Showing papers on "Sign (semiotics) published in 1975"
TL;DR: The concept of point-of-view is an element of literary structure which we become aware of as soon as there is a possibility of switching it in the course of the narrative (or of projecting the text onto another text with a different point of view) as discussed by the authors.
Abstract: INCE ONLY SOMETHING which has an antithesis can act as a sign,' any compositional device becomes semantically distinctive once it is juxtaposed with a contrasting system. When a whole text is sustained in a single dimension, we are not aware of that dimension at all, as, for instance, in epic narrative. What Pushkin referred to as the "rapid transitions" of Romantic tales only acquire meaning when combined with passages of leisurely narration. In the same way, "point of view" is an element of literary structure which we become aware of as soon as there is a possibility of switching it in the course of the narrative (or of projecting the text onto another text with a different point of view) . 2 The concept of "point of view" is analogous to that of perspective in painting and film. The concept of "literary point of view" unfolds as the relationship of the system to its "subject" (or "sentient center"), where "system" may be on the linguistic level or on some higher level. By "subject" or "sentient center" of a system (whether ideological or stylistic or whatever) we have in mind some consciousness which is capable of generating a structure of this kind, and, hence, is reconstructable through the process of reading. A literary system is composed of a hierarchy of relationships. The very notion of "having meaning" presupposes a certain relationship, the presence of a defined sense of direction. But since the literary model at its most general re-creates an image of the world as seen by a particular consciousness, that is, provides a model for the relationship between a personality and the world (frequently, a perceiving personal-
21 citations
Journal Article•
TL;DR: American Indian sign, used as a gestural communication system for the speechless, served the daily life needs of patients with a variety of deficits, many with unfavorable prognosis for oral speech rehabilitation.
20 citations
TL;DR: Resistance is a most useful sign of something going awry and that clarification of the relationship or issue is needed if service is to continue as discussed by the authors. But resistance is not always a good sign.
Abstract: Resistance is a most useful sign of something going awry and that clarification of the relationship or issue is needed if service is to continue
6 citations
TL;DR: The Erotikons and Idolons series of sculptures as discussed by the authors is a collection of two-dimensional representations of mythic lovers of the distant past, with a common theme of encounter, of tenderness, of a unity lost, searched for or found.
Abstract: The theme of the sculptures that I shall describe is the theme of encounter, of tenderness, of a unity lost, searched for or found. As the Mexican poetessayist Octavio Paz wrote: 'For an immense moment we catch a glimpse of our lost unity' [1]. These two series of sculptures, Erotikons and Idolons, are my visual conceptions of mythic lovers of the distant past. In trying to put into words my thoughts and preoccupations when sculpting these biomorphic objects, I remember Herbert Read's remark in The Origins of Form in Art: 'The greatest enemy of originality is, perhaps, the Zeitgeist, that pervasive spirit in a country which at a particular period of time unconsciously compels artists of all kinds to adopt a common idiom, to relinquish their personal choice of language' [2], p. 20. A common theme of contemporary art in the U.S.A. and in other countries of the West seems to be derangement and brutalization, which reflects the gloomy pattern of this century with its wars and holocausts. Beyond art, even the science of physics appears to have been open to the theme of disjunction and disintegration, as indicated by the terms that have entered its language, such as radioactive decay, decay of particles, displacement laws, nuclear disintegration, discontinuity, dislocation, indeterminacy, uncertainty, strangeness quantum numbers, negative states, particle annihilation and black holes. It is perhaps because I am looking toward the more utopian or beneficent potentials of human societies that I have tried to find in my sculpture expressions of the joyous and harmonious elements of life, of the basic forces of integration that provide for me the positive rationale of existence. The visual aspects of my sculptures are not intended to be guided by the current Zeitgeist but they are my response to ideograms and signs, old and new. The sketches that I make for my sculptures (Fig. 1) are almost always directly in clay or Plasteline, which I then rework and refine in wax for casting in bronze. Each sketch starts out in the form of a sign [3, 4], which evolves sometimes into 3-dimensional form-a totemic image.
1 citations
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TL;DR: The sign-conscious writing of Mon, Sollers, Heissenbiittel, Sutskever, and Jabes as discussed by the authors is a paradigms of signconscious writing.
Abstract: READERS WHO KNOW the work of Franz Mon, Helmut Heissenbiittel, Philippe Sollers, and Edmond Jabes will think of concrete poetry and systematic experiments in the case of the two Germans, of novels in which not much happens, or of an effort to connect literary and social revolutions in the case of Sollers, and of rabbis speaking in strange images, the holocaust, the problems of writing in the case of Jabes. They will wonder what these four writers have in common beyond a reputation for being avant-garde. But for all their differences they share a premise and a preoccupation: the premise that the world partakes of the nature of language and the preoccupation with the double nature of the linguistic sign. Their different responses are nearly four paradigms of sign-conscious writing. When Franz Mon says that "only the formulated is real ... the real world is invented by us, artificial through and through"1 or when Sollers speaks of the "coded function" which sensations take on2 we realize that we are far from the old topos of the world as book. Only Edmond Jabes can use this metaphor of the book as well as that of its implied author, God, though he complicates their relationship. Just consider the stunning last sentence of Le Retour au livre: "L'homme n'existe pas. Dieu n'existe pas. Seul existe le monde a travers Dieu et I'homme dans le livre ouvert." But even Jabes sees the world as a scattering of potential signs rather than a closed system, closer to Derrida's "aphoristic energy," his "'criture," than to the "book."3 Any language is a grid which activates certain of these potential signs. Using a language means reading the world. Mon is explicit about this: "Reading is a more encompassing process than the deciphering of
1 citations