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In the last ten years several disciplines, including philosophy, linguistics, anthropology, sociology, and psychology, have selected emotions or passions as their object of analysis. In what might be construed as a reaction to the abstractions (or disconnectedness) of theory, certain practitioners have now decided to explore whether various productions of the body can be folded into the space of epistemology. In "The Semiotics of Passion", Greimas and Fontanille explore the possibility that so-called subjective states - affect, feeling, emotion, passion, avarice, honour, and jealousy - and their multiple mediations can have a semiotic existence. The authors examine such questions as: What are the conditions for the existence of passion? Can passion be submitted to a logic of language? Does passion allow systemic semiotic transformations? Starting from the premise that a meaningful world involves the "subject" in the "state of affairs", Greimas's and Fontanille's investigation of the complex "psychic states" of speaking subjects takes them through texts in philosophy and literature from the 17th to the 20th century. Exploring the work of Descartes, Spinoza, Shakespeare, and Proust, among others, "The Semiotics of Passion" will advance and refine semiotics in general and literary semiotics in particular. A.J. Greimas (1917-1992) was professor of general semantics at the Ecole des Hautes Etudes en Sciences Sociales in Paris. His theoretical work on structures of discourse has been seminal for many semioticians. He was the author of many books in French and Lithuanian. Jacques Fontanille is professor of linguistics and semiotics at the University of Limoges and co-director of the seminar in general semantics at the Ecole des Hautes Etudes en Sciences Sociales in Paris.

In this book, Norbert Wiley offers a new interpretation of the nature of the self in society. Current theories of the self tend to either assimilate the self to a community or larger collective, or reduce the self to body. In distinct opposition to these theories, Wiley makes the case for an autonomous self, a human being who is a repository of rights, a free and equal agent in a democracy consisting of other selves.Drawing on a fresh synthesis of the writings of Charles Sanders Peirce, George Herbert Mead, and others, Wiley argues that the self can be seen as an internal conversation, or a "trialogue" in which the present self ("I") talks to the future self ("you") about the past self ("me"). A distinctive feature of Wiley's view is that there is a mutually supportive relation between the self and democracy, and he traces this view through American history. In finding a way to decenter the self without eliminating it, Wiley supplies an alternative to current theories of postmodernism, a much-needed closure to classical pragmatism, and a new direction to neo-pragmatism.

"Eco wittily and enchantingly develops themes often touched on in his previous works, but he delves deeper into their complex nature... this collection can be read with pleasure by those unversed in semiotic theory." —Times Literary Supplement

During the last 300 years circus clowns have emerged as powerful cultural icons. This is the first semiotic analysis of the range of make-up and costumes through which the clowns' performing identities have been established and go on developing. It also examines what Bouissac terms 'micronarratives' - narrative meanings that clowns generate through their acts, dialogues and gestures. Putting a repertory of clown performances under the semiotic microscope leads to the conclusion that the performances are all interconnected and come from what might be termed a 'mythical matrix'. These micronarratives replicate in context-sensitive forms a master narrative whose general theme refers to the emergence of cultures and constraints that they place upon instinctual behaviour. From this vantage point, each performance can be considered as a ritual which re-enacts the primitive violence inherent in all cultures and the temporary resolutions which must be negotiated as the outcome. Why do these acts of transgression and re-integration then trigger laughter and wonder? What kind of mirror does this put up to society? In a masterful semiotic analysis, Bouissac delves into decades of research to answer these questions.

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The late twentieth century saw an explosion of interest in semiotics, the science of the signs and processes by which we communicate. In this study, the first of its kind in English, Keir Elam shows how this new 'science' can provide a radical shift in our understanding of theatrical performance, one of our richest and most complex forms of communication. Elam traces the history of semiotic approaches to performance, from 1930s Prague onwards, and presents a model of theatrical communication. In the course of his study, he touches upon the 'logic' of the drama and the analysis of dramatic discourse. This edition also includes a new post-script by the author, looking at the fate of theatre semiotics since the publication of this book, and a fully updated bibliography. Much praised for its accessibility, The Semiotics of Theatre and Drama remains a 'must-read' text for all those interested in the analysis of theatrical performance.

Drink, as an embodied semiotic and material form, mediates social life. This book examines the fundamental nature of drink through a series of modular but connected ethnographic discussions. It looks at the way the materiality of a specific drink (coffee, wine, water, beer) serves as the semiotic medium for a genre of sociability in a specific time and place. As an explicitly comparative semiotic study, the book uses familiar and unfamiliar case studies to show how drinks with similar material properties are semiotically organized into very different drinking practices, including ethnographic examples as diverse as the relation of coffee to talk (in ordering at Starbucks). Further chapters look at the dryness of gin in relation to the modern cocktail party and the embedding of beer brands in the ethnographic imagination of the nation. Rather than treat drinks as mere props in the exclusively human drama of the social, the book promotes them to actors on the stage.

"Eco wittily and enchantingly develops themes often touched on in his previous works, but he delves deeper into their complex nature... this collection can be read with pleasure by those unversed in semiotic theory." —Times Literary Supplement

In the last ten years several disciplines, including philosophy, linguistics, anthropology, sociology, and psychology, have selected emotions or passions as their object of analysis. In what might be construed as a reaction to the abstractions (or disconnectedness) of theory, certain practitioners have now decided to explore whether various productions of the body can be folded into the space of epistemology. In "The Semiotics of Passion", Greimas and Fontanille explore the possibility that so-called subjective states - affect, feeling, emotion, passion, avarice, honour, and jealousy - and their multiple mediations can have a semiotic existence. The authors examine such questions as: What are the conditions for the existence of passion? Can passion be submitted to a logic of language? Does passion allow systemic semiotic transformations? Starting from the premise that a meaningful world involves the "subject" in the "state of affairs", Greimas's and Fontanille's investigation of the complex "psychic states" of speaking subjects takes them through texts in philosophy and literature from the 17th to the 20th century. Exploring the work of Descartes, Spinoza, Shakespeare, and Proust, among others, "The Semiotics of Passion" will advance and refine semiotics in general and literary semiotics in particular. A.J. Greimas (1917-1992) was professor of general semantics at the Ecole des Hautes Etudes en Sciences Sociales in Paris. His theoretical work on structures of discourse has been seminal for many semioticians. He was the author of many books in French and Lithuanian. Jacques Fontanille is professor of linguistics and semiotics at the University of Limoges and co-director of the seminar in general semantics at the Ecole des Hautes Etudes en Sciences Sociales in Paris.

"The theory of poetic semiotics put forward here was first sketched out in a 1971 paper of mine on what makes a literary sentence literary. My previous work had concentrated upon the surface structures of poetic discourse, upon what the reader recognizes and identifies as style...The theoretical aims of this book make it applicable." - from the book's preface

In this book, Norbert Wiley offers a new interpretation of the nature of the self in society. Current theories of the self tend to either assimilate the self to a community or larger collective, or reduce the self to body. In distinct opposition to these theories, Wiley makes the case for an autonomous self, a human being who is a repository of rights, a free and equal agent in a democracy consisting of other selves.Drawing on a fresh synthesis of the writings of Charles Sanders Peirce, George Herbert Mead, and others, Wiley argues that the self can be seen as an internal conversation, or a "trialogue" in which the present self ("I") talks to the future self ("you") about the past self ("me"). A distinctive feature of Wiley's view is that there is a mutually supportive relation between the self and democracy, and he traces this view through American history. In finding a way to decenter the self without eliminating it, Wiley supplies an alternative to current theories of postmodernism, a much-needed closure to classical pragmatism, and a new direction to neo-pragmatism.

This book provides a semiotic analysis of computer programs along three axes: models of signs, kinds of signs, and systems of signs. Because computer programs are well defined and rigid, applying semiotic theories to them will help to reorganize the semiotic theories themselves. Moreover, semiotic discussion of programming theory can provide possible explanations for why programming has developed as it has and how computation is fundamentally related to human semiosis. The goal of this book is to consider the question of what computers can and cannot do, by analyzing how computer sign systems compare to those of humans. A key concept throughout is reflexivity - the capability of a system or function to reinterpret what it has produced by itself. Sign systems are reflexive by nature, and humans know how to make the most of this characteristic but have not yet fully implemented it into computer systems. Therefore, the limitations of current computers can be ascribed to insufficient reflexivity.

The Semiotic Stage provides the first comprehensive summary of the writings that founded contemporary theater semiotics. The Prague School theater writings are placed in their theoretical context, and integrated in relation to major artistic areas like acting, design and dramatic writing. The influence of the Prague School and its relation to the current state of theater study are also thoroughly discussed.

In this book, Norbert Wiley offers a new interpretation of the nature of the self in society. Current theories of the self tend to either assimilate the self to a community or larger collective, or reduce the self to body. In distinct opposition to these theories, Wiley makes the case for an autonomous self, a human being who is a repository of rights, a free and equal agent in a democracy consisting of other selves.Drawing on a fresh synthesis of the writings of Charles Sanders Peirce, George Herbert Mead, and others, Wiley argues that the self can be seen as an internal conversation, or a "trialogue" in which the present self ("I") talks to the future self ("you") about the past self ("me"). A distinctive feature of Wiley's view is that there is a mutually supportive relation between the self and democracy, and he traces this view through American history. In finding a way to decenter the self without eliminating it, Wiley supplies an alternative to current theories of postmodernism, a much-needed closure to classical pragmatism, and a new direction to neo-pragmatism.

The most thorough, systematic and convincing semiotics of the theater we have.... [L]ike those of Eco, it is an important conceptual synthesis, and a bibliographical gold mine." ―Modern Language Notes"... impresses with its thoroughness and the informed perspective of its author... "―Theatre Survey"... a classic text... " ―Theatre Research International"Immediately accessible to readers with some knowledge of theater but not much of semiotics.... For anyone with an interest in theater production and performance, or indeed theater history." ―Marvin Carlson

Emoji have gone from being virtually unknown to being a central topic in internet communication. What is behind the rise and rise of these winky faces, clinking glasses and smiling poos? Given the sheer variety of verbal communication on the internet and English's still-controversial role as lingua mundi for the web, these icons have emerged as a compensatory universal language. The Semiotics of Emoji looks at what is officially the world's fastest-growing form of communication. Emoji, the colourful symbols and glyphs that represent everything from frowning disapproval to red-faced shame, are fast becoming embedded into digital communication. Controlled by a centralized body and regulated across the web, emoji seems to be a language: but is it? The rapid adoption of emoji in such a short span of time makes it a rich study in exploring the functions of language. Professor Marcel Danesi, an internationally-known expert in semiotics, branding and communication, answers the pertinent questions. Are emoji making us dumber? Can they ultimately replace language? Will people grow up emoji literate as well as digitally native? Can there be such a thing as a Universal Visual Language? Read this book for the answers.

Communication is, among other things, about the study of meaning -- how people convey ideas for themselves and to one another in their daily lives. Designed to close the gap between what we are able to do as social actors and what we are able to describe as social analysts, this book introduces the language of semiotics -- a language that provides some of the words necessary for discussion of these communication issues. Presenting the basics of semiotic theory to communication scholars, this volume summarizes those aspects most relevant to the study of social interaction, in particular, signs (the smallest elements of meaning in interaction) and codes (sets of related signs and rules for their use) -- explaining how they come together within cultures. Three common social codes -- food, clothing, and objects -- serve as primary examples throughout the book.

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Papers written by the authors in the 1970s and early 1980s, translated from the Russian.

Paperback. You're trying to finish a screenplay, but there's a voice in your ear whispering, You should know more about how cinema story works. Perhaps you've heard how many successful screenwriters deconstruct or break down films and study them. You'd like to try this method but ask yourself, How do I start? Semiotics for Screenwriters can help you with this daunting task by taking you on a unique journey through 3 classic films - Its a Wonderful Life, Lost in Translation, and Get Out - that shows you the hidden universal language of plot, character, and theme at work in them. This method will reveal the mechanics of cinema story, then show you how to apply this knowledge to your own screenwriting.Semiotics is a powerful system of analysis applied in many fields, including literature and psychology. In this book you'll learn to deploy this method to break down classic films then apply it to writing, developing and correcting your own screenplays. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.