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Sign (semiotics)

About: Sign (semiotics) is a research topic. Over the lifetime, 4080 publications have been published within this topic receiving 70333 citations. The topic is also known as: semiotic sign.


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Journal ArticleDOI
TL;DR: This paper reviewed printed and digital resources on the legal status of a sign language and found that sign language is not a negation of the United Nations Convention on International Sign Language Convention (UNCLC).
Abstract: This brief article reviews printed and digital resources on the legal status of a sign language.

14 citations

Journal Article
TL;DR: In the context of metafiction, there are many ways of pointing out that their creations are essentially artifices made of words and not stories copying or recording any other form of reality as mentioned in this paper.
Abstract: Modern experimental novelists or metafiction writers as they are now called have many ways of pointing out that their creations are essentially artifices made of words and not stories copying or recording any other form of 'reality.' Perhaps a narrator will explicitly inform the reader of the ontological status of the text he is reading; perhaps an internal mirror or mise en abyme will be the sign." Often, however, the 'literariness' of the work is signalled by the presence of parody: in the background of the author's work will stand another text, against which the new creation will be measured. It is not that one text fares better or worse than the other; it is the fact that they differ that the act of parody dramatizes. John Fowles, for instance, in The French Lieutenant's Woman, juxtaposes the conventions of the Victorian and the modern novel. The cultural and theological assumptions of both ages are compared through the medium of formal literary parody. A similar phenomenon of difference is found in such novels as Grendel, in which John Gardner reworked the backgrounded Beowulf, and The Black Prince, Iris Murdoch's modern rehandling of Hamlet. Thomas Mann, heir to the 'Romantic irony' of the last century, presents, in Doktor Faustus, a kind of parody which informs both the structure and the thematic content of his work as a whole. What is worth notice in all these examples is that while a text (or perhaps, more generally, a set of conventions) is clearly being drawn upon and parodied, it is in some senses a rather new and even strange form of parody. In these works there is irony but little mockery; there is critical distance but little ridicule of the texts backgrounded. In fact there is considerable respect demonstrated for them. This fact perhaps recalls T.S. Eliot's 'fragments shored against his ruins,' the literary and linguistic comparisons of past and present that imply, as well, moral evaluations in 'The Waste Land.' Yet if this is parody, it is somewhat different from the traditional concept of a ridiculing, belittling literary mode. It does, however, recall very precisely the etymological origins of the word. The Greek parodia or means a 'counter-song.' The 'counter' or 'against' suggests a concept of comparison or, better, of contrast inherent

14 citations

Journal Article
TL;DR: In this article, the authors study chromatic identity as an aspect of visual semiotics, because, as a sign, colour seems to be more 'transparent' in its meaning than written texts or even certain iconographies.
Abstract: Colour, in its use as identity, is symbolically codified. However, other non-chromatic factors influence the way colour is interpreted in different social environments. The formulation of a chromatic identity includes considerations of identity and differentiation, as well as tradition and innovation. The expansion of companies and institutions in the global market often involves the transposition of their chromatic signs. Local connotations may resignify or neutralise the values attributed to branding and identities. Colour is a central feature of the globalisation of brands, so it is interesting to study chromatic identity as an aspect of visual semiotics, because, as a sign, colour seems to be more ‘transparent’ in its meaning than written texts or even certain iconographies.

14 citations

Journal ArticleDOI
TL;DR: Kuspit as discussed by the authors argued that art history has resisted, more than the study of the other, non-visual arts, the new interdisciplinarianism most evident in literary criticism.
Abstract: Speaking Pictures? At a recent professional forum on the possibility of an art(s) discourse for the 1980s, one prominent art historian suggested that criticism of the visual arts had, if anything, already too much to do with discourse. "Why is it," he asked, "that art history has resisted, more than the study of the other, non-visual arts, the new interdisciplinarianism most evident in literary criticism?" (Kuspit 1986: 1). The virtue of resistance is implied in the question, for behind the peaceful overtures of the "new interdisciplinarianism" lurk "the colonizing, consumerist tendencies of English Studies, eagerly reducing art to text, visual art into linguistic art, vision into sign, in effect arguing the case for Derrida's [1973] assertion that 'the collusion between painting ... and writing is constant' "-if not for an even more insidious Derridean "attempt to bury painting in writing, or to suggest that painting is bad writing" (Kuspit 1986: 3). The "new interdisciplinarianism" turns out to be a new imperialism in disguise, and-as was to a large extent also true of the old imperialism-its weapon for colonizing, reducing, and ultimately burying the natives of the visual realm is language. Insofar as the speaker's views represent a current position among art historians, those of us in English studies may find in them a curious replay of the battle over theory in our own camp, now staged as a contest for dominion between two disciplines. In fact, the paragone between the arts, here reflected in the turf disputes of their academic exponents, is a venerable topos. As W. J. T. Mitchell (1986: 43)

14 citations

Journal ArticleDOI
01 Jan 2016-Language
TL;DR: In this paper, the authors explore the role of reactive effort in reducing articulation effort in sign language phonetics, and argue that reactive effort should have a significant effect on the relative frequency in the lexicon of certain types of path movements.
Abstract: Many properties of languages, including sign languages, are not uniformly distributed among items in the lexicon. Some of this nonuniformity can be accounted for by appeal to articulatory ease, with easier articulations being overrepresented in the lexicon in comparison to more difficult articulations. The literature on ease of articulation deals only with the active effort internal to the articulation itself. We note the existence of a previously unstudied aspect of articulatory ease, which we call reactive effort: the effort of resisting incidental movement that has been induced by an articulation elsewhere in the body. For example, reactive effort is needed to resist incidental twisting and rocking of the torso induced by path movement of the manual articulators in sign languages. We argue that, as part of a general linguistic drive to reduce articulatory effort, reactive effort should have a significant effect on the relative frequency in the lexicon of certain types of path movements. We support this argument with evidence from Italian Sign Language, Sri Lankan Sign Language, and Al-Sayyid Bedouin Sign Language, evidence that cannot be explained solely by appeal to constraints on bimanual coordination. As the first exploration of the linguistic role of reactive effort, this work contributes not only to the developing field of sign language phonetics, but also to our understanding of phonetics in general, adding to a growing body of functionalist literature showing that some linguistic patterns emerge from more fundamental factors of the physical world.

14 citations


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Performance
Metrics
No. of papers in the topic in previous years
YearPapers
20222
2021178
2020196
2019188
2018186
2017177