41.
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Semiotics:
1980
Helen Peeler Clements
Symbolic Use of Weaving Designs:
A Case Study
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42.
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1980
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The Structure of Metaphor
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43.
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1980
Charls Pearson
The Role of Scientific Paradigms in Empirical semiotics
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44.
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1980
Leo Pap
Tipping Behavior as a Semiotic Process
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45.
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1980
Peter H. Salus
What is Evidence Evidence of?
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46.
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Semiotics:
1980
Fernando Poyatos
Interactive Nonverbal Categories:
A Reappraisal and Elaboration
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47.
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1980
W.E. Underwood
Symbolic Configurations and Two-Dimensional Mathematical Notation
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48.
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Semiotics:
1980
Tomàs Llorens
Architecture as Representation of Nature
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49.
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Semiotics:
1980
Roberta Kevelson
Peirce as Catalyst in Modern Legal Science:
Consequences
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50.
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Semiotics:
1980
Dan Hays
The Rock and Roll Concert:
A Semiotic Analysis
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51.
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Semiotics:
1980
Cynthia C. Rostankowski
Semiotic and Creativity
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52.
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Semiotics:
1980
Juan Pablo Bonta
Architectural Criticism as a Means to Identify Socially Shared Values:
The Case of the East Building of the National Gallery
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53.
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1980
Sarah Brey Simmons
More Than Words Can Say
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54.
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Semiotics:
1980
Madeleine Mathiot
The Self-Disclosure Technique for Ethnographic Elicitation
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55.
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Semiotics:
1980
Joseph Ransdell
On the Paradigm of Experience Appropriate for Semiotics
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56.
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Semiotics:
1980
Chris Abel
Architecture as Identity, I:
The Essence of Architecture
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57.
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1980
Richard Lo
The Measurement of Comentropy Transfer Rates
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58.
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1980
Vladimir Miličič
Conventions of Poetry as Iconic Signs
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59.
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1980
Walburga von Raffler Engel, Steven G. McKnight
The Perception of Nonverbal Behavior in Function of Visible Access to One or Both Interactants
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60.
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Semiotics:
2007
Reid Perkins-Buzo
Real Film:
Realist Film Theory, Semiotics and the Documentary Film
abstract |
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Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it actually opens up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it.
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