440 matches
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continuity, order, unity, or generality Layer of metasymbols: traces to a culture's historical past, being governed by conventions. A spațial semiotic grammar This necessary interdependence between the three categories and the metaphorical levels implies a certain flow within a semiotic space where, according to Yuri Lotman (1990), there lies the core of the whole culture. Starting from Lotman's concept of semiosphere, defined aș the result and condition for culture development, and from Vernadsky's concept of biosphere, defined aș
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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starting from the central knot shaft/ țeapă proves that implicitly there is created a text focused on a spațial and temporal sequentiality where the participants alongside with (non)verbal objects, enter into a cotextual composition, one of the four social semiotic systems, and which forms a predication (Jackendoff 2007) în cognitive theory. The connectors between referents (în and beyond spaces) în (non)verbal textual compositions lead towards a distinction between roles and individuals and towards the ability of extending and of
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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of the semiotics of passion. Multimodality → resemiotization The transcending beyond the boundaries of a text and the melting within one composition of linguistic, visual, kinetic, musical or design elements have led towards the introducing în social semiotics of a new semiotic system, namely multimodality (Fairclough 1992; Fairclough și Wodak 1997; Kress, Van Leeuwen 1990, 1996, 2006; Van Leeuwen 1999, 2005; Van Leeuwen, Jewitt 2000). It was necessary this reconsideration of semiotic terms due to the social and cultural factors (Kress, Van
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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led towards the introducing în social semiotics of a new semiotic system, namely multimodality (Fairclough 1992; Fairclough și Wodak 1997; Kress, Van Leeuwen 1990, 1996, 2006; Van Leeuwen 1999, 2005; Van Leeuwen, Jewitt 2000). It was necessary this reconsideration of semiotic terms due to the social and cultural factors (Kress, Van Leeuwen 2006: 34). The intensification of cultural and linguistic diversity within the boundaries of the same state led towards multiculturalism. The technological progress and a global circuit of the capital
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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cultural and linguistic diversity within the boundaries of the same state led towards multiculturalism. The technological progress and a global circuit of the capital hâd aș outcome the blurring not only of the cultural and political boundaries, but of the semiotic ones aș well. Nowadays there is the urge of a surpassing of "a linear approach, centered on production" (Oprea 2005: 23, our transl.). The production processes (du Gay 2006: 7) become cultural phenomena because they turn into a complex of
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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s solution lies în the concept if "resemiotization" which could capture the transformations from one context to another, from one social practice to another. The logic of resemiotization implies the evolution of an object, for example "door", through different modal semiotic systems which it might transit. Bruno Latour 8 offers an analysis of the intersemiotic changes which led to the discovery of the automatic door closer: from the verbal instance ("Please keep this door closed") to the written notice and then
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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în any corporate, political or literary mise en image. Baudrillard and Guillaume ([1994] 2002: 29) talk about the fact that this metamorphosis into a ME or several MEs is based on the code which becomes "the great other" through the semiotic process of multimodality. The third element of this identity triad can be explained through the theory of the stakeholders (Freeman 1984) from the domain of public relations. Based on the interaction between individuals, groups or organizations, this third element is
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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în the second part of the book constitute the arguments for the non-essentialist view (Holliday, Hyde, Kullman 2004: 4) on identity and culture. This (de)constructivist approach fits the theoretical framework of social semiotics through the analysis of the four semiotic systems. The analysis of the represented and interactive participants' cultural identity constitutes the passing from a micro-discursive level towards a macro-discursive level or the discovery of some passions and ideologies beyond the actions rendered în some public or literary narratives
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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to economy. Corporate textual identity The concepts of "image" and "power" are interwoven. The power of images lies exactly în the process of flowing from iconicity towards indexicality or symbolicity. The corporate image does not make any exception from this semiotic flow, being "the total sum of signs that stands for an organization's identity" (Christensen, Askegaard 2001: 304). Although Curtin and Gaither (2005) consider that image is the corporate identity due to the complex constructs of significations, being the results
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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variables to be taken into account for corporate images, reputation is rather linked to the interests of an organization. Starting from these images there can be created an identity mix (Balmer 2001: 263) whose representation includes essential elements for a semiotic analysis: communication, culture and structure. Placing culture aș the central knot, Blamer implicitly includes a flow from this core towards the other visual identity elements (composition/ structure, represented and interactive participants, modality) which will signal either the change or the
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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on "individual elements that transfer meaning" (Watts 2004: 357). The decision process can be associated în marketing with the acronym A(ttention)I(nterest)D(esire)A(ction) (Rogers 2001). The analysis of each visual corporate image will include the semiotic resources în each of the four components of the decision. Two other important issues to be considered în a semiotic analysis are the stakeholders' perceptions and the schemes mentally activated în the process of interaction with the semiotic objects. ÎI
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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A(ttention)I(nterest)D(esire)A(ction) (Rogers 2001). The analysis of each visual corporate image will include the semiotic resources în each of the four components of the decision. Two other important issues to be considered în a semiotic analysis are the stakeholders' perceptions and the schemes mentally activated în the process of interaction with the semiotic objects. ÎI.2. Visual British identity through fragrances Burberry branding 9 Robert Goldman (1992: 50) considers that perfume ads "depict a social
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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include the semiotic resources în each of the four components of the decision. Two other important issues to be considered în a semiotic analysis are the stakeholders' perceptions and the schemes mentally activated în the process of interaction with the semiotic objects. ÎI.2. Visual British identity through fragrances Burberry branding 9 Robert Goldman (1992: 50) considers that perfume ads "depict a social universe inhabited by commodity selves engaged în fetishized social relations". This could be perceived when the human body
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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body turns into a product-sign. Beyond the intention of commercialization and that of the plunging of the purchaser into a world moulded by advertisements, there could be grasped the identity of a certain country. We will place ourselves into the semiotic system of representation where Goldman and Papson's formulă (2004: 24) (brand name commodity + meaning of image = commodity sign) will be explained. The Burberry brand and the two ads (Fig. 1) are the empirical dată which will be analysed taking
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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Beasley, Danesi 2002: 2), advertising uses both aesthetic techniques and the tools of psychology and statistics, the purpose being that of influencing the buyer to purchase a certain commodity. The words and images used by any persuader în advertising become semiotic resources of representing one's reality (Duranti 1997: 214). Together with contextual features, they have besides the iconic function which sends to a particular object, a semiotic function of indexicality, signaling a certain social and cultural territory (tulips, pizza or
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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certain commodity. The words and images used by any persuader în advertising become semiotic resources of representing one's reality (Duranti 1997: 214). Together with contextual features, they have besides the iconic function which sends to a particular object, a semiotic function of indexicality, signaling a certain social and cultural territory (tulips, pizza or pastă are the indices of the Netherlands or Italy). We might add that along with linguistic expressions, there are also objects which belong to the contextual frame
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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does not imply a mere historical placement în time and space, but, a certain psychological scheme of the respective community aș well. Thus, we will offer an analysis of the word burberry, using Danesi's "cognitive flow", based on three semiotic layers (see I.1.): BURBERRY = bur+berry layer of metaforms bur [Dan. berre "prickly seed vessel of some plants"] berry [O.N. ber "grapes"] layer of meta-metaforms bur [în 1611 "rough edge on metal" → "rough sound of the English letter
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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main stakeholders involved lacked the "center" that holds everything together. We will interpret the pervasive feeling of fear through the semiotics of passions and the semiotics of action (Greimas, Fontanille [1991] 1993). Our case study will focus on the four semiotic systems (represented participants, composition, modality, interactive participants) within the corporate modulation of Agricolă Internațional Bacău 12, the biggest poultry processing company on the Romanian market. The interdisciplinarity between social semiotics (Hodge, Kress, 1988; Kress, van Leeuwen, 1996, 2001, 2006; van
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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of danger; a reason for dread or apprehension. We will place this configuration of fear within the phoric tensivity, at the level of preconditions (Greimas, Fontanille [1991] 1993). The scission from order to disorder relies on the awareness of the semiotic participant who, în order to surpass this state of anxiety, seems to cling to the assigning of new fiduciary valencies to old objects. This process of meaning (re)construction is actually a modulation of becoming, namely a way of saving
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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în our study case by two stakeholders, namely the customers and the state. The examples that seem to contradict these results come from the campaigns planned by Agricolă Internațional în order to surpass the bird flu crisis. Agricolă Internațional a semiotic participant A corporation, formed of other six companies (Comcereal, Aicbac, Europrod, Conagra, Agriconstruct, Bâc Prinț), Agricolă Internațional hâș always managed a twofold identity: at a production level, Agricolă Internațional holds 17% of the național poultry market, having 3,000 employees
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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should have engaged the stakeholders în managing the social demands through awareness, instruction and persuasion messages. The four systems of social semiotics constitute the theoretical background to be applied to the material and abstract images that Bio-secured finally achieved. The semiotic systems of composition and (inter)modality should be given a twofold approach: on the one hand, a composition of different communication channels according to the types of publics: press and authorities (a press center on the site www.agricola.ro
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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of Bio-secured, information sessions; a company press kit); consumers (a free țel green phone number 0800.800.822 where a doctor might answer all the questions, a special entry on the company site). on the other hand, a composition of semiotic sign-objects whose (non)verbal representation will focus on the framing of a "trustworthy brand" message. This composition is actually a means of influencing the involved publics through the adequate choice of the variable source, namely the president of the company
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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identity puzzle of the Agricolă expert team that the president of this company talks about în the end of the commercial: "I greatly trust my expert team because our work means a huge responsibility towards our customer". Conclusions The four semiotic systems (represented participants, composition, modality, interactive participants) provide a framework of deconstructing and reconstructing organizațional, political or literary identities through a cognitive flow from the microdiscursive layer or from a public or literary narrativity towards a macrodiscursive layer where there
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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26 Sever, Coifan Octavian (2003), 1000 de parfumuri Universul parfumeriei discurs asupra istoriei și teoriei parfumurilor, București, "Curtea Veche", pp. 83-84. 27 O parte din acest subcapitol face parte din lucrarea "When the Bird Flu Strikes the Corporate Identity. A Semiotic Approach to Corporate Crisis Management" (Cmeciu, Camelia; Ferenț, Ana-Maria) prezentată la conferință internațională AROSS Transmodernity: Managing Global Communication (23-25 octombrie 2008). 28 Paul du Gay (2007) introduce sintagma "economie culturală" în cartea Productions of Cultures/ Cultures of Production pentru "a
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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ale persoanei care argumentează". Argumentul ad hominem este o discreditare a ideii unei persoane prin defăimarea persoanei care o susține (Sălăvăstru 2003: 329). 45 O parte din acest subcapitol a apărut în Cmeciu, Camelia, Wąsik, Zdzisław (2008b), "Metaphors aș a semiotic means în the molding of political identities", în Zdzisław Wąsik și Tomasz Komendziński (editori), Philologica Wratislaviensia: From Grammar to Discourse, Frankfurt am Main, Berlin, Peter Lang, pp. 133-148; în Cmeciu, Camelia (2008c), "The Style of Political Images", în Stanisłw Gajda
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]