Cultural landscape geography semiotics,outdoor kitchens grill,patio ideas,lawn services near me - Plans On 2016

02.08.2014
The semiotically informed readings of popular cultural phenomena on offer in this book follow the reverse path. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Chapter 4, on possible world semiotics, is particularly pertinent for advertising planners and creative executives whose role consists largely in inventing and constantly re-inventing brand discourses. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. He holds a BA (Hons) in Philosophy from the University of Essex, an MSc in Marketing from Manchester Business School and an MBA from Strathclyde Business School and a PhD in Marketing Semiotics from the University of Kassel. Amidst a polyvocal theoretical landscape that spans different disciplines, such as sociology, anthropology, literary studies, film studies, media studies, ethnography, philosophy, marketing, to name a few, and different perspectives within each discipline, semiotics (or what is occasionally referred to in cultural research as semiology, under the influence of early Barthesian analyses) is of foundational value.
Instead of assuming Barthes as the alpha and the omega of what semiotics may offer to cultural analysis and criticism, it starts by considering how perspectives that have been offered ever since Barthes’s time may be fruitfully applied. Perhaps stressing that a psychoanalytic approach is complemented by semiotics is a pleonasm, especially in the case of Lacanian theory, where the structure of language came to replace Freudian biologism and naturalism. By drawing on semantics, textual semiotics, philosophy of language and rhetoric, I am addressing how fictive elements, embedded in fabular worlds that are part and parcel of literary and cinematic texts and once conceived of as counterfactual, attain to be actualized in advertising discourse as part of our cultural world. More particularly, this chapter provides a sketchmap for a semiotically informed model of cultural branding, while pointing out how it can be fruitfully applied for managing a brand’s share of cultural representations, over and above its market share, as well as the textual sources of a brand language as (inter)textual formation. The analysis is performed in the context of a cultural predicament where networking and connectivity constitute overarching cultural values.


In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more niche, but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics.
Barthes’s semiological approach to the analysis of multiple meaning layers in popular cultural artefacts constitutes a milestone in popular cultural research. In an attempt to effectively address the sheer polyvocity and conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked against the background of a diverse set of cultural phenomena.
Given that Halliday envisioned the metafunctions as being open to insights gathered from the social sciences, the analysis incorporates and is conceptually informed by accounts pertaining to salient facets of the scrutinized phenomenon from cultural studies, anthropology, rhetoric and most eminently from narrative phenomenology, with a focus on Ricoeur’s unique take on issues of memory, narrativity and collective identity.
The argumentative thrust deploys against the background of the assumption that the ice-bucket challenge constitutes a meme as minimal unit of cultural reproduction that functions on both ontic and ontological levels (in Heidegger’s fundamental ontological terms). The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies.
However, the discipline of semiotics has accomplished significant theoretical and empirical strides since Barthes’s time which, to my knowledge, have not been adequately reflected in theorizations of cultural phenomena that have been surfacing at an exponential rate over the past thirty years in the wider cultural studies discipline.
This roster includes and is informed by structuralist semiotics, post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, eclectically refined frameworks that have been offered by prominent semioticians, such as Umberto Eco, but also, to a lesser extent, by music semiotics and by more niche, but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. Lacan is known not only for having inverted the Saussurean equation of the sign as the ratio of signifier to signified, but also for having employed both Saussurean and Jakobsonian semiotic terminology in different phases of his thinking. The analysis culminates in highlighting the value of complementing a sociosemiotic interpretation of memorial events that includes narrativity as integral aspect of its theorizing mode, with a phenomenological angle that affords to elucidate invisible structures that are operative beneath the concerned semiotic resources’ manifest multimodal structure. The implications for brand genealogists, but also in terms of developing advertising texts by drawing on a combinatorial logic of properties and individuals from fictive worlds are highlighted as an addendum to the practical implications of philosophy and semiotic theory.


This comparative reading aims at highlighting not only similarities and differences between the Lotmanian conceptualization of the semiosphere and the concerned modernist and post-modernist authors, but the construct’s operational relevance in a post-metanarratives cultural predicament that has been coupled with the so-called spatial turn in cultural studies. The offered analysis aims at demonstrating that the enunciator of this unit is the meme itself that summons hosts or enunciatees to legitimate the pre-reflective memetic mode of cultural reproduction and propagation as overarching mode of communication. His research interests rest with cultural studies and with effecting inter-disciplinary cross-fertilizations between marketing, rhetoric and semiotics, also informed by disciplines such as phenomenology, deconstruction, psychoanalysis, anthropology, communication theory. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies, to name a few. At the same time, the offered readings engage dialogically with culturally informed research in the marketing discipline or what has become entrenched in the academic vernacular under the umbrella of CCT (Consumer Culture Theory).
Again, it is deemed that the conceptual richness of semiotics has been considerably underutilized in CCT, while it is hoped that the featured readings will contribute to the enhancement of cross-fertilisations between culturally informed marketing research and semiotics.
The analysis of imagery from seminal live shows during 2011-2012 demonstrates that Gaga’s presumed monstrosity is more akin to hyperdifferentiation as simultaneous employment of heterogeneous and potentially dissonant cultural representations. Moreover, the deployed discussions aim at instigating dialogue between semiotics and disciplines that have become increasingly popular over the past thirty years, such as discourse analysis and critical discourse analysis. In this instance, semiotics has been foundational in delineating the research scope and panoply of research tools in discourse analysis.




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