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Corola-publishinghouse/Science/1056_a_2564

signification (a theory of codes aș systems of signification which links present units to absent ones) and a semiotics of communication (a theory of sign production where the interlocutor plays a very important role). e) The discursive production of the semiotic object is achieved through a continuous and constant interference between Peirce's concepts of firstness, secondness and thirdness, on the one hand, and, on the other hand, the different types of physical labor (Eco [1976] 1979: 218), namely recognition, ostension

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
1996, 2001, 2006; Van Leeuwen 1999, 2005). The main idea of social semiotics (Hodge, Kress 1988; Kress, Van Leeuwen 1996, 2001; Van Leeuwen 2001, 2005; Iedema 2001; Jewitt, Oyama 2001) focuses on the way în which human beings use the semiotic resources both to produce communicative artifacts, and to interpret them, which also implies a form of semiotic production within the context of some specific economic and cultural situations and practices which will lead towards some power relations. Social semiotics deals

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
Van Leeuwen 1996, 2001; Van Leeuwen 2001, 2005; Iedema 2001; Jewitt, Oyama 2001) focuses on the way în which human beings use the semiotic resources both to produce communicative artifacts, and to interpret them, which also implies a form of semiotic production within the context of some specific economic and cultural situations and practices which will lead towards some power relations. Social semiotics deals with "semiotic systems în their social and historical determination" (de Grauwe 2003), because it is based on

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
both to produce communicative artifacts, and to interpret them, which also implies a form of semiotic production within the context of some specific economic and cultural situations and practices which will lead towards some power relations. Social semiotics deals with "semiotic systems în their social and historical determination" (de Grauwe 2003), because it is based on funcțional linguistics, namely on M.A.K. Halliday's statement that semiotic systems have three metafunctions: the ideațional, the interpersonal, and the textual 1. We

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
and practices which will lead towards some power relations. Social semiotics deals with "semiotic systems în their social and historical determination" (de Grauwe 2003), because it is based on funcțional linguistics, namely on M.A.K. Halliday's statement that semiotic systems have three metafunctions: the ideațional, the interpersonal, and the textual 1. We consider that CDA (Critical Discourse Analysis), promoted by Teun van Dijk (1977, 1985) or Norman Fairclough (1989), hâș a great influence on the moulding of a theoretical

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
challenges of the dominance relations (van Dijk 1990: 249), its main thesis being that any representation and social cognitive process hâș an important discursive dimension whose ideological macro-structure is built on some expressive, relațional and experiențial values. ÎI. Discourse a semiotic analysis Beyond the discursive rubik cube The shaping of the discursive (rubik) cube (Cmeciu C. 2005a: 39-43) hâș been the outcome of a deșire to surpass the linear representations of a communication exchange between a sender and a receiver and

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
associate the marbles from Umberto Eco's box ([1976] 1997: 124), the metaphor used for the discursive rubik cube, to those linguistic objects/ words and nonverbal objects which are manipulated în textual structures and which have a potențial of becoming semiotic resources 3. The image of a society could be interpreted through what Charles Sanders Peirce lays beyond the knowledge-communication process, namely "a relationship of progressive adequation between two fundamentally opposed elements, "objects" and "signs"". The vectors of determination and representation

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
process, namely "a relationship of progressive adequation between two fundamentally opposed elements, "objects" and "signs"". The vectors of determination and representation that characterize an object and, respectively, a sign, are governed by a flow. The important thing în understanding this semiotic flow lies within the semantics of prepositions which reveals an implicit metaphor of a journey: * a flow from an object to a sign. The preposition "to" assigns to the sign the thematic role of a goal (Cornilescu 1995), a point

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
signs, în that signs mediate relations between their objects and their interpretants. It may be manifested by representation, thought, 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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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

Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]