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101. Semiotics: 1986
Gila Safran-Naveh Ideological Aesthetics and Meta-Modalization: Semiotics of Descartes' Passions of the Soul
102. Semiotics: 1986
Joseph DeChicchis The Lexicostatistical Measurement of Indexicality in Speech
103. Semiotics: 1986
William Pencak Carl Becker and the Semiotics of History
104. Semiotics: 1986
Charls Pearson The Semiotics of Partnering in Ballroom Dancing
105. Semiotics: 1986
Marcel Cornis-Pop "A Matter of Telling Stories": Plots and Counter-Plots in Recent Literary Interpretation
106. Semiotics: 1986
Robert de Beaugrande Programmability versus Creativity: Artificial Intelligence and Literary Theory
107. Semiotics: 1986
Gilles Thérien The Other in the Field: A Semiotic Approach to the Phenomenon of "Drifting"
108. Semiotics: 1986
Vittoria Borso-Borgarello Metaphor and Myth in Contemporary Theory: Evidence from the Contemporary Novel
109. Semiotics: 1986
Laurel J. Brinton Iconic Word Order Patterns in Chaucerian Prose
110. Semiotics: 1986
Floyd Merrell Peirce, and Bohm's Quantum Universe
111. Semiotics: 1986
Hanna Buczynska-Garewicz Ingarden on Meaning and Interpretation
112. Semiotics: 2007
Reid Perkins-Buzo Real Film: Realist Film Theory, Semiotics and the Documentary Film
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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.
113. 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
114. Semiotics: 2007
J. Raymond Zimmer Category-Based Diagrams of Jungian Archetypal Psychology
115. Semiotics: 2007
James Jacobs Theological Sources for Augustine's Theory of Signs
116. Semiotics: 2007
Josephine Carubia Sign Processes of Journeying and Destination
117. Semiotics: 2007
Karen A. Haworth The Bubble Analogy: Thoughts on Cognitive Transformations in the Evolution of Human Language
118. Semiotics: 2007
Matthew Shaftel Form, Sign, and Signing: Integrating Sign Systems in an Interdisciplinary Approach to Opera
119. Semiotics: 2007
Jonathan Beever Baudrillard, Simulated Ecology, and Recovering Remainders of the Real: The As is Through the As if
120. Semiotics: 2007
John Henning Abduction in the Practice of Teaching: the Intersection of Tacit and Explicit Knowing