The Print Page Space as Aesthetic Discourse Art Semiotic in Democracy

[Abstract] Roland Barthes writing, to the zero degree, seemed to put its accent on the differences between art and craft as a question of style, mannerism: writing limits, merges, proportions, isolate, build its own social reality, but is it still a thoughtful shape? Or it is the suit, the envelop, the skin, of a constitutional part of the ‘I’, that revolts this scenery, that renews the pact as agreement of the rights of the person, the individual outside the conveniences as before 1996 were the ground of the usury of any political term? Among linguistic and semiotic we can discover the traits of differences as to perceive its eidetic necessity, the elements and the objects. Since Erik Landowsky, in which the page is structured as a painting of spaces connotations, oblique to the reader or since Giovanni Anceschi where the art of the page it is experience of communication, the occurrence, the author, inference a social space and a collective «I», the subject restrain, closes, exemplify or even models what is expanded, translated, loosened. From the identity body of the newspaper we get to the unreachable public identity of the consumer. The chiastic gesture or the censure one, or the polisemic as it is involved just in the object: it should impress a certain quality of the message and continuity of the communication. A semiotic landscape, in some of the terms of Ruggero Pierantoni, of light phenomenon, while on the newspaper could be seen in its own categories exploited as re-reading a townscape, as the voyageur propose a journey, the compositions aspects may represent some ways to renew the fragmented process, pauses, attitudes to rebuild a reader theory. To Jean Marie Floch, the page is the emergences of the meaning: utters as sudden wriggle, out of the waving envelop. If there is a mania that is to compare the different corporate identity without results, as to forget the composition, the athletic heritage of the development; but here is the challenge: the irony become quotation, through a passionate writer – the pigiama seems only to create the deal, the game, the landscape in a possible recognition of a certain time braking the appearances between words and deeds, knowledge and real objects. Subjectivity is in the semiotic montage: where it disappears, democracy is forgotten. To Giovanni Anceschi the newspaper is a communicational artefact that sculpts, models, our history: its typefaces are still means that signs the melodic registry of counterfeit? We will bring together some pieces of graphic experiences, some deep lecture and irony as vocation, and compare the voices as textual genres and the typefaces as tools for semiotic culture: as in a painting of J.-L. T. Gericault, the relicts of The Raft of The Medusa, to demystify the genres, to rediscover some anthropological calls for cultural objects in visual communication from painting to architecture, from sculpture to print

From holism to compositionality: memes and the evolution of segmentation, syntax, and signification in music and language

Steven Mithen argues that language evolved from an antecedent he terms “Hmmmmm, [meaning it was] Holistic, manipulative, multi-modal, musical and mimetic”. Owing to certain innate and learned factors, a capacity for segmentation and cross-stream mapping in early Homo sapiens broke the continuous line of Hmmmmm, creating discrete replicated units which, with the initial support of Hmmmmm, eventually became the semantically freighted words of modern language. That which remained after what was a bifurcation of Hmmmmm arguably survived as music, existing as a sound stream segmented into discrete units, although one without the explicit and relatively fixed semantic content of language. All three types of utterance – the parent Hmmmmm, language, and music – are amenable to a memetic interpretation which applies Universal Darwinism to what are understood as language and musical memes. On the basis of Peter Carruthers’ distinction between ‘cognitivism’ and ‘communicativism’ in language, and William Calvin’s theories of cortical information encoding, a framework is hypothesized for the semantic and syntactic associations between, on the one hand, the sonic patterns of language memes (‘lexemes’) and of musical memes (‘musemes’) and, on the other hand, ‘mentalese’ conceptual structures, in Chomsky’s ‘Logical Form’ (LF)

Tartu Ülikooli toimetised. Tööd semiootika alalt. 1964-1992. 0259-4668

http://www.ester.ee/record=b1331700*es

Main clause external constituents and the derivation of subject-initial verb Second

This paper discusses V3-patterns with a sentence-initial adverbial clause in Standard Dutch (StD) and West-Flemish (WF), which appear to violate the V2 restriction which normally regulates word order in these languages. V3-patterns occur in both languages; they can be interpreted as complying with the V2 constraint provided they are analyzed as the result of merging a regular root clause with V2 order with an extra-sentential adverbial clause. The paper shows that the distribution of V3-patterns is slightly wider in WF than in StD: StD requires that the root clause which combines with the extra-sentential constituent either exhibits subject-verb inversion (XP-V-S) or, in the case of subject initial V2 clauses, that the subject has a distinguished information-structural status such as contrastive focus/topic; WF allows V3-structures more freely, regardless of whether they display subject-verb inversion and regardless of the informational-structural status of the subject. The analysis takes as its point of departure the earlier claim that V2-languages can be symmetric in the sense that the finite verb always leaves the TP domain and occupies the highest head position in the root clause, the complementizer position C in the traditional generative analysis, or asymmetric in the sense that the position of the finite verb varies in that it occupies the C-position when the root clause exhibits subject-verb inversion or a lower TP internal tense position (T) in root clauses without inversion. The hypothesis is that V3-patterns with a sentence-initial adverbial clause are only possible if the initial adverbial clause attains a local relation with the finite verb, and that this requires the finite verb to be in the (higher) C-position. By assuming that StD is an asymmetric V2-language while WF is a symmetric V2-language the variation with respect to the distribution of V3-patterns in these languages can be captured

Processos verbais em inglês e em espanhol: uma perspectiva funtional para artigos de pesquisa sobre análise do discurso

In this paper we present the results of an analysis of verbal processes and locution constructions in two corpora, one with papers from Anglophone journals, and one from Hispanophone ones. Our main interest was to build up a semantic-grammatical profile of how verbal and locution structures are constructed in the discipline of Discourse Analysis, and see if there were similarities and/or differences in the two corpora. The results showed that there are significant differences in terms of verbal process ratio, metaphoric locutions, most frequent verbal processes, and projection.Neste artigo, apresentamos os resultados de uma análise dos processos verbais e das construções de locuções em dois corpora, um com artigos de revistas anglófonas e um de revistas hispanófonas. Nosso interesse principal foi traçar um perfil semânticogramatical de como estruturas verbais e de locução são construídas na área da Análise do Discurso, e verificar se havia similaridades e/ou diferenças nos dois corpora. Os resultados mostraram que há diferenças significativas em termos da relação processos verbais, locuções metafóricas, processos verbais mais frequentes e projeção

Mirror-like address practice in Arabic-medium classroom interaction : Managing social relations and intersubjectivity

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