Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, Warren Buckland (2018)

Film Matters ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 163-164
Author(s):  
Olivia Outlaw
Keyword(s):  
New York ◽  

Review of: Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, Warren Buckland (2018) New York: Bloomsbury Academic, 224pp., ISBN: 9781501316524 (hbk), $115.00

2021 ◽  
Vol 17 (1) ◽  
pp. 175-197 ◽  
Author(s):  
Cary Campbell ◽  
Alin Olteanu ◽  
Sebastian Feil

Abstract Taking influence from Peirce’s phenomenological categories (Firstness, Secondness, Thirdness), a notion of what we call bottom-up modeling has become increasingly significant in research areas interested in learning, cognition, and development. Here, following a particular reading of Peircean semiotics (cf. Deacon, Terrence. 1997. The symbolic species: The co-evolution of language and the brain. London and New York: W. W. Norton; Sebeok, Thomas and Marcel Danesi. 2000. The forms of meaning: Modelling systems theory and semiotic analysis. Berlin and New York: Mouton de Gruyter), modeling, and thus also learning, has mostly been thought of as ascending from simple, basic sign types to complex ones (iconic – indexical – symbolic; Firstness – Secondness – Thirdness). This constitutes the basis of most currently accepted (neo-Peircean) semiotic modeling theories and entails the further acceptance of an unexamined a priori coherence between complexity of cognition and complexity of signification. Following recent readings of Peirce’s post-1900 semiotic, we will present, in abbreviated form, a discussion as to the limits of this theoretical approach for theories of learning that draws upon Peirce’s late semiotic philosophy, in particular his late work on iconicity and propositions. We also explore the corollary conceptions of semiotic resources and competences and affordances to develop an ecological perspective on learning that notably does not impose a linear developmental progression from simple to complex. In conclusion, we address some of the implications of this (post-Peircean) conceptualization for transdisciplinary research into learning.


Author(s):  
Aleksandra Matulewska ◽  
Anne Wagner

Abstract Legal translation is a complex transfer of the text formulated in a source language into a target language which needs to take into account a wide array of factors to ensure the equality of parties to the process of interlingual communication. It is an autonomous realm of cross-cultural events within which the system-bound of legal concepts/notions deeply rooted in language, history and societal evolution of one country are transformed and integrated into the language of another, and as a result, stratified over the course of time (Mattila in Comparative legal linguistics, Routledge, Aldershot, 2006). That aspect of legal translation is called the Third Space (Bhabha in: Ashcroft B, Griffiths G, Tiffin H (eds) The post-colonial studies readers. Routledge New York, pp 206–209, 1995). The authors investigate some aspects of the Third Space including (1) Protean meanings and diverging legal cultures which are constantly remodeled, (2) cultural codes, and communication stereotypes as well as (3) communication problems stemming from stratification of communication in legal settings. The research methods applied include the semiotic analysis of legal translation strategies and potential loss of meaning.


2002 ◽  
Vol 18 (3) ◽  
pp. 261-275 ◽  
Author(s):  
Christopher Olsen

Surveys are used to define an audience in a quantifiable way. Awareness of the typical gender, age, and income of their patrons, along with their rating of a theatre's facilities, help theatre producers to address an audience's needs. However, producers seldom explore the audience response to a specific performance – something that is difficult to quantify. Thus, the audience's interaction with the performance – whether with particular actors, the space configuration, or with fellow spectators – is neglected in favour of such demographics as age, income, and occupation. Christopher Olsen suggests that surveys handed out to audience members might benefit from a more qualitative approach based on semiotic analysis. He asked sixty professional theatres in the USA – ranging from major repertory institutions to small theatres targeting specific audiences – to send examples of recent audience surveys they have conducted. Using the surveys (of which the most extensive is reproduced in full), as a guide, he tabulates the most common questions asked, and offers examples of further survey questions guided by semiotic principles. Chris Olsen is currently an adjunct professor at Montgomery College and Shenandoah University in the Washington, DC, area. Having written his dissertation on the Arts Lab phenomenon in Britain during the late 1960s and early 1970s, he is now working on a book about the second wave of the Off-Off-Broadway movement in New York.


Semiotica ◽  
2019 ◽  
Vol 2019 (226) ◽  
pp. 169-184
Author(s):  
Luca Tateo

AbstractWe live in societies emphasizing security and its complementary side of fear. In this work, I analyze the peripheral messages disseminated in the urban environment, whose function is that of regulating human and collective conduct through orienting specific forms of affective meaning-making. According to the perspective of Cultural Psychology of Semiotic Dynamics, affect and cognition work always together. Affect has the primacy in the relationship with the world and on top of affective distinctions we build conceptual distinctions. Thus, I describe a type of semiotic process I have called “atmos-fear,” that works through the production of empty representamen that frames meaning. The concept of “atmos-fear” could be fruitfully developed to understand phenomena of politics, communication and construction of the Other in contemporary societies, where the dialogical relationship between security and fear is at stake.


Sign in / Sign up

Export Citation Format

Share Document