반권

Semiosphere
기호학
일반개념
필드
방법들
반의사
관련 항목
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반권층은 생물학자에 속하며 추상적이고 지각적이며 대화성인 반증막으로, 모든 상호연결된 엄벨트의 집합 아래에서 사인 과정이 작동한다.[7]

개요.

주요기사 : 추상화(사회학)
참고 항목: 휴먼 커뮤니케이션
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반권(물리학)과 현실(온틱) 사이에는 인식론적 차이가 있다.[8]

사회심리학과의 반권역적 관계는 상징적 상호작용론자에 의해 결정된다고 한다.[9] 현장 이론(심리학)은 반구권의 '도메인'에 적용할 수 있다.[10]

모나드의 / 수화자체 / 피험자의 자기 세계, 즉 엄벨트의 서술 경계 이해는 텍스트(신호)를 읽는 추상적인 과정을 통해 도출되며, 다른 엄벨트와 상호작용을 위한 반구권의 코드(유미학)에서 증상, 신호, 아이콘, 색인, 기호, 이름 등의 패러다임을 생성한다.[20]

심신 이원론의 대상(철학)과 대상(철학)의 사용의 결과는 투명한 상자(Q.V., 동굴의 우화)와는 반대로 블랙박스다.[21]

온톨로지언어지형

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시간공간

에 대한 일련의 기사의 일부
정신분석학
Freud's couch, London, 2004 (2).jpeg
개념
중요 인물
중요 작품
사상의 학교
트레이닝
참고 항목
주요 기사: 크로노토프와 로그스피어
Spacetime과 혼동하지 마십시오.
참고 항목: 영웅의 여정, 알레고리, 그리고 임시성
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정신-신체 이원론의 사회공간적 문제에 대한 하나의 제안된 해결책은 4차원 공간 내의 서술적 구조다.[22][23][24]

심령반증은 찰스 샌더스 페이르체, 지그문트 프로이트, 요한 프리드리히 허바르트, 데이비드 흄, 무의식적 정신의 발견자, 낭만주의자, 상징주의자, 독일 이상주의, 임마누엘 칸트, 셸링, 아서 쇼펜하우어, 구스타프 페치너, 빌헬름 분트 등에 기초를 두고 있다.[25] 프로이트의 무의식과 정글의 무의식의 공통분모는 신화다.[26]

롤랜드 바트의 신화에 대한 정의는 일상 생활(뉴스, 오락, 광고)에서 파생된 기호학적 자기 신학이며, 자신만의 코드와 휘파람을 가지고 있다.[27] 현재-I-표시는 미래-유-해석자를 통해 다른 사람들과 상호 작용하여 과거-미-개체를 소급적으로 형성한다.[28][29][30]

서명법 [현재-I]: 서명: 기호 의미 [해석]½초콜릿 제스처 [미래-You]의미 [Connotation]½개체 [과거-Me][31][32]

미하일 바크틴의 크로노토프, 즉 시간 공간(결정론)은 서사 구조를 통해 반구권과 관련된 외부(알 수 없는) 정보를 만든다.[33][34][35] 시간(관심-통과[36])은 모나드 수화 운영자의 '어려운 여정'에 근거하여, 동시에 발생하는 온틱(알 수 없는) 물체와 평행하는 공존적 문자(신호)를 적극적으로 읽고 해석하는 것을 바탕으로, 주인공의 감각신경계(Umwelt)를 떠맡는다.[37][38][39]

따라서 모험 크로노토프는 공간과 시간의 기술적, 추상적 연결, 시간적 순서의 순간의 가역성, 그리고 우주에서의 상호교환성에 의해 특징지어진다.모든 구체화, 심지어 가장 단순하고 일상적인 다양성조차도, 그 자체적인 규칙 생성력, 그 자체의 질서, 인간의 삶과 필연적인 연관성, 그리고 그 삶에 특정한 시간까지 도입할 것이다…전기적 시간은 역사적 사건과 불가분의 관계에 있는 삶의 사건 자체에 대해 되돌릴 수 있는 것이 아니다. 그러나 성격상 그런 시간은 되돌릴 수 [40]있다

— Mikhail Bakhtin

현상학적 반권

주요 기사: 움벨트
이 주제에 대한 자세한 내용은 동물원세미오틱스를 참조하십시오.

찰스 샌더스 피르스의 기호학 이론 아래에는 삼차역학적 현상학 범주(피어스)가 있다. 우선성(감정), 둘째성(상대성), 셋째성(표현 및 해석)

자기 세계 또는 Umwelt는 반증(Hermeneutic circle of text(문자)(신호))의 인지 공간으로서, 여러 세트의 코드(세미오틱스)를 처리함으로써 폴리세미를 생성한다.[50]

"기생주의의 관점에서 변형된" Jesper Hoffmeyer는 정신과 신체 이원론의 사회적 소외가 없는 언어학에 얽매이지 않고, 양심의 집단적 변화를 제안했다.[51][38][52]

이상증 또는 증상의 한 종류는 반구권과 엄웰튼(또는 여기와 현재 움웰트) 사이에 일어나는 조화 부조화에 의해 생성된 인지 부조화에서 발생한다.[53]

메타텍스트는 차와 같은 역사적 물체/표지와 그것을 둘러싼 신화에서 형성될 수 있다.[54]

반권 하위 범위

비상한 음경은 반권의 면(지오메트리), 즉 엄벨트의 평면(지오메트리)이다.[55][56]

실존요법
주요 기사: 실존요법
참고 항목: 다신분석과 하이데거어 용어

실존요법은 다세인(또는 비인세계의 존재)의 다음과 같은 하위차원들을 이용한다.

소프트 아키텍처

다음에 대한 시리즈 일부
감정들
Plutchik-wheel.svgPlutchik Dyads.svg
감정들
주요 기사: 구축된 환경
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반권은 신경 신호로 바뀌는 "물리적, 에너지적, 물질적 현상"을 포함한다.[58] 반구권의 일반적인 표현은 우주, 예술 박물관 홀, 또는 마음 궁전이다.[59] 기호학은 다른 많은 분야 중에서도 미학과 건축학을 공부한다.[60]

메트로폴리탄 건축 사무소의 영향을 받아 [61]포스트 모던 플라네유의 한 종류로 활동한 '패타피직 시인 리사 로버슨'[62]은 '감소주의 과학 분석'을 패러디하여 한 도시의 반구권에 대해 연구해 왔다.[63][64] 또 다른 주목할 만한 인물은 에린 무어다.[65]

대기

주요 기사: 대기(건축 및 공간 디자인)
참고 항목: 무드(문학)

소프트 아키텍처의 관찰 중심점은 관찰자의 감각 기관이다.[69] 자기세상은 분위기가 있는 분위기를 가질 수 있다.[70][67][71] 의미는 분위기에서 나올 수 있다.[72]

방

방의 개념은 특정 사회 공간 내 공간의 사회학을 구체적으로 예술적으로 표현한 것으로, 역사적으로 스탠드업 코미디, 쾌락 정원, 횡단 가능한 예술 설치(예술제 내와 마찬가지로)에 사용되어 왔다.[73][74]

정도

영도 반권

반구권의 원점인 '구름 형성의 영역에서 자기 자신을 지각화한다'는 엄웰트는 단조법을 사용하여 인코딩(세미오틱스)과 디코딩(세미오틱스) 과정으로부터 다세미를 이끌어낸다.[48][75][76]

고차원 반공간

주요 기사: 지구촌 및 군집 지능
참고 항목: 다성음(문학)

반구권의 함축은 그 부분의 합보다 더 큰 무언가의 출현이다; 가장 큰 것은 지구촌, 즉 2도 반구가 된다.[77][78][79]

디지털 반권

존 하틀리, 인디렉 이브루스, 마아르자 오자마아는 생물권(Vladimir Vernadsky)과 반권(Juri Lotman)의 원개념에 기초하여 구축하였으며[80], 이를 문화 세계화, 데이터화, 플랫폼화, 미디어화, 디지털 문화의 진화에 관한 연구와 연계하였다. 그들은 어떻게 반구권이 세계적인 통신과 정치적 변동뿐만 아니라 생물권과 지구권 그리고 진화하는 인류세까지 형성하는 인과관계로 보일 수 있는지를 보여주었다.

역사

주요 기사: 생물권, Noosphere 및 로그권
이 주제에 대한 보다 광범위한 내용은 러시아 형식주의를 참조하십시오.

반권이라는 용어는 블라디미르 베르나르스키의 생물권과 누슈의 개념과 미하일 바흐틴의 로그권 개념에 대응하여 주리 롯만이 만든 신조어다. 롯만은 반권 개념이 인간 사이의 모든 관계를 설명할 수 있다고 제안했다.[81][3]

문화적인 기호학에 대한 연구는 반권이라는 개념에 의해 왜곡되었다.[82] 로트먼은 생물권에서 반구권을 추출하는 데 어려움을 겪었다.[83] 로트먼은 반공간을 여성적이고 불활성으로 특징지으며, 정보를 통해 침투할 필요가 있다.[84]

이 개념은 '마음의 유니버스: 문화의 기호론'(1990년)이라는 제목으로 영어로 출판된 롯만의 저술집에서도 보다 충분히 다루어지고 있다.

토론

Kalevi Kull은 이 제안이 환경에 있는 유기체의 행동의 산물이 될 수 있는 반증의 본질과 일치하지 않는다고 주장한다. 반구권의 구성 요소가 되는 표지를 만드는 것은 유기체들이다. 이는 기존 환경에 대한 적응이 아니라 새로운 환경의 지속적인 창출이다. 쿨은 호프마이어의 관점을 생물학에서 전통적으로 사용되고 있는 만큼 생태적 틈새 개념에 대한 비유로만 받아들일 수 있어 엄벨트의 건축을 책임지는 과정에 대한 기호학적 이해에 따라 공동체가 발전한다는 입장이다.

토론 참고 문헌 목록

  • Kull, Kalevi. "반증, 엄웰트, 반권"에 대해. 세미오티카 120(3/4) 페이지 299–310(1998)
  • 로트만, 유리 M. "마음의 유니버스: 문화에 대한 기호론"(A에 의해 번역됨) 슈크만) (1990)런던 & 뉴욕: I. B. 타우리스 주식회사
  • 로트먼, 유리 M. "오 세미오페어" Sign Systems Studies (Trudy po znakovim sistemam) vol. 17, 페이지 5–23. (1984)
  • 로트만, 주리 온 세미스피어. (Wilma Clark에 의해 번역됨) 시그널 시스템 연구, 33.1 (2005)
  • 타타루, 루드밀라, 호세 앙헬 가르시아 란다(에드스). Семиосфера нарратологии: диалог языков и культур / Semiosphere of Narratology: A Dialogue of Languages and Cultures. 발라쇼프: 니콜라예프. (2013년)

참고 항목

추가 읽기

  • Robertson, Lisa (2011). Occasional Work and Seven Walks from the Office for Soft Architecture (3rd ed.). Coach House Books. ISBN 978-1552452325.[85]

참조

  1. ^ Alexandrov, Vladimir E. (2000). "Biology, Semiosis, and Cultural Difference in Lotman's Semiosphere". Comparative Literature. 52 (4): 339–362. doi:10.2307/1771352. JSTOR 1771352. Retrieved 11 May 2021. [']The semiosphere is that semiotic space outside of which the very existence of semiosis is impossible'.
  2. ^ Steiner, Lina (2003). "Toward an Ideal Universal Community: Lotman's Revisiting of the Enlightenment and Romanticism". Comparative Literature Studies. Penn State University Press. 40 (1): 37–53. doi:10.1353/cls.2003.0010. JSTOR 40247371. Retrieved 11 May 2021. It is important that we see the semiosphere not merely as a network of human and artificial intelligence, a kind of world-wide technological exchange but, in keeping with Lotman's view, as a membrane of human conscious acts, which makes communication possible, but cannot be reduced to mere communication and exchange of 'know how.'
  3. ^ a b Mandelker, Amy (1994). "Semiotizing the Sphere: Organicist Theory in Lotman, Bakhtin, and Vernadsky". PMLA. Cambridge University Press. 109 (3): 385–396. doi:10.2307/463075. JSTOR 463075. Retrieved 11 May 2021. Lotman's semiosphere derives from Mikhail Bakhtin's logosphere, itself adapted from ... Vladimir Vernadsky's notion of the biosphere. ... Lotman acknowledges his debt to Bakhtin's suggestive notion of the 'logosphere,' that 'dialogic sphere where the word exists' ... (Bakhtin, 'From Notes' 150[).] ... Vernadsky's ecological theory embeds humanity in the biosphere by positing conscious thought on the planet as a distinct geological force—the 'noosphere' (named from the Greek vóoç 'mind').
  4. ^ Alter, Joseph S. (2015). "Gattungswesen - The Ecology of Species-Being: Alienation, Biosemiotics, and Social Theory". Anthropos. Nomos Verlagsgesellschaft mbH. 110 (2): 515–531. doi:10.5771/0257-9774-2015-2-515. JSTOR 43861976. Retrieved 11 May 2021. By definition social reality is epiphenomenal and abstracted from meaning rather than phenomenological, and thereby dependent on meaning and on communication that is limited to the production and reproduction of meaning in relation to itself ... Any environment accommodates numerous organisms, and the plurality of Umwelt in communication constitutes a semiosphere. Semiospheres are emergent systems structured by the triadic logic of signs rather than ecological niches structured by adaptive mechanisms.
  5. ^ Dickinson, Adam (2011). "Pataphysics and Biosemiotics in Lisa Robertson's Office for Soft Architecture". Interdisciplinary Studies in Literature and Environment. Oxford University Press. 18 (3): 615–636. doi:10.1093/isle/isr084. JSTOR 44087009. Retrieved 11 May 2021. Pataphysical poetics push social constructionism to the extreme, parodying it not as a means of undermining it, but of expressing the contingencies and interconnections in the overlapping worlds of signification that constitute cultural and biological environments. ... Biosemiotics proposes the primacy of the 'semiosphere' over the biosphere; it is concerned with living systems as nested sets of surfaces. The surface is where multiple signaling processes act on the cell membrane according to contextual recognition.
  6. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 33. ISBN 0-8020-8472-9. Our intuition of reality is a consequence of a mutual interaction between the two: Jakob von Uexküll's private world of elementary sensations (Mkzeichen, 'perceptual signs') coupled to their meaningful transforms into action impulses (Wirkzeichen, 'operation signs') ; and the phenomenal world (Umwelt), that is, the subjective world each animal models out of its 'true' environment (Natur, 'realiy'), which reveals itself solely through signs.
  7. ^ [1][2][3][4][5][6]
  8. ^ Bakker, J. I. (Hans) (2011). "The 'Semiotic Self': From Peirce and Mead to Wiley and Singer". The American Sociologist. 42 (2/3): 187–206. doi:10.1007/s12108-011-9140-3. JSTOR 41485707. S2CID 143416139. Retrieved 3 June 2021. The ontic Reality (which does exist, but is forever unknowable) ... [t]here is a Kantian epistemological gap between the ontic Reality and the semiotic sign system that attempts to grasp that elusive Reality
  9. ^ Denzin, Norman K. (1987). "On Semiotics and Symbolic Interactionism". Symbolic Interaction. 10 (1): 1–19. doi:10.1525/si.1987.10.1.1. JSTOR 10.1525/si.1987.10.1.1. Retrieved 25 May 2021. Paraphrasing Sausure (1959, p. 16), it is the task of the symbolic interactionist to determine the exact place of semiotics in social psychology.
  10. ^ Nadin, Mihai (March 1986). Can Field Theory be Applied to the Semiotics of Communication? (Thesis). Staats- und Universitaetsbibliothek Bremen. Retrieved 29 May 2021. Field Theory can be applied to the whole domain as well as to the study of communication and signification.
  11. ^ Alexandrov, Vladimir E. (2000). "Biology, Semiosis, and Cultural Difference in Lotman's Semiosphere". Comparative Literature. 52 (4): 339–362. doi:10.2307/1771352. JSTOR 1771352. Retrieved 11 May 2021. Lotman's metaphor diverges from actual biological praxis, in which procedures analogous to the hermeneutic circle are the norm (Wilson 211). ... If Shweder's hypothesis is correct, Lotman's conception of the self as a monad may indeed have universal, albeit circumscribed, validity because it may account for the earliest stages of human development.
  12. ^ Zylko, Boguslaw (2001). "Culture and Semiotics: Notes on Lotman's Conception of Culture". New Literary History. The Johns Hopkins University Press. 32 (2): 391–408. doi:10.1353/nlh.2001.0024. JSTOR 20057664. S2CID 143028763. Retrieved 11 May 2021. Both notions presuppose that semiosphere is separated from the external space surrounding it; hence the great importance of the notion of boundary. ... it acts as a special filter, a device selectively letting in texts from other culture-domains, as well as nontexts. ... messages from the outside have to force their way through to become facts of a given semiosphere.
  13. ^ Maran, Timo; Kull, Kalevi (2014). "Ecosemiotics: Main Principles and Current Developments". Geografiska Annaler: Series B, Human Geography. 96 (1): 41–50. doi:10.1111/geob.12035. JSTOR 43299746. S2CID 145068550. Retrieved 11 May 2021. The consideration of geographic space or landscape as a text (Duncan 1992; Spirn 1998) is also an instance of semiotic approach.
  14. ^ Dümling, Sebastian (2016). "Killing Fear by Killing Time: Stoker's Dracula as an Epochal Conflict Narrative". Narrative Culture. Wayne State University Press. 3 (2): 180–205. doi:10.13110/narrcult.3.2.0180. JSTOR 10.13110/narrcult.3.2.0180. Retrieved 11 May 2021. At the center of his theory of cultural semiotics stands the assumption that every narration is provoked by the transgression of borders. Lotman expands this basic consideration, influenced by Russian formalism, to claim that every narrative transgression is simultaneously a cultural transgression
  15. ^ Steiner, Lina (2003). "Toward an Ideal Universal Community: Lotman's Revisiting of the Enlightenment and Romanticism". Comparative Literature Studies. Penn State University Press. 40 (1): 37–53. doi:10.1353/cls.2003.0010. JSTOR 40247371. Retrieved 11 May 2021. New information in the semiosphere can be produced only as a result of a dialogue between different codes, by which he [Lotman] understands not simply different human or artificial languages, but different ways of organizing reality into coherent cognitive structures
  16. ^ Otálora-Luna, Fernando; Aldana, Elis (2017). "The beauty of sensory ecology". History and Philosophy of the Life Sciences. Stazione Zoologica Anton Dohrn - Napoli. 39 (3): 20. doi:10.1007/s40656-017-0149-y. JSTOR 26449828. PMID 28799070. S2CID 12202657. Retrieved 11 May 2021. Symbols take form from external objects; the manner in which we form them is such that the apparent becomes material. ... Symbols are a simplified and sometimes banal representation of reality.
  17. ^ Mick, David Glen (1986). "Consumer Research and Semiotics: Exploring the Morphology of Signs, Symbols, and Significance". Journal of Consumer Research. Oxford University Press. 13 (2): 196–213. doi:10.1086/209060. JSTOR 2489226. Retrieved 12 May 2021. A paradigm in the Saussurean sense is a set of signs ... There are different kinds of signs by virtue of their relations with their objects (e.g., icons, indexes, symbols); signs also relate to their interpretants in various ways (e.g., deductively, inductively, abductively). Since signs cannot function independently, the systemic structural level of sign relations is focused upon as codes with underlying rules.
  18. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. pp. 9–11. ISBN 0-8020-8472-9. The first type of sign is the symptom. ...A second type of sign is the signal. ...The next three types of signs are taken from Peirce's classification of signs as icons, indexes, and symbols. ...The sixth, and final, type of sign to be discussed in this book is the name.
  19. ^ Lefebvre, Henri (2002) [1974]. The Production of Space. Translated by Nicholson-Smith, Donald. Blackwell Publishing. p. 142. ISBN 0-631-18177-6. Semiology [semiotics] is also the source of the claim that space is susceptible of a 'reading,' and hence the legitimate object of a practice (reading/writing). The space of the city is said to embody a discourse, a language.
  20. ^ [11][12][13][14][15][16][17][18][19]
  21. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 34. ISBN 0-8020-8472-9. In brief, the brain, or mind, which is itself a system of signs, is linked to the putative world of objects, not simply by perceptual selection, but by such a far-of remove from physical inputs - sensible stimuli - that we can safely assert that the only cognizance any animal can possess, 'through a glass, darkly,' as it were, is that of signs.
  22. ^ Bakhtin, Mikhail Mikhailovich (2020) [1981]. "Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics". In Holquist, Michael (ed.). The Dialogic Imagination: Four Essays. Slavic Series, NO. 1. Translated by Emerson, Caryl; Holquist, Michael. Austin, Texas, USA: University of Texas Press. p. 84. ISBN 978-0-292-71534-9. What counts for us is the fact that it expresses the inseparability of space and time (time as the fourth dimension of space).
  23. ^ Merrifield, Andrew (26 June 1993). "Place and Space: A Lefebvrian Reconciliation". Transactions of the Institute of British Geographers. The Royal Geographical Society (with the Institute of British Geographers). 18 (4): 516–531. doi:10.2307/622564. ISSN 0020-2754. JSTOR 622564. Retrieved 4 May 2021. Drawing upon French philosopher and literary critic, Paul Ricœur, [J. Nicholas] Entrikin argues that the key element straddling this relationship — or 'getting between' place — is the process of emplotment (25). This is a form of narrative which gives structure to the particular connections people have with places … But all of this begins with a tacit assumption that place is dualistic to begin with
  24. ^ Fouad, Jehan Farouk; Alwakeel, Saeed (2013). "Representations of the Desert in Silko's 'Ceremony' and Al-Koni's 'The Bleeding of the Stone'". Alif: Journal of Comparative Poetics. 33 (The Desert: Human Geography and Symbolic Economy): 36–62. JSTOR 24487181. Retrieved 17 May 2021. The connection between 'place' and 'metaphor' is evident. Paul Ricœur remarks that 'as figure, metaphor constitutes a displacement and an extension of the meaning of words; its explanation is grounded in the theory of substitution ' (The Rule of Metaphor 3; italics added).
  25. ^ Moorjani, Angela (2000). "Peirce and Psychoptagmatics: Semiosis and Performativity". In Muller, John; Brent, Joseph (eds.). Peirce, Semiotics, and Psychoanalysis. Psychiatry and the Humanities. 15. The Johns Hopkins University Press. p. 117. ISBN 0-8018-6288-4. Regarding the precursors that Peirce and Freud have in common for their conceptions of psychic semiosis... the psychological associationists, particularly Johann Friedrich Herbart... David Hume... nineteenth-century thinkers, writers, and artists whose works give evidence of and understanding of the unconscious... the romantics and symbolists; Kant and the German idealist philosophers, especially Schelling and Schopenhauer... Gustav Theodor Fechner... [and] Wilhelm Wundt[.]
  26. ^ Deleuze, Gilles; Guattari, Félix (2009) [1965]. Anti-Oedipus: Capitalism and Schizophrenia. Translated by Hurley, Robert; Seem, Mark; Lane R., Helen. Penguin Books. p. 128. ISBN 978-0-14-310582-4. [W]hat remains common to Freud and Jung: the unconscious [is] always measured against myths[.]
  27. ^ Denzin, Norman K. (1987). "On Semiotics and Symbolic Interactionism". Symbolic Interaction. 10 (1): 1–19. doi:10.1525/si.1987.10.1.1. JSTOR 10.1525/si.1987.10.1.1. Retrieved 25 May 2021. Barthes ([1957] 1972, pp. 11, 109-110) defines myth as a type of speech or discourse that draws from everyday life. Myths are reflected in newspaper articles, in photographs, films, and in advertisements. Myths, for Barthes, are semiological systems that tell a story, while veiling or hiding particular meanings. Myths, or mythologies, are based on everyday phenomenon [sic]. They constitute language systems, with their own codes and structures of meaning.
  28. ^ Wiley, Norbert (1994). The Semiotic Self. Chicago: The University of Chicago Press. pp. 25–27, 43. ISBN 0-226-89816-4. Action can go on only in the present, not in the future or past. Since speech is action...only the I can speak. ...This gives the structure of the self three parts…: the past-me-object; the present-I-sign; and the future-you-interpretant. Metaphorically I am viewing this structure as a 'container,' within which there are 'contents.'...This containment, however, is not physical or spatial but semiotic and meaningful. ...when the I speaks it has two objects: the direct object or you, and the reflexive object or me.
  29. ^ Mead, George Herbert (2015) [1934]. Mind, Self & Society. Chicago: The University of Chicago Press. pp. 179, 181. doi:10.7208/chicago/9780226112879.001.0001. ISBN 978-0-226-11273-2. This process of relating one's own organism to the others in the interactions that are going on, in so far as it is imported into the conduct of the individual with the conversation of the 'I' and the 'me,' constitutes the self. ...We are taking the attitude of the community and we are responding to it in this conversation of gestures. The gestures in this case are vocal gestures. They are significant symbols, and by symbol we do not mean something that lies outside of the field of conduct.
  30. ^ Blumer, Herbert (1998) [1969]. "Psychological Import of the Human Group". Symbolic Interactionism: Perspective and Method. Berkeley and Los Angeles, CA: University of California Press. pp. 109, 111. ISBN 978-0-520-05676-3. Each person has to view the conduct of the other in some degree from the standpoint of the other. One has to catch the other as a subject, or in terms of his being the initiator and director of his acts; thus one is led to identify what the person means, what are his intentions and how he may act. ...George Herbert Mead has sketched what I think are the basic features of this self-interaction in his classic discussion of the relation between the 'I' and the 'Me.'
  31. ^ Denzin, Norman K. (1987). "On Semiotics and Symbolic Interactionism". Symbolic Interaction. 10 (1): 1–19. doi:10.1525/si.1987.10.1.1. JSTOR 10.1525/si.1987.10.1.1. Retrieved 25 May 2021. Perinbanayagam (1985, pp. 9-10, 39-52, 84-100) offers the most advanced dramaturgical theory of those human social acts that produce meaning. ...Drawing on Mead ...Incorporating elements of Chomsky’s theory of syntax ...incorporates Kenneth Burke’s pentad (act, scene, agent, agency, and purpose) is then put forth.
    Perinbanayagam’s view of the sign and the signifying act may be diagrammed as follows:
    Signifying Act: Sign: Symbolic Meaning⁄Vocal Gesture Meaning⁄Object
  32. ^ Wiley, Norbert (1994). The Semiotic Self. Chicago: The University of Chicago Press. pp. 81–82. ISBN 0-226-89816-4. Mead was less standardized [than 'Pierce’s sign—interpretant—object'] in his terminology, but his most common statement of the inner triad was in terms of 'gestures,' a concept that allowed him to combine animal and human communication. ...For Mead the three parts of the inner triad were: the gesture of the first organism; the responding gesture of the second organism; and the 'resultant' of the social act. ...[which may be] the (Piercean) object of the two gestures, which Mead calls the 'denotation'...[it may be] the concept corresponding to the object which he [Mead] calls the 'connotation'...the combination or synthesis of the two gestures...[or further] subsequent conversation or social action [that] might transpire between the two organisms.
  33. ^ Alexander, Lily (2007). "Storytelling in Time and Space: Studies in the Chronotope and Narrative Logic on Screen". Journal of Narrative Theory. 37 (1): 27–64. doi:10.1353/jnt.2007.0014. JSTOR 41304849. S2CID 162336034. Retrieved 17 May 2021. chronotope (literally 'time-space'—representation and conceptualization of the artistic time and space, derived by Bakhtin from Einstein’s theory of relativity) …This type of narrative time-space …are associated with the trials, sufferings and tests one cannot avoid on a difficult journey.
  34. ^ Crichfield, Grant (1991). "Bakhtin's Chronotope and the Fantastic: Gautier's 'Jettatura' and 'Arria Marcella'". Journal of the Fantastic in the Arts. 4 (3): 25–39. JSTOR 43308108. Retrieved 17 May 2021. Bakhtin states that the chronotope, or conjunction of time and space, is a 'formally constitutive category' (84) of literature ...According to Bakhtin, the chronotope's central role in literature derives from the fact that, in order to be communicated and understood by others, any meaning must take on the form of a sign, or temporal-spatial expression that is audible and visible to us. 'Consequently, every entry into the sphere of meanings is accomplished only through the gates of the chronotope' (258).
  35. ^ Morson, Gary Saul (1993). "Strange Synchronies and Surplus Possibilities: Bakhtin on Time". Slavic Review. Cambridge University Press. 52 (3): 477–493. doi:10.2307/2499720. JSTOR 2499720. Retrieved 18 May 2021. Generally speaking, literary structure is not neutral with respect to philosophies of time. It strongly favors closed temporalities. It is therefore comparatively easy and common to make the shape of a work reinforce a fatalistic or deterministic view of time ...Such repetitions happen forward, not backward, and they require no underlying structure; but once they happen, they can always be narrated as if a plan were simply revealed over time. In fact, the conventions of narrative favor such a presentation, because narratives are told after the fact. To repeat: narratives are predisposed to understanding in terms of structure.
  36. ^ Spinoza, Benedict (1994). Curley, Edwin (ed.). A Spinoza Reader: the Ethcs and other works. Princeton University Press. p. 189. ISBN 0-691-00067-0. primary, affects: joy, sadness, and desire
  37. ^ Mutnick, Deborah (2006). "Time and Space in Composition Studies: 'Through the Gates of the Chronotope'". Rhetoric Review. 25 (1): 41–57. doi:10.1207/s15327981rr2501_3. JSTOR 20176698. S2CID 145482670. Retrieved 18 May 2021. A text, writes Bakhtin, occupies 'a certain specific place in space [...and] our acquaintance with it occurs through time' (252). ...In Bakhtin's words: 'Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history' (84).
  38. ^ a b Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. pp. 457–458. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. The discipline has been further developed by Jesper Hoffmeyer's argument for the primacy of the 'semiosphere' (or the world of signs and signification) over the biosphere, as well as the primacy of the sign over the molecule. ... A human body, Hoffmeyer notes, is made up of about thirty square kilometres of membrane structure. It makes more sense, he argues, to locate human personhood not in the brain but in the skin, which is the fundamental locus of sensory interpretation
  39. ^ a b Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. pp. 458, 461. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. A human body, Hoffmeyer notes, is made up of about thirty square kilometres of membrane structure. It makes more sense, he argues, to locate human personhood not in the brain but in the skin, which is the fundamental locus of sensory interpretation. ... In [Lisa Robertson’s] the 'Sixth Walk,' she confesses a desire to know her guide, which is a wish to know the mechanism of interpretation through which her ambulatory encounters with the city have been framed. The guide, a pastoral architect, is literally a skin, a membrane that helps determine significance for the narrator.
  40. ^ Bakhtin, Mikhail Mikhailovich (2020) [1981]. "Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics". In Holquist, Michael (ed.). The Dialogic Imagination: Four Essays. Slavic Series, NO. 1. Translated by Emerson, Caryl; Holquist, Michael. Austin, Texas, USA: University of Texas Press. pp. 100, 141. ISBN 978-0-292-71534-9. Separate adventures, complete in themselves, are also interchangeable in time, for adventure-time leaves no defining traces and is therefore in essence reversible. The adventure chronotope is thus characterized by a technical, abstract connection between space and time, by the reversibility of moments in a temporal sequence, and by their interchangeability in space. ...the degree of specificity and concreteness of this world is necessarily very limited. ...Every concretization, of even the most simple and everyday variety, would introduce its own rule-generating force, its own order, its inevitable ties to human life and to the time specific to that life. ...Biographical time is not reversible vis-à-vis the events of life itself, which are inseparable from historical events. But with regard to character, such time is reversible[.]
  41. ^ Uexkül, Jakob von (2010) [1934]. A foray into the worlds of animals and humans ; with, A theory of meaning [Streifzüge durch die Umwelten von Tieren und Menscen]. Posthumanities. Translated by O’Neil, Joseph D. Minneapolis: University of Minnesota Press ed. p. 125. ISBN 978-0-8166-5900-5. There are thus purely subjective realities in environments. But the objective realities of the surroundings never appear as such in the environments. They are always transformed into perception marks or perception images and equipped with an effect tone which only then makes them into real objects even though no part of the effect tone is present in the stimuli.
  42. ^ Lewis, Amelia (2 November 2020). "Total Umwelten Create Shared Meaning the Emergent Properties of Animal Groups as a Result of Social Signalling". Biosemiotics. 13 (3): 431–441. doi:10.1007/s12304-020-09395-8. [T]he Umwelt can be viewed as a cognitive construct within the semiosphere.
  43. ^ Scupham, Hannah (2018). "Sensational Umwelten: The Woman in White and Semiotics". The Wilkie Collins Journal. Wilkie Collins Society. 15: 1–17. JSTOR 26996121. Retrieved 29 May 2021. As cultural biosemiotician Wendy Wheeler writes, '[a]n organism's Umwelt is, therefore, what signifies for it; and through it, it perceives stimuli and responds to them. An Umwelt, in other words, is a space of semiosis' (The Whole Creature 103).
  44. ^ Mick, David Glen (1986). "Consumer Research and Semiotics: Exploring the Morphology of Signs, Symbols, and Significance". Journal of Consumer Research. Oxford University Press. 13 (2): 196–213. doi:10.1086/209060. JSTOR 2489226. Retrieved 12 May 2021. Pierce's semiotics is a doctrine of experience—indeed, a phenomenological doctrine of consciousness (Zeman 1977). But for Pierce and his man-as-sign conclusion, consciousness is of signs only; it cannot obtain an indubitable science of reality.
  45. ^ Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. p. 442. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. Jakob von Uexküll (1864–1944), and his emphasis on the distinct Umwelt (self-world, or subjective universe) of living things.
  46. ^ Kull, Kalevi (1998). "Semiotic ecology: different natures in the semiosphere". Retrieved 12 May 2021. J. V. Uexküll with his notion of Umwelt has emphasised that every organism has its own subjective environment, which is different from any other, and in the case of different species of animals these differences can be very large. Cite 저널은 필요로 한다. journal= (도움말)
  47. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 7. ISBN 0-8020-8472-9. Messages can be constructed on the basis of single signs or, more often than not, as combinations of them. The latter are known as texts. A text constitutes, in effect, a specific 'weaving together' of signs in order to communicate something. The signs that go into the make-up of texts belong to specific codes.
  48. ^ a b Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. pp. 447–448. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. In an accompanying note to a diagram of cryometric forms, Bök writes: 'Semiotic saturation increases from a solid state of monosemy to a fluid state of polysemy until meaning etherealizes itself in the region of cloud formation.'
  49. ^ Lewis, Amelia (2 November 2020). "Total Umwelten Create Shared Meaning the Emergent Properties of Animal Groups as a Result of Social Signalling". Biosemiotics. 13 (3): 431–441. doi:10.1007/s12304-020-09395-8. The signs and the sensory and cognitive processes form the individual's Umwelt, which gives a sign meaning to the interpreter. Clearly, part of an individual's Umwelt comprises signals from other individuals, but it is also comprised of signs in the form of inanimate objects and energy in the semiosphere.
  50. ^ [41][42][43][44][45][46][47][48][49]
  51. ^ Alter, Joseph S. (2015). "Gattungswesen - The Ecology of Species-Being: Alienation, Biosemiotics, and Social Theory". Anthropos. Nomos Verlagsgesellschaft mbH. 110 (2): 515–531. doi:10.5771/0257-9774-2015-2-515. JSTOR 43861976. Retrieved 11 May 2021. Jesper Hoffmeyer's understanding of biosemiotics, modeled in terms of parasitism, provides a way to conceptualize a conscience collective of organic animalism that is structured by communication and social reality, but not by the logic of alienation that extends from language through to a conceptualization of nature and culture in terms of Cartesian duality.
  52. ^ Lewis, Amelia (2 November 2020). "Total Umwelten Create Shared Meaning the Emergent Properties of Animal Groups as a Result of Social Signalling". Biosemiotics. 13 (3): 431–441. doi:10.1007/s12304-020-09395-8. According to the definition offered by Hoffmeyer (1998), the term 'semiosphere' describes the dimension where signs occur and can be detected and/or relayed as signals. The concept of the semiosphere can thus be extended to cover all aspects of semiosis and is no longer restricted to linguistics (Kotov and Kull 2011).
  53. ^ Lewis, Amelia (2 November 2020). "Total Umwelten Create Shared Meaning the Emergent Properties of Animal Groups as a Result of Social Signalling". Biosemiotics. 13 (3): 431–441. doi:10.1007/s12304-020-09395-8. Interruptions between an individual's Umwelt and the semiosphere include, for example; sensory impairment, cognitive impairment, chance occurrence and epigenetic factors.
  54. ^ Herrera, Eduardo Chávez (2013). "On the Semiotics of Tea". Chinese Semiotic Studies. 9 (9): 96–125. doi:10.1515/css-2013-0109. S2CID 199665381. Retrieved 17 May 2021. Thus, the semiosis of tea may be explained by means of textual and dialectic processes that take place only inside of the semiotic space. Inside the semiosphere, tea was an early mythological characterization that recalls an opening text: a metatext that performs a metalinguistic function with respect to the other texts that form part of the semiosphere. Tea, in the first instance, is codified under the mythological consciousness, which is oriented towards mythopoetics.
  55. ^ Uexkül, Jakob von (2010) [1934]. A foray into the worlds of animals and humans ; with, A theory of meaning [Streifzüge durch die Umwelten von Tieren und Menscen]. Posthumanities. Translated by O’Neil, Joseph D. Minneapolis: University of Minnesota Press ed. pp. 54, 63. ISBN 978-0-8166-5900-5. Using our hand, we find our way in a space that one can designate the free space of our movements, or, in other words, our effect space [Wirkraum]. ... UNLIKE EFFECT SPACE AND TACTILE SPACE, visual space is walled about by an impenetrable wall, which we shall call the horizon or farthest plane.
  56. ^ Faudree, Paja (2012). "Music, Language, and Texts: Sound and Semiotic Ethnography". Annual Review of Anthropology. Annual Reviews. 41: 519–536. doi:10.1146/annurev-anthro-092611-145851. JSTOR 23270725. Retrieved 26 May 2021. Several anthropologists of music have recently called for greater focus on neglected sonic dimensions of social experience through multisensory ethnography...(Porcello et al. 2010, Samuels et al. 2010). These authors advocate research oriented toward the 'soundscape' concept, designed to 'contain everything to which the ear [is] exposed in a given sonic setting[']
  57. ^ Daws, Loray; Craig, Erik (2019). "Key Texts in Daseinsanalysis". In Deurzen, Emmy van; Craig, Erik; Längle, Alfried; Schneider, Kirk J.; Tantam, Digby; Plock, Simon du (eds.). The Wiley World Handbook of Existential Therapy. NJ, USA: Wiley Blackwell. p. 95. ISBN 9781119167150. Lebenswelt (lived world/world design), Sorge (care), thrownness (non-chosen world engagement), our established social orders (Mitwelt or fate-world)...our fallenness in relationship to the physical world (Umwelt), social world (Mitwelt), and personal world of self-relatedness (Eigenwelt)[.]
  58. ^ Lewis, Amelia (2 November 2020). "Total Umwelten Create Shared Meaning the Emergent Properties of Animal Groups as a Result of Social Signalling". Biosemiotics. 13 (3): 431–441. doi:10.1007/s12304-020-09395-8. The semiosphere is distinct from Umwelten, because the former is made up of physical, energetic and material phenomena, including electromagnetic radiation, sound waves, mechanical forces and chemical signs, which are translated to neural signals by the sensory apparatus of organisms (Lewis, 2020).
  59. ^ Duan, Lian (10 November 2018). "Semiosphere and Solitary World: A semiotic study of Chinese landscape painting" (PDF). Chinese Semiotic Studies. 14 (4): 457–481. doi:10.1515/css-2018-0026. S2CID 134551586. Retrieved 17 May 2021. Umberto Eco preferred this analogy and used it in his 'Introduction' to Lotman’s Universe of the mind: Imagine a museum hall, in which art works from different periods are exhibited, along with inscriptions in different languages; in the meantime, there are visitors and museum staff in the hall preparing guided tours, with all kinds of reference materials (Lotman 2000: xii). To the best of my understanding of the museum analogy, semiosphere is a mega-structure (the museum hall), comprising various sign systems (galleries for the art of different periods); the interactions among them and the interactions between them and the mega-structure make the systems work, and make the semiosphere function. Probably this is why Lotman used the term 'universe' to refer to the semiosphere, since it works like a galaxy that consists of a solar system and other systems.
  60. ^ Schielke, Thomas (2019). "The Language of Lighting: Applying Semiotics in the Evaluation of Lighting Design". LEUKOS. 15 (2–3): 227–248. doi:10.1080/15502724.2018.1518715. ISSN 1550-2724. Semiotics has mainly been influenced by linguistics and was later applied to aesthetics and visual communication like architecture, painting, or film. ... For the architectural sign, the behavioristic, dyadic, glossematic, and triadic sign models play a central role (Nöth 1990).
  61. ^ Schmidt, Christopher (2014). "The Utopian Textures of Lisa Robertson's Soft Architecture". Reading the Difficulties: Dialogues with Contemporary American Innovative Poetry. The University of Alabama Press. p. 147. ISBN 9780817387204. Embedded in the playful heteronym used throughout the book, 'Office for Soft Architecture' (inspired by architect Rem Koolhaas's Office for Metropolitan Architecture), is Robertson's belief that the hard structural form of a building, city, or poem is less important than the 'soft' environment created by its surface effects.
  62. ^ Schmidt, Christopher (2014). "The Utopian Textures of Lisa Robertson's Soft Architecture". Reading the Difficulties: Dialogues with Contemporary American Innovative Poetry. The University of Alabama Press. p. 152. ISBN 9780817387204. Robertson's soft architecture—not so much a bounded place as a poetic-intellectual approach to the sediments and ruins of urban facades—updates flânerie to the 21st-century global metropolis. The flâneuse archly observes patterns of consumption while remaining herself an arbiter of surface; the soft architect is similarly interested in the surface but attends to the waste and excess that might resist the 'utopia of the new.'
  63. ^ Dickinson, Adam (2011). "Pataphysics and Biosemiotics in Lisa Robertson's Office for Soft Architecture". Interdisciplinary Studies in Literature and Environment. Oxford University Press. 18 (3): 615–636. doi:10.1093/isle/isr084. JSTOR 44087009. Retrieved 11 May 2021. By expanding Umwelten, [Lisa] Robertson's poetics enact communicative complexity. ... Her research into these sites is deeply concerned with the 'aboutness' of information in the semiosphere of the city.
  64. ^ Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. pp. 440–441. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. Pataphysical poets employ methodological constraints in experimental poetic composition in order to parody reductionist scientific analysis and to complicate questions of perspective and meaning. ... Pataphysical poetics push social constructionism to the extreme, parodying it not as a means of undermining it, but of expressing the contingencies and interconnections in the overlapping worlds of signification that constitute cultural and biological environments
  65. ^ Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. p. 444. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. The pataphysics of Robertson and Mouré engage the environment, not according to the objective realism of scientific materialism, but rather as a complex set of semiotic relationships where diverse forms of signification and alternative realities interact.
  66. ^ Schmidt, Christopher (2014). "The Utopian Textures of Lisa Robertson's Soft Architecture". Reading the Difficulties: Dialogues with Contemporary American Innovative Poetry. The University of Alabama Press. p. 148. ISBN 9780817387204. The relationship between structure and skin is similarly developed in Robertson's work when, for example, she describes the Rubus armeniacus as: 'an exemplary political decoration, a nutritious ornament that clandestinely modifies infrastructural morphology' (112) ... The clandestine subject most often is some version of soft architecture, for in 'Occasional Work', Robertson considers the most ornamental of possible subjects: color, clothing, furniture, and fountains.
  67. ^ a b Petty, Margaret Maile (2012). "Curtains and the Soft Architecture of the American Postwar Domestic Environment" (PDF). Home Cultures. 9 (1): 35–56. doi:10.2752/175174212X13202276383779. S2CID 114998722. Retrieved 16 May 2021. [L]ighting techniques could also have a 'psychological effect,' creating 'reassuring' and 'less formal' spaces—characteristics typically expected of the domestic environment. Color choice, Kelly advised, also affected the mood or psychological conditions of the interior. ... The lack of scholarly attention given to the soft architecture of the domestic environment—including window treatments, textiles, interior finishes, and electric lighting—is surprising, given the significance it holds in the design and experience of the modern interior.
  68. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 23. ISBN 0-8020-8472-9. All organisms communicate by use of models (Umwelts, or self-worlds, each according to its species-specific sense organs)
  69. ^ [39][66][67][68]
  70. ^ Mead, George Herbert (2015) [1934]. Mind, Self & Society. Chicago: The University of Chicago Press. pp. 166, 184. doi:10.7208/chicago/9780226112879.001.0001. ISBN 978-0-226-11273-2. Occasionally we have experiences which we say belong to the atmosphere. The whole world seems to be depressed, the sky is dark, the weather is unpleasant, values that we are interested in are sinking. We do not necessarily identify such a situation with the self; we simply feel a certain atmosphere about us. ...There are other experiences which we may at all times identify with selves. We can distinguish, I think, very clearly between certain types of experience, which we call subjective because we alone have access to them, and that experience which we call reflective. ...The physical object is an abstraction which we make from the social response to nature. We talk to nature; we address the clouds, the sea, the tree, and objects about us. We later abstract from that type of response because of what we come to know of such objects. The immediate response is, however, social; where we carry over a thinking process into nature[,] we are making nature rational.
  71. ^ Kress, Gunther; Leeuwen, Theo Van (1 October 2002). "Colour as a semiotic mode: notes for a grammar of colour". Visual Communication. 1 (3): 343–368. doi:10.1177/147035720200100306. S2CID 14442587. Retrieved 17 May 2021. Saturation…Its key affordance lies in its ability to express emotive 'temperatures', kinds of affect.
  72. ^ Schielke, Thomas (2019). "The Language of Lighting: Applying Semiotics in the Evaluation of Lighting Design". LEUKOS. 15 (2–3): 227–248. doi:10.1080/15502724.2018.1518715. ISSN 1550-2724. Semiotics became useful for analyzing stage lighting and the communication between the performer and the audience and to identify lighting signs associated with productions (Moran 2007).
  73. ^ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy" (PDF). University of Kent, UK. Participations: Journal of Audience & Reception Studies. 8 (2): 220. Retrieved 27 December 2020. The term 'room' means more than just the physical space in which the performance takes place; it is the term used to summarise a combination of factors which include the nature of the space, the way that space is set up, the character of the audience and more.
  74. ^ Robertson, Lisa (2011) [2000]. "Arts and Crafts in Burnaby: A Congenial Soil". Occasional work and seven walks from the Office for Soft Architecture. Vancouver, BC: Coach House. p. 88. ISBN 978-1-55245-232-5. Gardens were organized spatially as themed 'rooms' that were 'furnished' with urns, statues and specimen trees and shrubs. Balustrades, terracing, steps and gates extended the material, social and formal vocabularies of the house into the garden, in a renewed articulation and detailing of garden foreground.
  75. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 31. ISBN 0-8020-8472-9. Human beings are capable of launching an enormous number of novel messages appropriate to an indefinite variety of contexts ...the message-as-formulated must undergo a transductive operation to be externalized into serial strings appropriate to the channel, or channels, selected to link up with the destination. This neurobiological transmutation from one form of energy to another is called encoding. When the destination detects and extracts the encoded messages from the channel, another transduction, followed by a series of still further transformations, must be effected before interpretation can occur; this pivotal reconversion is called decoding.
  76. ^ Sebeok, Thomas A. (2001). Signs: An Introduction to Semiotics (PDF) (2 ed.). Toronto, Canada: University of Toronto Press Incorporated. p. 40. ISBN 0-8020-8472-9. Linguists who employ the expression 'zero sign' (zero phoneme or allophone, zero morpheme or allomorph, and the like) must mean either 'zero signifier,' or, much more rarely, 'zero signified,' but never both; if taken literally, the notion of a 'zero sign' would be oxymoronic. (On the use of zero in linguistics, see Jakobson 1940, 1966; Frei 1950; Godel 1953; Haas 1957.)
  77. ^ Alexandrov, Vladimir E. (2000). "Biology, Semiosis, and Cultural Difference in Lotman's Semiosphere". Comparative Literature. 52 (4): 339–362. doi:10.2307/1771352. JSTOR 1771352. Retrieved 11 May 2021. Necessarily also implicated in Lotman’s argument is the complementary biological concept of 'emergence,' which holds that the biological entity is greater than the mere sum of its parts.
  78. ^ Zylko, Boguslaw (2001). "Culture and Semiotics: Notes on Lotman's Conception of Culture". New Literary History. The Johns Hopkins University Press. 32 (2): 391–408. doi:10.1353/nlh.2001.0024. JSTOR 20057664. S2CID 143028763. Retrieved 11 May 2021. According to Lotman, dialogue is the universal law which stipulates how semiosphere exists. ... ranging from the individual’s cerebral hemispheres to the cultural contact on the national and international scale ... [a]s a consequence, semiosphere consists of levels, which range from each person's autonomous semiosphere to the overall semiosphere of the contemporary world—what used to be called the global village.
  79. ^ Steiner, Lina (2003). "Toward an Ideal Universal Community: Lotman's Revisiting of the Enlightenment and Romanticism". Comparative Literature Studies. Penn State University Press. 40 (1): 37–53. doi:10.1353/cls.2003.0010. JSTOR 40247371. Retrieved 11 May 2021. He [Lotman] tries to envision a kind of 'second-degree semiosphere' that would encompass all human meanings in a harmonious whole.
  80. ^ Hartley, John; Ibrus, Indrek; Ojamaa, Maarja (2021). On the Digital Semiosphere: Culture, Media and Science for the Anthropocene. New York: Bloomsbury. ISBN 9781501369247.
  81. ^ Alexandrov, Vladimir E. (2000). "Biology, Semiosis, and Cultural Difference in Lotman's Semiosphere". Comparative Literature. 52 (4): 339–362. doi:10.2307/1771352. JSTOR 1771352. Retrieved 11 May 2021. Lotman explains that he based his neologism on the term 'biosphere,' which Vladimir Vernadskii (1863-1945) ... defined as the sum total of all living organisms on the Earth ... The appearance of human beings, whose activity constitutes the 'noosphere' in Vernadskii’s terminology ... Lotman’s concept ... : he intended it to provide nothing less than a semiotic explanation of how all levels of culture work everywhere—from the relations between the hemispheres of the brain, to dialogue, to the production and consumption of cultural artifacts, to large scale changes in national cultures.
  82. ^ Zylko, Boguslaw (2001). "Culture and Semiotics: Notes on Lotman's Conception of Culture". New Literary History. The Johns Hopkins University Press. 32 (2): 391–408. doi:10.1353/nlh.2001.0024. JSTOR 20057664. S2CID 143028763. Retrieved 11 May 2021. The breakthrough took place in his treatise On Semiosphere, a work vital for the development of cultural semiotics.
  83. ^ Mandelker, Amy (1994). "Semiotizing the Sphere: Organicist Theory in Lotman, Bakhtin, and Vernadsky". PMLA. Cambridge University Press. 109 (3): 385–396. doi:10.2307/463075. JSTOR 463075. Retrieved 11 May 2021. In 'On the Semiosphere,' Lotman uses terms of reproductive biology when he discusses how meaning is generated and transmitted. ... [Lotman's interpretation of Vernadsky's biosphere] gains a sacral-sexual character
  84. ^ Mandelker, Amy (1994). "Semiotizing the Sphere: Organicist Theory in Lotman, Bakhtin, and Vernadsky". PMLA. Cambridge University Press. 109 (3): 385–396. doi:10.2307/463075. JSTOR 463075. Retrieved 11 May 2021. Lotman invests the semiosphere with the feminine attributes of passivity and gravidity, characterizing it as inert, a brake on cultural evolution and on the creation of new meaning—an entropic absorber of semiotic energy. Energy is generated outside, and it penetrates the semiosphere, causing 'excitation' of the 'mother text', which then rearranges its constituent elements to give birth to new meanings.
  85. ^ Dickinson, Adam (2013) [2011]. "Poetics of the Semiosphere: Pataphysics, Biosemiotics, and Imaginary Solutions for Water". In Soper, Ella; Bradley, Nicholas (eds.). Greening the Maple: Canadian Ecocriticism in Context (PDF). Canada: University of Calgary Press. p. 443. doi:10.11575/PRISM/34572. ISBN 978-1-55238-548-7. While the shifts in cultural Umwelt that result from the deterritorialized pastoral can be read, like Mouré's text, in the terms of Uexküll's unorthodox science, I propose to read Robertson's concern with surfaces and membranes of civic memory in the context of biosemiotics and its extension of Uexküll's Umwelt theory.