, this analysis will seek to identify the use and significance of cinematographic devices like intermediality, transmediality, reflexivity, and intertextuality, beginning with “To Make You See: Photography as Intermedial Resource in Theatre and Film Adaptation” by Carmen Pérez Riu. These approaches will aid in the identification of the narrative aspect of the film, as well as the semiotic symbols transmitted through photographs and other transmedial and intermedial visual elements that complement the diegesis of the documentary. It is also pertinent to this study to highlight the significant role that Luis Ospina has played in the development of Colombian cinema, which is supported by his nomination to the Toda una vida de cine award. Presented by Macondo Awards1 in 2010, the award honored his lifetime of contributions to the development and the creation of meaningful works that represent Colombia’s reality through his own lens. Colombian documentary cinema, like any national cinema, is a historical process with an industrial and artistic dimension. The expression “Cinema of Colombia” or “Colombian Cinema” refers, in a broad sense, to the cinematographic productions made in Colombia or considered Colombian for other reasons. The history of cinema in Colombia began in 1897 when the arrival of the cinema to the country was first recorded. Only two years before, the Lumière Brothers’ apparatus2 had made its legendary public appearance in Paris, and the invention caused euphoria around the world. As a result...

Application of Tai Chi Cultural Semiotic Symbols in Chinese Construction of National Image

In recent years, a rapid growth of the global economy has strengthened the competition among nations. To be at a favorable international advantage under such an environment, a positive national image is necessary. As a result, this paper analyzes the application of Tai Chi cultural semiotic symbols in Chinese construction of national image under the discussion on the selection of culture symbol in Chinese construction of national image, as a base, through its positioning with an introduction of Tai Chi - Chinese unique culture symbol. Finally, this paper explains the application tactics in Chinese construction of national image by Tai Chi culture symbol, laying a good foundation for the improvement of Chinese international status.

Whose line is it anyway?

Abstract Pride marches are increasingly common in the 'global South' and can be seen as signs of progress towards greater social acceptance of sexual minorities. Such movements often appropriate and mimic semiotic symbols and discursive frames visible in Pride movements in countries in the North, such as rainbow flags and the discourse of human rights. However, there is also a degree of recontextualisation of these symbols and frames in order to deal with specific local social, political, cultural and economic contexts. Though at different 'stages' of acceptance of non-heteronormative lifestyles, India and South Africa offer fruitful sites for comparative, qualitative research. In analysing the language of print media as a way of gauging how Pride movements are discursively constructed, the paper focuses on nominational and predicational strategies (Reisigl and Wodak 2001) to critically analyse actor representations in a sample of articles from national newspapers from each country.

Shakespeare Manga Business in the 21st Century

The comic adaptation of Shakespeare is one aspect of Bardbiz, which has recently flourished in England and America. Particularly, a great range of Shakespeare comic versions have been released on the market during the first decade of the 21st century and are becoming popular among ordinary young readers and even in the secondary education curriculum. Most of the recent comics have in common a few conspicuous features which distinguish them from most previous attempts. First, their comic writers and publishers appropriate Japanese comic tradition and even label their works as manga, following the original Japanese name. The second trait is the scope and size of publications, which is targeting the global market. Another characteristic of Shakespeare comic publications is the emphasis on its educational intent, which claims that Shakespeare comic books will expand the range of Bard readership and eventually lead young readers to the world of original Shakespeare texts and productions. Due to the complexity of both cultural icons -Shakespeare and manga-the comic adaptation of Shakespeare raises a great number of cultural and political questions. First, manga is a peculiar cultural product utilizing two different semiotic symbols, text and images, simultaneously in the same space. The first appeals to human reason while the other to human senses. Text and image, which were separated and developed respectively for two different cultural and social sectors, have contributed to the division of high and low cultures. Shakespeare has been, and will always be a representative symbol of high culture in the West while he has been widely popularized through a lot of different formats since his life time. In addition, recent Shakespeare manga is drawn in a real Japanese style by the comic illustrators who were born or educated in the English-speaking countries and later learned the Japanese manga tradition. In this article, the cultural term ‘hybridity’ is used to define the multi-layered cultural phenomenon of Shakespeare manga industry. In myriad strata of cultural appropriations, one politico-cultural icon is merged with another and creates a new form which in the end breeds hybridity. This hybridity requires us to rethink the globalization of Shakespeare, particularly with regard to the necessity of academic consideration of manga. Furthermore, it problematizes the traditional distinction between text and image, high and low cultures, Japanese and Western traditions in comics and so on. Consequently, the disintegration of such binary oppositions leads to the questions of national identity based on geography as well as one’s own cultural independence in globalized society.

The design and validation of an artificial personality

PurposeA US patent was recently granted for an artificial psychology dialog player with two artificial personalities and aging simulation. The purpose of this paper is to expose the usefulness and scientific roots and support the commercial viability of the patent based on a new cybernetic model of personality.Design/methodology/approachThe design of the artificial personality utilizes a new four‐dimensional cybernetic model, where sentences are classified along the dimensions according to their motivational and cognitive content. The model is a dynamic nonlinear system described in box diagram form. The idea behind the model is rooted in the cybernetics concept of requisite variety and the model's characteristics predict systematic variation with age. The model explains phenomena hitherto found vague. Its predictions regarding age dependence of human behaviour over adult age is tested by online humour appreciation surveys. The methodology is to establish the validity of the model by referencing its a priori predictions against a posteriori empirical classification of survey data by applying statistical consistency tests.FindingsThe prediction was tested using score data from three online humour appreciation surveys. The results from all surveys confirm the prediction and validate the personality model. The model is indeed useful and the statistical consistency tests support the validity of the model. A novel formulation of Maturana's closed nervous system based on the model with the possibility of empirical validation was also found.Research limitations/implicationsThe media of the analysis was only humorous sentences, while the predictions of the model can be applied to other media such as other types of expressions and semiotic symbols, which are outside the scope of this investigation. Only age‐related changes were investigated. Personality‐related preferences are planned for investigation at a later stage.Practical implicationsA general age link of types of humor was not available until now, the validation of this link brings closer the realization of improvement in man‐machine interaction. Other applications include marketing and the use of the model as an educational tool.Originality/valueThe model of personality has a new structure represented as a stable continuous nonlinear system. It employs a feedback mechanism to describe homeostasis (multiplier feedback), a cybernetic regulator that is not based on the familiar negative feedback control structure. Its value as an alternative tool of analysis and prediction cuts across wide disciplines such as psychology, animal behaviour, physical science, computing, engineering and commerce.

Semiotic symbols and the missing theory of thinking

This paper compares the nascent theory of the ‘semiotic symbol’ in cognitive science with its computational relative. It finds that the semiotic symbol as it is understood in recent practical and theoretical work does not have the resources to explain the role of symbols in cognition. In light of this argument, an alternative model of symbol internalisation, based on Vygotsky, is put forward which goes further in showing how symbols can go from playing intersubjective communicative roles to intrasubjective cognitive ones. Such a formalisation restores the symbol’s cognitive and communicative dimensions to their proper roles.

From Translation to Transfer

This article examines transfer as a mechanism which applies to translation and other phenomena. The foundations for a theory of transfer were laid down by Roman Jakobson, whose ideas were further developed by Itamar Even-Zohar. Even-Zohar defined transfer as the re-creation in cultural system A of a text or a model originating in system B, whether in the same macro-system or not. Aside from translation in the narrow sense, transfer includes the remaking of films, adaptation of literary works for a new audience (e.g., children), rewriting them in nonverbal semiotic symbols, etc. All these forms of transfer can be described and explained with the help of theoretical concepts and assumptions used in translation research. This article aims to map the forms of transfer implied by Even-Zohar's definition and illustrate them, using examples from Israeli and other cultures. This article ends by the discussion of the question of the relation between the transfer theory applied and post-modern ideas.

Anchoring of semiotic symbols

This paper presents arguments for approaching the anchoring problem using semiotic symbols. Semiotic symbols are defined by a triadic relation between forms, meanings and referents, thus having an implicit relation to the real world. Anchors are formed between these three elements rather than between ‘traditional’ symbols and sensory images. This allows an optimization between the form (i.e. the ‘traditional’ symbol) and the referent. A robotic experiment based on adaptive language games illustrates how the anchoring of semiotic symbols can be achieved in a bottom-up fashion. The paper concludes that applying semiotic symbols is a potentially valuable approach toward anchoring.

Símbolos e tradução

<p>Este artigo propõe uma discussão sobre as implicações semióticas inseridas em cada escolha e tomada de decisão tradutória. O autor busca enfatizar que em qualquer tradução há a necessidade de se compreender as combinações das palavras nos textos e não o significado isolado de cada uma delas. São apresentadas também as especificidades dos significados icônicos, indexados e convencionais, bem como a importância dos signos não verbais no processo comunicativo entre duas ou mais comunidades lingüísticas. Os cinco sentidos também são tidos como os meios pelos quais adquirimos todo e qualquer conhecimento. Por meio de exemplos práticos, Eugene Nida ainda nos informa que muitos símbolos semióticos alteram radicalmente suas funções e suas formas, conforme as mudanças ocorridas na própria sociedade. Finalmente, dois filtros comunicativos (o estado emocional dos receptores e as pressuposições da cultura) são apontados como fatores determinantes para a compreensão de um texto e sua posterior tradução.</p>