bluuebunny/crossref_metadata_2025 huggingface dataset:
Механизмы переложения "на наши (русские) нравы" итальянских оперных либретто [Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos]
Authors: Garzonio Stefano
Published: June 2021

Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this period that pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia.
‘Infernal’ subtexts in Brodsky’s poem The fifth anniversary
Authors: Könönen Maija
Published: June 2021

This essay explores the intertextual relationships of Joseph Brodsky’s poem Пятая годовщина an occasional verse dedicated to the fifth anniversary of the poet’s enforced emigration from the Soviet Union. As is common in Brodsky’s poetics, the text is imbued with allusions to other texts, not only from Russian, but from Western belles lettres, as well. Through reminiscences of La Divina Commedia the lost homeland together with the beloved native city of Leningrad is paralleled with Dante’s “lost and accursed” Florence as well as with the lost St.Petersburg of Mandelshtam and Akhmatova, among others. The Dantean undertones are exposed not only on the semantical level of the examined text but in the metrical and structural aspects of the poem, as well.
Маска в художественном мире Гоголя и маски Анатолия Каплана [Mask in an artistic world of Gogol, and the masks of Anatoli Kaplan]
Authors: Lotman Juri
Published: June 2021

Mask in an artistic world of Gogol, and the masks of Anatoli Kaplan. The paper deals with an intersemiotic problem — how it is possible to represent a verbal image by the means of sculpture. It was written as an afterword for a German edition of N. Gogol’s Dead Souls (illustrated by photos on mask-sculpures by Anatoli Kaplan) thus using a style meant for general reader. However, it includes a deep analysis and several important conclusions about the fancy worlds of Gogol and Kaplan, and about the possibilities to create connections between them. It is stressed that the very artistic illustration is possible only due to its independence, due to the subjective seeing of the author.
Modeling, dialogue, and globality: Biosemiotics and semiotics of self. 1. Semiosis, modeling, and dialogism
Authors: Ponzio Augusto
Published: June 2021

With our paper we intend to offer a critical overview of state of the art in semiotics, with specific reference to theoretical problems concerning the relationship between culture and nature. In other words, we intend to focus on the relationship between the concepts of semiosphere (Lotman) and biosphere (Vernadsky) considering the various approaches to this issue and proposing our own point of view. An important reference for a valid overview view of semiotics today is the Handbook Semiotik/Semiotics. It is no incident that the subtitle of this work is A Handbook on the Sign-Theoretic Foundations of Nature and Culture. In this handbook a fundamental role is carried out by Thomas A. Sebeok and his particular approach to semiotics, which may be designated as ‘global semiotics’. One of the pivotal concepts in Sebeok’s global semiotics is that of modeling which traverses nature and culture. This concept connects natural semiosis and cultural semiosis and ensues in an original formulation of the relationship between the notions of ‘semiosphere’ and ‘biosphere’. Such problematics respond to semiotic research in Tartu today, especially as it finds expression in the present journal. And, in fact, as in his book of 2001, Global Semiotics, Sebeok often underlined the importance of the Estonian connection himself in his writings for the development of semiotics.
What relations are: A case study on conceptual relations, displacement of meaning and knowledge profiling
Authors: Thellefsen Torkild , Jantzen Christian
Published: June 2021

The aim of the article is to introduce the knowledge profile as a tool to make realistic representations of knowledge organizations. In order to make these realistic representations, we must identify the fundamental sign of the given knowledge domains, since it seems to be the case that the fundamental sign puts epistemological constraints upon its research objects, eventually making the knowledge organization of a knowledge domain unique. Furthermore, the article points out that in order to make the realistic representations of knowledge organizations, we need a basic understanding of how conceptual relations emerge, develop and become related terms. In order to strengthen the theoretical points and to show the usability of the knowledge profile, we include a case study of a knowledge domain.
The ontology of espionage in reality and fiction: A case study on iconicity
Authors: Stjernfelt Frederik
Published: June 2021

A basic form of iconicity in literature is the correspondence between basic conceptual schemata in literary semantics on the one hand and in factual treatments on the other. The semantics of a subject like espionage is argued to be dependent on the ontology of the field in question, with reference to the English philosopher Barry Smith’s “fallibilistic apriorism”. This article outlines such an ontology, on the basis of A. J. Greimas’s semiotics and Carl Schmitt’s philosophy of state, claiming that the semantics of espionage involves politology and narratology on an equal footing. The spy’s “positional” character is analyzed on this basis. A structural difference between police and military espionage is outlined with reference to Georges Dumézil’s theory of the three functions in Indo-European thought. A number of ontological socalled “insecurities” inherent in espionage and its literary representation are outlined. Finally, some hypotheses are stated concerning the connection between espionage and literature, and some central allegorical objects — love, theology — of the spy novel are sketched, and a conclusion on the iconicity of literature is made.
Semiotics of guilt in two Lithuanian literary texts
Authors: Mačianskaitė Loreta
Published: June 2021

The idea of the article was suggested by Lotman’s theory about two basic mechanisms of social behaviour — fear and shame. The presented paper aims at highlighting two other mechanisms of such kind — guilt and repentance. The novella Isaac (1960–61) by Antanas Škėma, the Lithuanian writer in exile, is about a Lithuanian patriot who kills a Jew called Isaac during the years of German occupation. The author’s fundamental conception implies that the real perpetrator of crime is not a separate individual but the crowd representing the values of the society. Škėma’s interpretation of history demystifies the moral system in the inter-war Lithuania and proves it to be a collection of futile signs that fail to prevent society from falling into mass psychosis and following primitive impulses. The other Lithuanian novel, Leonardas Gutauskas’ Šešėliai (Shadows) written in 2000, focuses on the tense relationships between Lithuanians and Russians, suggesting that there are several moral systems determining the concepts of guilt-repentance. The Christian agricultural society embodies the ethics of individual responsibility. The domination of the Russian ethic code is associated with the separation of Churches and the strengthening of the Orthodox Church. A moral system based on harmony and aiming to reconcile the guilty and the innocent comes across as a sought ideal. Both novels discussed exemplify different modes of a liberating society. The first one is an account of the society’s effort to become free of the guilt complex and rethink its history. The second one articulates the guilt of the Russian nation against Lithuanians and fights russophobia at the same time.
Lotman on mimesis
Authors: Grigorjeva Jelena
Published: June 2021

The article considers some basic notions of semiotics of mimesis by Juri Lotman, such as model, similarity, and relations between an object and its representation. The way Lotman defines and interprets these notions is compared with definitions given by adherents of the “semiotics of the transcendence” (German and Russian romanticism and Neoplatonism, Russian symbolism, theory of mystical symbol). A certain typological proximity of some important theoretical statements ensures the necessity to revise the traditional image of Tartu semiotics as a purely positivistic school of thought.
Pragmatic approaches to intercultural ethics: The basis for fostering communication among nationalist groups
Authors: Del Mar Llera Maria
Published: June 2021

This research is part of a more extensive programme that deals with intercultural ethics from different perspectives. All of them share a common inspiration sprung from UNESCO’s Intercultural Ethics Project. The main goal of this paper consists in offering pragmatic/theoretical tools in order to analyse a cultural and political issue which is currently very important in Spain: the confrontation between those promoting Spanish national culture and those promoting the Basque one. I approach this confrontation in terms of discursive praxis, reaching the conclusion that only if both groups are capable of self-understanding will they be capable of reciprocal-understanding, and only then will it be possible to maintain peace in our country.
Semiotics of culture and New Polish Ethnology
Authors: Brocki Marcin
Published: June 2021

The paper deals with the contemporary state of semiotic ethnology in Poland (connected with New Polish Ethnology group), its internal and external influences, its specifics, subjects and its reaction to the other theoretical propositions. The “neotribe” of New Polish Ethnology was established by few younger scholars, ethnologists in the early 1980s, in an opposition to the dominant stream of positivistic ethnology. Today they have become classics of Polish anthropology, masters that have educated a new generation of their students, and lead some anthropological institutes. The most inspiring set of theories that influenced the group and its heirs was taken from Soviet semiotics of culture (Lotman, Uspensky, Toporov, Ivanov), and French structural-semiotics (Levi-Strauss, Barthes), but there are some individual differences also. On that basis they have developed a specific scope, aim and methods of interpretation with as its key terms myth and mythical thinking. They have explained many cultural events (relation we-others, body image, commercials, and anthropology itself) within the framework of mythical thinking, making it the most productive and attractive frame of interpretation within Polish humanities and social sciences. In the 1990s they had to face critical ethnography, deconstruction and postmodern anthropology and they did it with perfect flexibility that even strengthened their project, because the potential of reflexivity and self-consciousness lied within semiotics from its beginning.
Umwelt ethics
Authors: Tønnessen Morten
Published: June 2021

In this paper I will sketch an Umwelt ethics, i.e., an ethics that rests heavily on fundamental features of Jakob von Uexküll’s Umwelt theory. In the course of an interpretation of the Umwelt theory, a number of concepts are introduced. These include ontological niche, common-Umwelt, total Umwelt and bio-ontological monad. I then present an Uexküllian reading of the deep ecology platform. It is suggested that loss of biodiversity, considered as a physio-phenomenal entity, is the most crucial aspect of the ecological crisis, which can be understood as an ontological crisis.
Rothschild’s ouroborus
Authors: Anderson Myrdene
Published: June 2021

Review: Friedrich Salomon Rothschild, Creation and Evolution: A Biosemiotic Approach.
Metaphorical “networks” and verbal communication: A semiotic perspective of human discourse
Authors: Danesi Marcel
Published: June 2021

This paper presents the notion that verbal discourse is structured, in form and contents, by metaphorical reasoning. It discusses the concept of “metaphorical network” as a framework for relating the parts of a speech act to each other, since such an act seems to cohere into a meaningful text on the basis of “domains” that deliver common concepts. The basic finding of several research projects on this concept suggest that source domains allow speakers to derive sense from a verbal interaction because they interconnect the topic of discussion to culturally-meaningful images and ideas. This suggests, in turn, that language is intertwined with nonverbal systems of meaning, reflecting them in the contents of verbal messages. Overall, the concept of metaphorical networks implies that human cognition is highly associative in structure.
Функция характеризации в настоящем времени [Function of characterization in present tense]
Authors: Paladian Michel
Published: June 2021

Function of characterization in present tense. This article is devoted to a field in cognitive and semantic analysis where stylistics and grammar meet: it concerns the function of characterisation in the Present tense. In general, linguistic works, which are devoted to the Present tense, take into account only the time and the aspect. However, from a point of cognitive view, the values of the Present are not limited to the Verb; they also relate to the values of the Adjective. We must thus take into consideration not only the Time conceptualisation (time features), but also the Space conceptualisation (space features). We know, since Davidson, how the event, which the Verb represents, can be broken up into phases; it is to the one of these phases that the function of actualisation is attached. Actualisation is parallel to the function of characterisation specific to the Adjective. As such this phase seizes, retains and assimilates entities and processes of the world in their instantaneous appearance. This cognitive operation can also be analyzed on another level: on the level of visual work.
Semiotic foundations of the study of pictures
Authors: Nöth Winfried
Published: June 2021

Are pictures signs? That pictures are signs is evident in the case of pictures that “represent”, but is not “representation” a synonym of “sign”, and if so, can non-representational paintings be considered signs? Some semioticians have declared that such pictures cannot be signs because they have no referent, and in phenomenology the opinion prevails that they are not signs because they are phenomena sui generis. The present approach follows C. S. Peirce’s semiotics: representational and non-representational pictures and even mental pictures are signs. How and why pictures without a referent can nevertheless be defined as signs is examined on the basis of examples of monochrome paintings and historical maps that show non-existing or imaginary territories. The focus of attention is on their semiotic object and, in the case of non-representational paintings, on their interpretation as genuine icons, not in the sense of signs that represent most accurately, but in the sense of signs that represent nothing but themselves, i.e., self-referential signs.
Об общих графических закономерностях восприятия живописи и балета: мнемоническая форма танца [On some graphic regularities of perception in painting and dance: Mnemonic form of dance]
Authors: Goltsman Maria
Published: June 2021

On some graphic regularities of perception in painting and dance: Mnemonic form of dance. The present article handles some problems of the mechanisms of visual perception in painting and classical ballet. It proceeds from the assumption that the interaction between those arts is based on the similarity of their formal languages. The main attention focuses on the questions of how and why does the classical ballet use the code of painting? The interaction between pictorial art and ballet occurs through the theatre, which is considered to be a picture coming alive in European tradition. This principle is taken here as a main method of analysis of ballet art and it is used in two ways. The first handles a problem of composition of a ballet as a theatrical performance. The second analyses the movement itself — the language of the choreography as such. The last part of the article contains the answer to the question — why does the ballet need such aspects of pictorial code as frontal composition of a picture coming alive, memory photo, multiplication of the similar images and repeating movements. Dance is dynamic, picture is stable. To represent a movement, the painting uses the rhythm and visual repeating of lines and contours. It helps to construct an illusion of motion and brings the temporal aspect into a static piece of art. Whereas different stops, poses and fixations in ballet help it to visualize the movement, to capture the space. This is one of the ways for ballet to leave its trace in space as much as in the memory of the spectators, to become fixed in space, to prevent the dispersion of dance in the thin air and to surmount in such a way the ephemera characteristic of it.
On the semantics of rhythm: Formal differences between the characters of Oresteia in tragedy
Authors: Lotman Maria-Kristiina
Published: June 2021

The paper analyses the formal features of the characters of Oresteia in Greek tragedy. The protagonists and the minor characters are compared, for which the rhythmical liveliness and variability of the personages’ utterances, the length and number of utterances, and the number of dialogue verses in the metrical repertoire of the corresponding personage are taken into account. The analysis revealed that the data of Sophocles and Euripides are more close to each other both in the respect of general “liveliness” and the “liveliness” of characters’ utterances. Certain differences in the metrics and rhythmics of the main and minor characters’ verses become most obvious when we compare Electra’s part with minor characters (e. g., in Electra’s part there is always the biggest proportion of lyrical parts, more unstandard settlements, more verses with splits than any other character). The index of liveliness of Electra’s part is almost the same in all the authors. Although the same tendencies in Orestes are more schematical, the metrics and rhythmics of his utterances are rather similar to those of Electra. Thus, in respect of the proportion of lyrical verses, he always comes second after Electra; he also has quite many split verses. The parts of minor characters are usually made up entirely of iambic trimesters, the rhythmical variety of their speeches is higher than average, but there are no splits in their parts (except for Aegisthus). However, there are characters which parts have unstandard rhythm, e.g., the pedagogue in Sophocles or Chrysothemis, who is a contrast to Electra by her nature as well as her rhythmics. The contrast with other minor characters is even bigger. Clytaemnestra’s part is both rhythmically and metrically intermediate: in Aeschylus her utterances consist entirely of iambic trimeters, but in Sophocles and Euripides she pronounces also a couple of lyrical verses. There are also some splits in her verses which usually do not occur in minor persons.
On postmodernism, “the stairs of avant-garde”, and Brodsky
Authors: Pärli Ülle
Published: June 2021

This article attempts to analyse Russian postmodernist poetics, proceeding from the concept of the “trans-semiotic stairs”, as presented by J. Faryno for describing the avant-garde. Examples from various texts are used to demonstrate how postmodernist texts contain divergent processes: the culturally specific and unique dissolves in tautology, meaningful entireties are dispersed into atomized empty particles. The significant teleological model of the avant-garde ceases to function here. A play by J. Brodsky, Marble, is examined on this background, as well as the position of the author that differs from the “postmodernist” context.
The semiotic model of a historical process: History — between grammar and rhetoric
Authors: Kalinin Ilia
Published: June 2021

The paper is devoted to the problem of the linguistic grounds of the semiotic model of history, according to which history is described as a communication process circulating within a society. An analogy of principle between language and culture is the theoretical premise of that semiotic approach. Proceeding on this assumption semiotics (B. Uspensky’s case for instance) regards historical process as the process of text outcome and reading, while at the same time control over communication is provided through the cultural code or in other words — through the grammar of history. But the description of history as just the functioning of a single and unified grammatical code doesn’t make it possible to explain the appearance of new meanings or history par excellence. J. Lotman interpreted the rhetorical mechanism of text outcome as the working of two (at a minimum) interplaying semiotic systems. It is the principle of its working that he takes as a basis of his semiotic version of cultural diachrony. And at the very point semiotics finds itself in front of the choice: either to stop at the decomposition the rhetorical machine on separate cultural codes and at the description their separate grammars, or to conceptualize a historical event as un-grammatism, grammatical error, “wrong text”. The analytical way leads to an extremely reduced theoretical construction; the synthetic way undermines status of the semiotic model of history as a positivistic scientific project.
Aesthetic conception of Russian Formalism: the cognitive view
Authors: Gretchko Valerij
Published: June 2021

At present the theory of Russian Formalism becomes actual once again owing to the rapid development of cognitive science. Aesthetic theories recently put forward within the framework of cognitive science turned out to be consonant with the Formalist’s views on the general principles of artistic activity. In my paper I argue that (1) the theory of Russian Formalism contains a number of methodological assumptions that are close to a cognitive approach; (2) some of the main principles of the Formalist theory (e.g., “elimination of automatism of perception” or “the dominant”) permit the reformulation into cognitive terms; (3) such reformulation is not only possible, but useful because it makes the theory more powerful for explanation of the artistic phenomena. The findings from the new field of cognitive science not only prove some Formalist theses, but deepen and specify them as well.
Natural self-interest, interactive representation, and the emergence of objects and Umwelt: An outline of basic semiotic concepts for biosemiotics
Authors: Vehkavaara Tommi
Published: June 2021

In biosemiotics, life and living phenomena are described by means of originally anthropomorphic semiotic concepts. This can be justified if we can show that living systems as self-maintaining far from equilibrium systems create and update some kind of representation about the conditions of their self-maintenance. The point of view is the one of semiotic realism where signs and representations are considered as real and objective natural phenomena without any reference to the specifically human interpreter. It is argued that the most basic concept of representation must be forward looking and that both C. Peirce’s and J. v. Uexküll’s concepts of sign assume an unnecessarily complex semiotic agent. The simplest representative systems do not have phenomenal objects or Umwelten at all. Instead, the minimal concept of representation and the source of normativity that is needed in its interpretation can be based on M. Bickhard’s interactivism. The initial normativity or natural self-interest is based on the ‘utility-concept’ of function: anything that contributes to the maintenance of a far from equilibrium system is functional to that system — every self-maintaining far from equilibrium system has a minimal natural self-interest to serve that function, it is its existential precondition. Minimal interactive representation emerges when such systems become able to switch appropriately between two or more means of maintaining themselves. At the level of such representations, a potentiality to detect an error may develop although no objects of representation for the system are provided. Phenomenal objects emerge in systems that are more complex. If a system creates a set of ongoingly updated ’situation images’ and can detect temporal invariances in the updating process, these invariances constitute objects for the system itself. Within them, a representative system gets an Umwelt and becomes capable of experiencing triadic signs. The relation between representation and its object is either iconic or indexical at this level. Correspondingly as in Peirce’s semeiotic, symbolic signs appear as more developed — for the symbolic signs, a more complex system is needed.
Ladder, tree, web: The ages of biological understanding
Authors: Kull Kalevi
Published: June 2021

Fundamental turns in biological understanding can be interpreted as replacements of deep models that organise the biological knowledge. Three deep models distinguished here are a holistic ladder model that sees all levels of nature being complete (from Aristotle to the 18th century), a modernist tree model that emphasises progress and evolution (from Enlightenment to the recent times), and a web model that evaluates diversity (since the 20th century). The turn from the tree model to the web model in biology includes (1) a transfer from modern to postmodern approaches, (2) a shift of semiotic threshold to the border of life, and (3) building the semiotic models of living systems, i.e., the rise of biosemiotics.
Semiotics and Jakob von Uexküll’s concept of umwelt
Authors: Deely John
Published: June 2021

Semiotics, the body of knowledge developed by study of the action of signs, like every living discipline, depends upon a community of inquirers united through the recognition and adoption of basic principles which establish the ground-concepts and guide-concepts for their ongoing research. These principles, in turn, come to be recognized in the first place through the work of pioneers in the field, workers commonly unrecognized or not fully recognized in their own day, but whose work later becomes foundational as the community of inquirers matures and ‘lays claim to its own’. As semiotics has matured, the work of Jakob von Uexküll in establishing the concept of Umwelt has proven to be just such a pioneering accomplishment for the doctrine of signs, and in this paper I trace out some of the lines of development according to which Uexküll’s concept came to occupy its central place in semiotics today.
Uexküllian Planmässigkeit
Authors: Hoffmeyer Jesper
Published: June 2021

In strict opposition to the prevailing positivist conception of nature as senseless and deprived of meaning Jakob von Uexküll claimed that a certain planmässigkeit was operative in nature. This idea however might be taken to mean that organic evolution is not itself a creative process but a gradual, if majestic, unfolding of Nature's own master plan. Such an idea would threaten to restore determinism in the center of biological theory, and this would seriously contradict the vision of biosemiotics shared by most of its proponents. It lies at the heart of biosemiotics and of Peircean cosmological philosophy that indeterminacy is primary, that “habit taking” or interpretation are real processes in the world, and therefore that belief in the law of necessity is unfounded. It is suggested that Uexküllian planmässigkeit is in fact reconcilable with a modern non-deterministic understanding. In a certain sense the Umwelten of animals have indeed developed in accordance to a natural planmässigkeit, but this is a plan that incessantly traps life in certain strategic choices and in the same time diversifies the dimensionality of options for dealing with these choices, i. e. “the adjacent possible” in the terms of Stuart Kauffman.
From protoplasm to Umwelt: Plans and the technique of nature in Jakob von Uexküll’s theory of organismic order
Authors: Cheung Tobias
Published: June 2021

For Uexküll, biology is the science of the organization of living beings. In the context of Entwicklungsmechanik, he refers to Driesch’s and Spemann’s experiments on the development of embryonic germ cells to prove that self-differentiating processes constitute organisms as natural objects. Uexküll focuses on the theory of such self-differentiating processes or organizations. The notion of organization implies for him a “technique of nature” that is capable of structuring organic and inorganic material according to plans and rules. These plans and rules are part of the overall order of the world. As preformed sign systems or codes, they determine and regulate the development and existence of individual animal subjects in their specific Umwelten.
Schema as both the key to and the puzzle of life: Reflections on the Uexküllian crux
Authors: Chien Jui-Pi
Published: June 2021

Jakob von Uexküll’s problematic is manifested in his paradoxical portraiture of form within the plan of nature: the one a sensual schema and the other a transsensual ideal form. At first sight, Uexküll’s belief in the Platonic and the Reformational notions of the immobile becoming of form seems to be a resignation from the heated debates among his contemporary materialists, vitalists, dynamists, and evolutionists. However, in terms of the Kantian subjective teleology, Uexküll’s appropriation of the ancient philosophy reinstates the invisible, static, but repetitive cycle as his regulating principle in the observation of the activity of animals. This regulating principle distinguishes itself from the rule of resemblance established by the appearances and fossil remains of animals, which is linear, incomplete, and digressive. In the light of Michel Foucault, the transition from the visible to the invisible recoups the study of nature from the living beings (les êtres vivants) to the life itself (la vie), from natural philosophy to biology. My study suggests that we recast Uexküll’s sign theory from his observations on the crux that models and triggers an animal to action in its Umwelt. Bracketing Uexküll’s transcendental configuration of form and image, we still find that schema, in its sensual and functional context, evolves from a reflection of the objects to a summary of their features plus an ignorance of their proper names. Uexküll's erasure of proper names (in different languages) that directs our attention to the presentation in its pure form (Gestalt) not only constitutes an important step in epistemology, but also in a life science that meticulously delves into the genotypes.
Ernst Cassirer’s philosophy of biology
Authors: Krois John Michael
Published: June 2021

The first part of this essay outlines Cassirer’s philosophy of biology in the context of philosophy of science in the 20th century, giving an overview of Cassirer’s different writings on the philosophy of biology. The second part outlines his treatment of what he took to be the chief philosophical problem in the philosophy of biology: the conflict between mechanism and vitalism. Cassirer interpreted this conflict as a methodological debate, not a metaphysical problem. In Cassirer’s eyes, each point of view is justified within specifics limits. The third part explicates Cassirer’s critique of Darwinism. Although Cassirer was critical of particular conceptions of Darwinian evolution, he did not reject evolution and, in fact, asserted that the concept of emergence was also of far-reaching importance in other fields besides biology. Part four offers concluding remarks about the importance of the philosophy of biology for Cassirer’s general philosophical orientation and for his conception of the tasks of philosophical theory.
The Eternal Question: Biological variations on a Platonic dialogue
Authors: Von Uexküll Jakob , Von Uexküll Thure , Vögel Edgar
Published: June 2021

The reinterpretation of Nature by biology, which will prevail in spite of all obstacles, has brought our thinking closer to antiquity, giving us the chance to reinvigorate our perused terminology with the help of the resources to be found in the thoughts of the greatest minds of mankind. The way to Plato thus being cleared, I perceived the idea to seek enlightenment on pressing biological questions from the great Sage. As means to this end, I chose to make Socrates continue one of his dialogues, with the adjustment of giving him the knowledge of our contemporary biological problems. Thus some kind of interaction between the Ancients and ourselves is created, to our considerable benefit.
Semiosphere and/as the research object of semiotics of culture
Authors: Torop Peeter
Published: June 2021

Since 1984 when J. Lotman’s article “On semiosphere” was published, this concept has been moving from one terminological field to another. In the disciplinary terminological field of the Tartu–Moscow School semiotics of culture, ‘semiosphere’ is connected with terms ‘language — secondary modelling system — text — culture’. From interdisciplinary terminological fields, the associations either with biosphere and noosphere, or with logosphere, are more important. As a metadisciplinary concept, semiosphere belongs to the methodology of culture studies and is associated with the concepts of holism and the part and the whole. In this context, semiosphere marks the complementarity of disciplines studying culture, the movement towards the creation of general culture studies and “understanding methodology”. On the background of the contemporary trends of science it has to be remembered that semiosphere is simultaneously an object- and a metaconcept. The dynamism of culture as a research object forces science to search for new description languages but the new description languages in turn influence the cultural dynamics as they offer new possibilities for selfdescription. Often, however, from a historical perspective, a new description language is nothing but a methodological translation. Thus also the term semiosphere joins together several concepts that are related to semiotics of culture and that have gained new relevance on the background of the culture’s developmental dynamics. The concept of semiosphere brings semiotics of culture again into contact with its history, as it also brings applicational cultural analysis into contact with the history of culture and with the newest phenomena in culture. These contacts determine the place of the semiotics of culture among the sciences studying culture.
Semiosphere and a dual ecology: Paradoxes of communication
Authors: Kull Kalevi
Published: June 2021

This article compares the methodologies of two types of sciences (according to J. Locke) — semiotics, and physics — and attempts thereby to characterise the semiotic and non-semiotic approaches to the description of ecosystems. The principal difference between the physical and semiotic sciences is that there exists just a single physical reality that is studied by physics via repetitiveness, whereas there are many semiotic realities that are studied as unique individuals. Seventeen complementary definitions of the semiosphere are listed, among them, semiosphere defined as the space of qualitative (incommensurable) diversity. It is stated that, paradoxically, diversity, being a creation of communication, can also be destroyed due to excessive communication.
The problem of the autocatalytic origin of culture in Juri Lotman’s cultural philosophy
Authors: Priimägi Linnar
Published: June 2021

The origin of culture remains in the sphere of hypotheses. Although the hypotheses derive from two presumptions: first, how the structure of culture is envisaged, and secondly, how culture is thought to function. Juri Lotman dealt with both aspects of culture, initially the structural and typological and later the dynamic aspects. Thereby, he arrived at the cultural-philosophical hypothesis of the autocatalytic origin of culture. A catalyst is a component of a chemical reaction which itself doesn’t transform during the reaction, but whose presence is needed to guarantee the reaction (or to stimulate it). Thus, autocatalysis is a paradoxical situation in which the genesis of something presumes the pre-existence of the final product. The paradox of the autocatalysis of culture lies in the fact that culture cannot emerge from anything other than from culture itself, from its own germination. In 1988, speaking about the autocatalysis of culture, Lotman refered to the cultural historicist Nikolai I. Konrad (1891–1970), who undoubtedly borrowed this idea from Jacob Christopher Burckhardt (1818–1897). This undiscovered connection reminds us of the fact, that a model for autocatalysis (or an autopoiesis) was basic to Naturphilosophie of the 19th century. In the 20th century, this was represented by Vladimir I. Vernadsky (1863–1945), from whom Lotman in 1982 received the impetus to formulate the concept of semiosphere as well as of the autocatalysis of culture. The autocatalysis model of culture is culturally diachronical, the semiosphere is, however, a synchronical one. In both cases, the natural philosophical cytology of the 19th century was Lotman’s semiotical meta-language.
Crossing over with the Angel
Authors: Kozin Alexander V.
Published: June 2021

This essay is an analytical extension of Roland Barthes’ structural analysis of an excerpt from the Old Testament (Genesis 32: 22–32), known as “The Struggle with the Angel”. It thus continues the search for “the third meaning” of this enigmatic passage. In this essay, “The Struggle with the Angel” is undertaken in the phenomenological (xenological) register which situates it in the liminal sphere at the crossing of disclosure and concealment. Subsequent semiotic analyses of three visual renditions of Genesis 32: 22–32, Rembrandt’s “Jacob’s Struggle with the Angel”, Sir Jacob Epstein’s “Jacob and the Angel”, and Marc Chagall’s “Jacob Wrestling with the Angel”, show the “third meaning” of the passage to be predicated on the foundational relation between naming and facing, pointing to the understanding of “The Struggle” as the face-to-face relationship of love and responsibility grounded in ethics.
From globality to partiality: Semiotic practices of resistance to the discourse of war
Authors: Monticelli Daniele
Published: June 2021

This paper examines the discourse of war from a semiotic point of view and suggests some ideas for the development of practices of resistance to it. The discourse of war can be considered symptomatic in respect to underlying discourses of totality such as globalisation. By aiming at explanatory simplification, this kind of discourse takes the paradoxical form of an exhaustive paradigm which always engenders a residuum to be eliminated. Semiotics can develop practices of resistance to the discourse of war by operating on the syntagmatic chains generated by its mediatic agencies. These practices are based on the postmodernist critique of totalising discourses. A process in which details are disconnected from the mediatic chains where they vanish might trigger the opening of a space of community that makes the residuum of war discourse presentable through metaphorical substitutions. Semiotic practices of resistance to the discourse of war presuppose a shift in theory from the paradigm of globality to that of partiality. Partiality must be understood both from a political and an epistemological point of view and it could therefore represent an important element in the development of a semioethics.
Маленький человек в неевклидовом мире: о художественном пространстве в фильме и пьесе Т. Стоппарда “Розенкранц и Гильденстерн мертвы ”
Authors: Zaslavskii Oleg B.
Published: June 2021

The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a global nature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz.
Von Krahl Theatre revisiting Estonian cultural heritage
Authors: Saro Anneli
Published: June 2021

In the 1990s Estonia underwent a process of radical socio-political changes: a periphery of the Soviet conglomerate became a country with an independent political and economic life. The new situation also brought about a revision of cultural identity, which in the Soviet Union had been grounded primarily on the dichotomy between national and Soviet culture. Since these oppositions were rendered unimportant with the changed politico-economic conditions, a time of ideological vacuum followed. Estonia as an independent state and a cultural island between the East and the West turned its face toward Europe, questioning for its new or true identity in the postmodernising and globalizing society. In this article three productions of Estonian theatre as examples of identity construction will be analysed, investigating the rewriting of cultural heritage, intercultural relationships and implicit ideologies.
Staging national identities in contemporary Estonian theatre and film
Authors: Võsu Ester , Joosepson Alo
Published: June 2021

This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage.
Founding a world biosemiotics institution: The International Society for Biosemiotic Studies
Authors: Favareau Donald
Published: June 2021

Founding a world biosemiotics institution: The International Society for Biosemiotic Studies
Thure von Uexküll 1908–2004
Authors: Kull Kalevi , Hoffmeyer Jesper
Published: June 2021

Thure von Uexküll 1908–2004
The semiotic construction of solitude: Processes of internalization and externalization
Authors: Valsiner Jaan
Published: June 2021

Human beings create their private worlds of feelings and thoughts through immersion in the semiosphere created through situated activity contexts. Processes of internalization/externalization are at the center of development of human beings through the whole of their life courses. We consider the contexts of schooling as organized through Semiotic Demand Settings (SDS) for development of intrinsic motivation of the students. Intrinsic motivation is a process mechanism that operates as internalized and hyper-generalized feeling at the most central layer of internalization. It is a result of integration of social suggestions, hyper-generalized as an affective field, and turned into a value that directs future actions.
The duality of understanding and the understanding of duality in semiotics
Authors: Luure Andres
Published: June 2021

In the view of the author, the main problem of semiotics is the understanding and advancing of understanding. To contribute to the solution of this problem, a distinction is suggested between two types of understanding: enlogy and empathy. The subject of enlogy reduces what he understands to himself as a code: he hears only what he is himself. The subject of empathy reduces what she understands to herself as a text: she sees only what she is striving to become. Enlogy is possible due to the identity of the communicants as a present unified code. Empathy is possible due to the identity of the communicants as a future common text. Mastering the code is a by-product of empathy; the texts rests on the enlogy that already is possible. Enlogy and empathy do not pereceive each other as understanding. Therefore their mutual understanding remains the hardest problem of understanding. To fulfil its task, semiotics has to address this problem.
From materiality to system
Authors: Armand Louis
Published: June 2021

This paper seeks to address the relation of materiality to structure and phenomena of signification or semiosis. It examines the logical consequences of several major lines of argument concerning the status of semiosis with regards to the human or broadly “organic” life-world and to the “zero degree” of base materiality — from Peirce to Lotman and Sebeok — and questions the classificatory rationale that delimits semiosis to the exclusion of a general treatment of dynamic systems. Recent investigations into neurosemiotics have provided salient arguments for the need to treat semiosis as a characteristic of systems in general, and to establish a more transverse understanding of signifiability upon the basis of what makes dynamic structures, as such, possible.