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Displaying: 101-120 of 1691 documents

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101. Semiotics: 1986
Marcel Cornis-Pop "A Matter of Telling Stories": Plots and Counter-Plots in Recent Literary Interpretation
102. Semiotics: 1986
Robert de Beaugrande Programmability versus Creativity: Artificial Intelligence and Literary Theory
103. Semiotics: 1986
Gilles Thérien The Other in the Field: A Semiotic Approach to the Phenomenon of "Drifting"
104. Semiotics: 1986
Vittoria Borso-Borgarello Metaphor and Myth in Contemporary Theory: Evidence from the Contemporary Novel
105. Semiotics: 1986
Laurel J. Brinton Iconic Word Order Patterns in Chaucerian Prose
106. Semiotics: 1986
Floyd Merrell Peirce, and Bohm's Quantum Universe
107. Semiotics: 1986
Hanna Buczynska-Garewicz Ingarden on Meaning and Interpretation
108. Semiotics: 2007
Reid Perkins-Buzo Real Film: Realist Film Theory, Semiotics and the Documentary Film
abstract | view |  rights & permissions
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.
109. Semiotics: 2007
Judy Kay King Self-portrait in the Pharaoh's Mirror: A Reflection of Ancient Egyptian Knowledge in Teilhard de Chardin's Evolutionary Biophysics
110. Semiotics: 2007
J. Raymond Zimmer Category-Based Diagrams of Jungian Archetypal Psychology
111. Semiotics: 2007
James Jacobs Theological Sources for Augustine's Theory of Signs
112. Semiotics: 2007
Josephine Carubia Sign Processes of Journeying and Destination
113. Semiotics: 2007
Karen A. Haworth The Bubble Analogy: Thoughts on Cognitive Transformations in the Evolution of Human Language
114. Semiotics: 2007
Matthew Shaftel Form, Sign, and Signing: Integrating Sign Systems in an Interdisciplinary Approach to Opera
115. Semiotics: 2007
Jonathan Beever Baudrillard, Simulated Ecology, and Recovering Remainders of the Real: The As is Through the As if
116. Semiotics: 2007
John Henning Abduction in the Practice of Teaching: the Intersection of Tacit and Explicit Knowing
117. Semiotics: 2007
Brett Bogart When Naples' Mayor Waxed Positive about Guapperia: The Hazards of "Cultural Intimacy"
118. Semiotics: 2007
Scott Simpkins The Writing Cure?: The Semiotics of the Trauma Narrative in British Romantic Literature
119. Semiotics: 2007
Frank Nuessel Language Games: A Semiotic Analysis
120. Semiotics: 2007
Myrdene Anderson, Devika Chawla Exploring the Semiosic Tensions Between Autobiography, Biography, Ethnography, and Autoethnography
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The Saami assert that "to move on is better than to stay put" (jot'tit lea buorit go orrot). The senior (in more ways than one) author, Myrdene Anderson, found as a Saami ethnographer that her life history resonated well with this Saami philosophy. In addition, Anderson had adopted from her own heritage the adage that "one can't hit a moving target". The Saami would also be comfortable with that formula. Together, one might minimally collapse and paraphrase both adages as: "a rolling agent invests in the moment". Devika Chawla, the junior author, interrogates Anderson in nuancing this philosophy. To what degree is our research overdetermined and underdetermined by such factors as life history, culture, personality, and narrative reflections? The inquiry proceeds to unpack the opacities and transparencies in semiosic constructions.