Semiotika
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The Late Lithuanian Greimas: Intentions and Reception
Full text linkThe main research material consists of Algirdas Julius Greimas’s texts written during the transition period, when Lithuania was parting with Soviet rule (1989–1991), mainly his “Baltos lankos” column in Literatūra ir menas weekly periodical as well as various texts by other authors on Greimas’s texts along with memoirs, letters and obituaries. The study has two aims: 1) to find a conceptual approach for analyzing Lithuanian texts by the late Greimas, 2) to identify points of change in the semiosphere of Lithuanian culture. Greimas’s own semiotic method, namely, a structure of four Senders is used to describe his texts. The theoretical context of Juri Lotman’s cultural semiotics is a more permanent intellectual context for this study, and some of the terms are useful in more than one aspect. The readers’ attitudes towards Greimas’s texts highlight how the core and periphery change in the semiosphere: the period of cultural activity and openness and the internal cultural barriers appearing at the same time, the gradual passivation of culture and cases of sporadic creative relationships
Lotmanian Perspective on Complexity in Cultural Systems
Full text linkThis article sets out to discuss the potential of Juri Lotman’s semiotic theory to serve as a ground from where a new understanding of cultural complexity could emerge. While the connection between Lotman and complex systems theory is quite well established, what is yet to be clarified is the ways in which his approach differs from the universally accepted understandings of complex dynamics, i.e., what makes Lotman’s perspective on complexity unique? The article also explores the possibility of developing Lotman’s ideas further in the context of the contemporary paradigm of complex thought with the aim of clarifying the specifics of complexity in cultural systems. In order to fill these aims, the article will first compare Juri Lotman’s ideas with a generally recognized understanding of complexity to delineate a common ground. Then, the paper will address the issue of how studying complexity differs in physical systems and cultural systems, focusing on how this matter has been discussed in semiotics. The final part of the article will propose some initial lines of thoughts regarding how Lotman’s ideas could be advanced further to grasp the phenomenon of complexity in culture
Sovietmečio Lietuvos naujametinis sveikinimo atvirukas: averso semiotika
Full text linkThe article discusses the semiotics of greeting card with focus on the discursive configuration of the recto side. The aim is twofold: to examine the possible ways image and verbal text are combined and identify the meaning produced by its different configurations. Soviet Lithuanian New Year greeting cards (dated from the late 1950s to 1989) are analyzed to accomplish the study. The methodological approach is compound. The guidelines of Greimasian theory of semiotics and Tartu-Moscow semiotic school as well as the ideas of Jacques Fontanille and Jean-Marie Floch are used to perform the study.
The discourse analysis revealed that when placed on the recto side greeting text both anchors the content of the image and acts as a performative utterance. Depending on the specific configuration of the recto side and the material aspects of a greeting card, the role of enunciator can be subjected either to the artist or image figures. However, in some cases the performative function becomes secondary. For example, when playfulness established by the interrelation of image and verbal text is given priority over the greeting act.Straipsnyje nagrinėjama sveikinimo atvirukų aversų reikšmės generavimo problema. Analizuojant sovietmečio Lietuvos naujametinių atvirukų reprezentatyvius pavyzdžius siekiama nustatyti, kaip atviruko averse derinami atvaizdas ir žodinis tekstas, kokias konfigūracijas sukuria tas derinys ir kokias reikšmes generuoja skirtingi atvaizdo ir žodinio teksto derinimo variantai. Žodinių tekstų ir atvaizdų analizei atlikti pasitelkiama greiminės semiotikos prieiga bei Tartu-Maskvos semiotikos mokyklos idėjos; santykiui tarp diskursų ir laikmenos nusakyti naudojamasi Jeano Marie Flocho ir Jacques’o Fontanille terminais. Averso konfigūracijos variantų analizė leidžia parodyti, kaip averse konstruojama sakymo instancija, koks diskursas atlieka kertinį vaidmenį generuojant averso reikšmes ir kokias funkcijas jis prisiima. Be to, tyrimas atskleidžia, kaip averso reikšmes veikia atviruko medžiaginės savybės ir specifinės diskurso sąrangos nulemtas kodų sudvigubinimas
Namų kinas kaip kultūros atminties tekstas
Full text linkThe aim of this article is to define home movie as a text of cultural memory and reveal the dynamics of its meanings in culture. The personal and the collective maintenance and transmission of memory is a complex mechanism that operates within a dynamic cultural model. The analysis of this mechanism considers the way in which something that first appears to be culturally irrelevant – a private home movie of a family – is brought into the public space and circulates as a cultural text contributing to the preservation and formation of cultural memory. The analysis describes home movie in the framework of semiotics and reveals the meaning shifts that occur when private memory texts begin to circulate in a more general cultural context. The mechanism of the dynamics of cultural texts and the problematics of memory are explored using Yuri Lotman’s cultural semiotics approach. The example of Lithuanian director’s Dovilė Šarutytė’s debut feature film A Feature Film About Life (2021) is used to describe in more detail the transformations of meaning that home movies undergo after becoming a cultural text.Straipsnyje siekiama aprašyti namų kiną kaip kultūros atminties tekstą ir jo reikšmių dinamiką kultūroje. Asmeninis ir kolektyvinis atminties išlaikymas ir perdavimas – sudėtingas mechanizmas, būdingas dinaminiam kultūros modeliui. Analizuojant šį mechanizmą žiūrima, kokiu būdu tai, kas iš pirmo žvilgsnio atrodo kultūrai nereikšminga – privačiai erdvei priklausantis namų kinas, – yra įreikšminama, t. y. patenka į viešąją erdvę ir ima cirkuliuoti kaip kultūros tekstas, prisidedantis prie kultūros atminties išlaikymo ir formavimo. Pristatoma namų kino fenomeno analizė per semiotikos prizmę ir atskleidžiama, kaip ir kokios jo, kaip kultūros teksto, generuojamos reikšmės. Kultūros tekstų dinamikos mechanizmai ir atminties problematika tyrinėjama remiantis Jurijaus Lotmano kultūros semiotikos prieiga. Siekiant detaliau aprašyti reikšmines transformacijas, kurias patiria namų kinas tapęs kultūros tekstu, pasitelktas Dovilės Šarutytės debiutinio filmo Ilgo metro filmas apie gyvenimą (2021) pavyzdys
Grimzdimas tarp semiotinių teorijų
Full text linkThe paper focuses on the book of poetry immersion (2017) by Lithuanian poet Gytis Norvilas, maps the strategies of its reading within the framework of the semiotic-pragmatic approach, and considers the theoretical issues of the mapping. Despite the book cannot be unambiguously defined as an example of patterned poetry, it is configured in a specific way which exposes the functionality of the structural visual layer in written / printed poetry. This feature of the text in question inspires to revise the interpretation of the issue of iconicity and the configuration of the model of reading literature, proposed by the semiotic-pragmatic approach. The semiotic-pragmatic modelling combines Peircean and Jakobsonian ideas with minor insertions of Lotmanian thought (i.e. Johansen 2002), thus it links the ideas from the conceptual systems, based on different epistemological grounds (Peircean vs Saussurean notion of sign). It creates theoretical tensions that force to raise the question of how the transference of notions from one system to another changes their meaning, and where one could find the basis for overcoming or bypassing the controversies. The first part of the paper explores the theoretical tensions between Peircean, Jakobsonian and Lotmanian approaches to the issues of iconicity and attempts at revealing the fields of theoretical reasoning that help to define the ground of contradictions and see the way of their bypassing. Besides, it relates the discussion of iconicity with a discussion of the semiotic-pragmatic model of reading as iconization, based on the Jakobsonian idea of intersemiotic translation, and revises the model concerning the printed poetic text. The second part of the paper exemplifies the theoretical issues in the analysis of the book of poetry immersion. It examines the process of diagrammatization – the reading strategy, which makes the syntax of the text and that of the book the meaning-making devices, shows how diagrammatization semantizes the structure of the book, transforms the process of imaginization, and helps to identify the role of the book’s dialogue with hypotext to which both intertextual references and the structure of the text refer. Straipsnyje brėžiamos Gyčio Norvilo poezijos rinkinio grimzdimas (2017) semiotinės-pragmatinės skaitymo strategijos ir aptariamos teorinės strategijų (api)brėžimo gairės, sietinos su rinkinio įforminimo specifika. Nors rinkinys vargu ar gali būti vienareikšmiškai priskirtas „vizualiajai poezijai“, jo sąranga eksplikuoja struktūros vizualumo vaidmenį poezijoje, ir šis eksplikavimas skatina apmąstyti, kaip semiotinė-pragmatinė prieiga svarsto ikoniškumo problemą ir konfigūruoja literatūros skaitymo modelį. Šio modelio konfigūracijoje derinamos Charleso S. Peirce’o ir Romano Jakobsono idėjos, sykiu pasirodo Jurijaus Lotmano semiotikos idėjų intarpų (pvz., Johansen 2002), tad derinamos idėjos iš konceptualiai skirtingų sistemų, grindžiamų radikaliai skirtingomis epistemologinėmis prieigomis (Peirce’o vs Ferdinando de Saussure’o ženklo sampratomis). Skirtingų sistemų idėjų sampyna kuria teorines įtampas, keliančias klausimą, kaip iš vienos sistemos į kitą patenkančios sampratos keičia reikšmę ir kur būtų galima ieškoti pagrindo, leidžiančio apeiti šios transformacijos kuriamus prieštaravimus. Pirmoje straipsnio dalyje aptariamos įtampos tarp ikoniškumo sampratos Peirce’o, Jakobsono ir Lotmano semiotikoje ir bandoma apibrėžti teorinės minties plotmes, leidžiančias identifikuoti prieštaravimų priežastis ir būdus juos apeiti. Šis aptarimas derinamas su semiotinės pragmatinės prieigos sukurtu skaitymo kaip ikonizavimo modelio (grindžiamo Jakobsono intersemiotinio vertimo idėja) aptarimu ir modelio revizija rašytinio poetinio teksto atžvilgiu. Antroje – analizės – dalyje eksplikuojami ir iliustruojami teorinėje dalyje svarstyti klausimai. Rodomas poezijos rinkinio diagramatizavimo procesas – skaitymo strategija, kuri semantizuoja teksto ir knygos sintaksę, paverčia struktūravimo būdą reikšmę kuriančia teksto plotme, koreguoja simbolinių ženklų įvaizdinimo procesą – leidžia identifikuoti ir struktūra, ir paskiromis nuorodomis steigiamo grimzdimo dialogo su hipotekstu vaidmenį
Juri Lotman’s Typologies of Culture
Full text linkOne central concept in Juri Lotman’s semiotics of culture are cultural typologies, the objective of which is to describe the basic types of cultural codes, define the universals of human culture, and to create “a grammar of culture”, i. e. a unified system of the general structure of the universal characteristics of the “culture of humankind”. Lotman compares culture with a living organism as well as with a work of art, above all emphasizing the dynamicity of culture that is effected by two poles (i. e. consciousnesses) throughout the whole of cultural history: cyclical-continual (mythological) and linear-discrete (historical). The article views Lotman’s different conceptions of cultural typologies as a whole, where one and the same binary opposition is described in different ways and with different emphases, conclusively from which two universal types of culture are drawn out
Lotman and the Baroque
Full text linkThe title of this article refers to Gilles Deleuze’s work titled The Fold: Leibnitz and the Baroque and supposes a link, which could be established between the Baroque as a type of art, imagery, and a philosophical concept, as it was described by Deleuze, on the one hand, and the culture, its inner structure, and mechanisms (workings), as they were defined by Juri Lotman in his conception of the semiosphere, on the other. The article shows that the main concepts introduced by Leibniz and Deleuze find their counterparts in the semiotic space described by Lotman. Starting with the concept of a monad that both thinkers are concerned with, following conceptual pairs could be identified in their systems: a border – a fold, meaning-making – folding, semiosphere – total art, Deleuzian principle of cone – the hierarchy of monads in the semiosphere of Lotman. In the article, when placed side by side, both systems reveal their proximity as well as new aspects. The analysis leads to a conclusion that Lotman, who started his career as a strict structuralist, in the end, became a post-structural thinker revealing in his works the folded (Baroque) boundary between these two intellectual trends