Universe of the Mind: A Semiotic Theory of Culture. Front Cover. Yuri Mikhailovich Lotman. Indiana University Press, – pages. Universe of the Mind: A Semiotic Theory of Culture. Front Cover. Yuri Mikhailovich Lotman. I. B. Tauris, Limited, Aug 11, – pages. Wiki for Collaborative Studies of Arts, Media and Humanities.
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Author to Audience, Author to Text 6. Rhythm is min a structural level in natural languages. This note clearly had a mnemonic function, although we should not forget another factor: The study of literature, if carried out in a purely historical way, blends into the history of social thought.
Selected pages Title Page. In that section where the secondary replication occurs, there is a much higher degree of conventionality, and this exposes the semiotic principle of the text minv such.
There is nothing individual about it, it is abstract and its contents are minimal. The pictorial arts and their potential semiotic kernel – a mechanical reflection of an object in the surface of a mirror create an illusion of identity between object and image.
In the second line, the conspirator- ial need to abbreviate the surnames to one letter tge produces another internal rhythm, and all the other words were reduced to the same degree. The message and the information contained in it are constants, while the bearer of the information may alter.
Alex rated it really liked it Apr 21, On its side too, the readership image, since it is not explicit but merely inherent to the text as a potential position, is also subject to variation. Daria Ukraine rated it it was amazing Aug 28, Synchrony is homeostatic while diachrony is made up of a series of external and accidental infringements of it, in reacting against which synchrony re-establishes its integrity: But this is a superficial view of things.
The Problem of the Historical Fact Skaldic texts, Sufi texts, Masonic texts and many others are constructed in this way. Rhythm is raised to the level of meaning, and meanings are formed in rhythm.
If the two different ways of expressing a semantic content belong to one and the same register, there will be no stylistic effect. Behind this view of the functioning of a semiotic mechanism lies the belief that the function of the mechanism is to transfer the message adequately.
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Unierse oriented towards autocommunication are capable of great activity, but are often much less dynamic than human society requires. Because the theatre and behaviour mutually interact we find that, alongside the tendency which has been active throughout the history of the theatre to make life on the stage resemble real life, there is another just as constant opposite tendency which is to make real life or aspects of it resemble the theatre. This makes it self-evident that every reflection is at one and same time a dislocation, a deformation which, on the one hand, emphasizes certain aspects of the object, and on the other hand shows up the structural principle of the language into whose space the given object is being projected.
Within this triangle there is an intense circulation of symbols and expressive means.
Universe of the Mind: A Semiotic Theory of Culture by Yuri M. Lotman
His works range from the analysis of cultural phenomena such as blue jeans, and observations on demonology, through readings of poetic texts and consideration of the problems of interpretation, to references to mathematics and biology. Part Three focuses on semiotics from the point of view ths history. When we speak of semiotics today, at the end of the twentieth century, we should bear in mind its three different aspects.
Myth, minx rules, religion, the language of art and of science are secondary modelling systems. This is a point which bears emphasis, for LQtman, in my view, is a critic who started from a structuralist approach to the phenomena of signification and communi- cation, and indeed mond much of this method, but who does not remain bound by it. It is the social part of language, external to the individual who by himself is powerless either to create it or to modify it.
These are outlined briefly below: The first one is the rhetorical sphere of conjunctions, analogies and modelling.
Universe of the Mind: A Semiotic Theory of Culture
We can illustrate how important a double replication is in this process especially at the first stage by considering the function of the mirror at certain moments in the development of pictorial art. We can imagine this meaning as a pre- textual message realized in the text. Very typically the book Onegin is reading is not supplying a message: To them all I express my warm thanks.
For instance, if texts of esoteric cultures are taken out of their general context and isolated from the special codes of that culture which are as a rule available only to the initiatethey cease to be comprehensible or are understood merely from the point of view of their external semantics, while the hidden meanings are kept to a narrow circle of the initiate. I am reminded of an anecdote in the memoirs of the Russian writer, Andrei Bely. But in cultures oriented towards a rhetorical organization, each step in the increasing hierarchy of semiotic organiza- tion produces an increase in the dimensions of space of the semantic structure.
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