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Semiosphere

About: Semiosphere is a research topic. Over the lifetime, 219 publications have been published within this topic receiving 2698 citations.


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Journal ArticleDOI
10 Mar 2010-Letras
TL;DR: In this article, the authors analyzed the social experience of an individual, including the phenomenon of geographical and cultural othemess, the city as a situational and ideological sign, including its literary treatment, and the awareness of contrasts in a country's historical future.
Abstract: El estudio parte de que todo ser humano accede a la semiosis de la reproduccion social, de su entorno existencial. Utilizando la nocion de semiosfera (Lotman), y derivaciones conceptuales como la de texto, en un sentido amplificado, se analizan tres aspectos de la experiencia social de un individuo: el fenomeno de la otredad, geografica y cultural; la ciudad como marca situacional e ideologica, incluido su tratamiento literario; y la conciencia de los contrastes en el devenir historico de un pais. The basis of this study is that all human beings are part of the semiosis of social reproduction, of their existential environment. Using the notion of semiosphere (Lotman), and conceptual derivations such as that of text, in a simplified sense, three aspects are analyzed regarding the social experience of an individual: the phenomenon of geographical and cultural othemess; the city as a situational and ideological sign, including its literary treatment; and the awareness of contrasts in a country's historical future.

1 citations

Journal ArticleDOI
27 Nov 2018
TL;DR: In this article, the authors analyzed the semiotic parallels in the works of the Ukrainian and Polish avant-gardists of the first third of the XXth century, in particular in light of the ideas of the Lviv-Warsaw Philosophical School.
Abstract: The purpose of the research. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avant-gardists of the first third of the XXth century are being analyzed. On the basis of the unity of cultural, aesthetic-semiotic and art-study analysis of artistic achievements of artistic avant-gard in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Research methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y. Mukarzhovsky, Y. Loman, U. Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avant-garde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic-semiotic and artistic parallels between V. Kandinsky and Y.T. Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). It is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.

1 citations

31 Dec 2015
TL;DR: In this paper, a typology of modes of response are presented, i.e., distance, resistance, compliance, creative synthesis, and creative synthesis are generated in the interplay of external catalyzers on one hand, and unreflective and reflective processes within the subject on the other.
Abstract: Semiotical system in the functional sense has dual effect on the subject: on the one hand, it directs and constrains the subject through collective semiotic tools, on the other hand – it provides symbolic resources for subject's semiotic autonomy. This duality may be presented as a relation of systemic power. Explicit and implicit collective meaning structures act as an external coercive power in relation to subjects. Regulative function of the semiosphere manifests itself through various social suggestions which attempt to direct and constrain subject's activity. In contrast, individual semiotic autonomy is realized through the use of signs in the process of self-regulation and autocommunication. Contacting with the semiotically autonomous subject, these social suggestions may catalyze variety of responses. In the article a typology of modes of response are presented. Distancing, resistance, compliance and creative synthesis are generated in the interplay of external catalyzers on one hand, and unreflective and reflective processes within the subject, on the other. A semiotic mechanism of their generation and several theoretical models which explain the probability of specific mode of response are described. Possible application of the model in the analysis of intergroup power relations (e.g. in explanation of the phenomenon of reactive identity) has been demonstrated.

1 citations

Journal ArticleDOI
24 Sep 2015
TL;DR: The concept of a "sphere" is one of the oldest models of the world's perfection as mentioned in this paper and it has been used to describe both the movement of the Universe, human intellect, and God's all-encompassing gaze, which includes the large and the small, dominant and the periphery, the phenomenon and its variants, opposite principles, order and chaos, the moving and the static.
Abstract: Found in the works of Plato, Thomas Aquinas, Nicholas of Cusa and others, the concept of a “sphere” is one of the oldest models of the world’s perfection. The concept of the sphere allowed describing both the movement of the Universe, human intellect, and God’s all-encompassing gaze, which includes the large and the small, the dominant and the periphery, the phenomenon and its variants, opposite principles, order and chaos, the moving and the static. Attempting to outline non-linear and non-structurable semiotic processes, Yuri Lotman has introduced the concept of the “semiosphere” as related to the cultural codes. The same features can apply to the Shakespearean sphere. In modern culture it moves towards endless expansion by means of interpretation, reactualization and reconstruction, at the same time preserving Shakespeare and his works at its very core. Lotman’s understanding of the “semiosphere” relies on the idea of infinite motion where the relations between the tradition and cultural heritage. In our study, Shakespeare and his texts act as this point of tradition. On the one hand, they are the productive (primary) discourse, which allows us to use the thesaurus approach. On the other, Shakespeare’s texts are far more than a playground for presentism and modernization in line with the current political, social and ethical problem. They also become a field of new types of art, novel scholarly research methods and theories; they engage the context of the historical period and mark it as “Shakespeare’s England”. Hence, the modern interpretation of the concept of the sphere strives to combine the systemic and the structural with the force that dissolves them. A single point of reference helps to imagine the sphere as a whole. The Shakespearean sphere is a convincing proof of this combination.

1 citations

Book ChapterDOI
01 Jan 2015
TL;DR: One of the cultural theories in which the influence of linguistics and structuralism is far more evident (and more debated) is that developed by Jurij Lotman (1922-1993) as discussed by the authors.
Abstract: One of the cultural theories in which the influence of linguistics and structuralism is far more evident (and more debated) is that developed by Jurij Lotman (1922–1993).1 His theory is, in fact, flooded with references, both explicit and implicit, to Jakobson, Trubeckoj, and Levi-Strauss, among others. Indeed, Lotman dedicated to Jakobson one of his most important works, On the Semiosphere (Lotman, 1984), on which we will focus in more detail in the following pages.

1 citations


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Performance
Metrics
No. of papers in the topic in previous years
YearPapers
20217
202010
201924
201818
201713
201612