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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There is even greater indeterminacy when, for instance, a novel is transformed into a film.
Universe of the Mind: A Semiotic Theory of Culture by Yuri M. Lotman
The study of the semiotic systems created by humanity over the course of its cultural history has led to the unexpected finding that these functions are also characteristic of semiotic objects. If one then takes into account cultural traditions the semiotic memory of culture and the inevitable factor of the individual way with which this tradition is revealed to a particular member of a collective, then it will be obvious that the coincidence of codes between transmitter and transmittee is in reality possible only to a very relative extent.
If texts represent models of the world, the set of texts which is the culture of a period is a secondary modelling system. And it does this not by its content, but by the mechanical automatism of the reading.
Yuri M. Lotman Universe Of The Mind. A Semiotic Theory Of Culture 1990
To take another example from chapter 8 of Eugene Onegin: A pair of mutually non-juxtaposable signifying elements, between which, thanks to the context they share, a relationship of univverse is established, form a semantic trope. It is a full-scale undertaking to show the workings of the semiotic space in which human society as a whole functions, and in which the individual is caught up.
Lin rated it it was amazing Sep 02, But this is a paradox. Lotman gives us a brilliant example of typology of cultures with his comparison between the cultural language of the Middle Ages and that of the Enlightenment.
Universe of the Mind: A Semiotic Theory of Culture – Yuri Mikhailovich Lotman – Google Books
Yuri Mikhailovich Lotman is the founder of the Moscow-Tartu School and the initiator of the discipline of cultural semiotics. Part One is concerned with the ways that texts generate meaning. There are numerous examples of this. Part One is concerned with the ways that texts generate meaning.
There is a story about the celebrated mathematician P. And to this must be added the common understanding of norm, linguistic reference and of pragmatics. Typical of the rhetoric of Baroque texts is the collision within one whole of segments marked by different degrees of semioticity.
Against the background of this approach to the icon, the relic might seem to be a simple semantic phenomenon. And only at the next stage does the secondary iconization of the text take place; this corresponds to the moment in poetry when non-verbal iconic features are ascribed to the verbal text. Part Three focuses on semiotics from the point of view of history.
Jakobson was always a man of avant-garde culture, and his first work, The Latest Russian Poetry. In the final analysis the words in these notes become indices which can be deciphered only if one knows what has been written.
Full text of ” Yuri M. This was the significance of lotmman costume stylization. If the text were in fact constructed in this way it would be wholly redundant. This is an image of the semiosphere.
The portraits of Vigee-Lebrun strongly influenced the fashion for classical dress in the Empire style a la grecque in St Petersburg.
This is the problem of the effect of the describer on the object being described which we shall be discussing below. In all the periods mentioned above, the substitution of some semantic units by others is widely practised. In other words, a rhetorical utterance cannot be expressed non-rhetorically. The Text as Process of Movement: Until that time we must understand and describe their mechanism, at least in its most typical manifestations. The more their organization lotnan a-semantic the better they fulfil their role.
The terms of this opposition are mutually connected, and the semiotic activity of one of them presupposes the actualization of the other. A trope is a figure born at the point of contact between two languages, and its structure is therefore identical to that of the creative consciousness itself.
In the elementary fact of making a replica, however, the semiotic situation is hidden as a pure possibility. While the theoretical linguist is interested in the linguistic structure extracted from hte text, the everyday receiver of information univetse concerned with the content of the message.
The number of his printed works exceeds titles and the archive of his letters, universw kept in the scientific library of the University of Tartu, and which includes his correspondence with a number of Russian intellectuals, is immense.
Examples of epochs oriented towards tropes are the mytho-poetic period, the Middle Ages, the Baroque Age, Romanticism, symbolism and the avant-garde.
The latter tendency is especially obvious in cultures which have elaborated vivid forms of ritualized behaviour.
For example, an aggressive gesture by an animal, which serves as a substitute for an actual aggressive act, is an element of symbolic behaviour; in this case the symbol is used in its primary sense. Published March 1st by Indiana University Press first published According to Jakobson a metaphor is a substitution of a concept along the paradigmatic axis, involving: