This paper is intended to discourse upon the state of the “blankness” in the first sentence of Spring and Autumn. Chinese traditional scholars tend to explain“blanks” as the “chueh wen/blanks of text” or the “pu shu/unwritten” on the basis of Commentaries. The former is a kind of “to be written” while the latter refers to the “blank”, which is “already written”, not “non-written”. “Blanks of text” is a term from The Analects of Confucius, coined first by Master Confucius to refer to the relationship between court historians, writing and tradition, while “blank written” is a term in the Commentaries in reference to the relationship between thepractice of “meaning-given” and the “blank narrative” of “unwritten/blank written” in the text of Spring and Autumn. On account of the two terms, this study attempts to argue that the status of the “blanks” is explainable.

If the uncanny is something one cannot quite come to terms with in the first place, can the uncanny really be represented? There is clearly in the act itselfsomething quite against the grain of referentiality. What in other words is the point of saying that which cannot very well be said in explicit terms? And how do we account for an increase in modern times of efforts to perform what at first look seems infeasible? It also remains to be seen how the Chinese uncanny is represented with the help of a seemingly inane rhetorical tour de force in which the uncanny is confirmed as being historically true despite everything else in the story that points in the opposite direction.

Interdisciplinary and cross-cultural semiotics will systematically change the present-day academic compartmentalization, especially impacting the constitutionof historiography. Emphasizing the distinction between reality and discourse this paper suggests a new historiographic view based on documents-centrism rather than periodical division. Then historians can more reasonably reach historical truth in a hermeneutic term. Following a semiotic rereading of a modern Chinese historical school Gu-Shi-Bian (textual criticism of historical literature), a more serious comparative historical theory will be established in the global humanities. This modern critical Chinese historiography will be instructive to the development of historical science in the world.

Drawing on Yan’s novella Serve the People (2005), the author examines the metamorphosis of the titular master signifier that has served as a central moral mandate in the Chinese Communist Party’s ideological discourse. Relying on a Lacanian framework via Žižek’s and others’ writings, this paper attempts to show that totalitarian ideological transformation hinges on the organization of jouissance (enjoyment) that has undergone three ideological modes — proto-, post-, and neo-totalitarianism. In the first mode, the subject procures enjoyment from the symbolic order through a gesture of sacrifice. Due to the collapse of the imaginary of the Socialist New Man that sustains the totalitarian gaze, the post-totalitarian subject’s cynical distance from the “official” ideology functions as the very support for the effectiveness of the ideological apparatuses. Finally neo-totalitarianism is characterized as the inverse of proto-totalitarianism: the obscene underside that supports the totalitarian order is brought to the front stage as the new symbolic mandate to enjoy. The manifestations of such metamorphosis in literary and filmic works follow the path that starts from the sublime and ends at the obscene.

This paper analyzes how space is metaphorized in some Chan poems, and it investigates how space metaphor contributes to Chan culture. It concentrates onorientational metaphors, metaphor associated with an upward or/and a downward orientation. Orientational metaphors tend to be grounded in dichotomized thought, e.g., “GOOD IS UP” vs. “BAD IS DOWN”, “DIVINE IS UP” vs. “MORTAL IS DOWN”, etc. This paper will demonstrate that in some Chan poems, orientational metaphors do not function this way. Instead, what is foregrounded is the kind of spatial relationship created by opposite orientations, namely, the broad, ever-extending space. To demonstrate how this metaphorical understanding of space is achieved, this paper addresses three particular space-related issues: (1) how certain entities representing dimensional space serve to function as a cognitive metaphor that is common in Chan poetry as a genre; (2) how up-down orientations can interact and form a metaphorical pattern in a text; and (3) how spatial image schemas (e.g., VERTICALITY, NEAR-FAR, PATH, CENTER-PERIPHERY, CONTAINER, etc.) can be identified, interact with one another, and underpin the pattern of metaphor communicating the idea of that broad, ever-extending, imaginal space. All in all, this study aims to demonstrate how space metaphor, as a signifying force, functions in Chan poems and how suchmetaphor represents Chinese Chan culture.

As two fundamental modes of communication, analog and digital communication are not only ways of information transmission but also two mental habits in our perception and representation of the perception in the creation of communication sign systems. In a broader sense, analog and digital communication are not only for electronic communication or high technology computer networking communication. Language is featured by both analog and digital communication,especially in the development of the writing system. The development of the writing system from images or icons to alphabets is the development of an analog communication to a digital communication. The creation and development of Chinese pictographs illustrate the trend from low digitization to high digitization. From this perspective, we can say that the creation and development of the writing system is a process of digitization.

While studies of Chinese landscape literature usually focus on landscape poetry (shanshui shi), I wish to take Xie Lingyun’s “Rhapsody on Mountain Dwelling” as my point of departure to discuss how the rhapsody draws from the categorization of geographic designations and local products (mingwu leiju) at work in traditional geographical texts such the “Yu Gong [Tribute to Yu]” chapter in Shangshu and the “Diguan [Regional Offices]” chapter in Zhouli More broadly, I discuss how “landscape literature” participated in contemporaneous writings on geography. Xie was part of an Eastern Jin discovery of the landscape that engaged it through bodily movement. This new embodied mode of experience altered the system of naming and explicating the terms of landscape. Xie Lingyun, hailed asthe great “landscape poet” of Chinese literature, might be better described as someone who helped construct a new geographical discourse.

In traditional Chinese literary criticism, textual strategies comparable to intertextuality have governed Chinese critics’ and poets’ reading and writing aboutliterature throughout the dynasties. Drawing on the intertextual theories of Kristeva and Riffaterre, the paper probes into the phenomenon of sign system-mutations in two highly influential ancient texts: the Confucian Classic of Changes of the fifth century B.C.E. and Liu Xie’s The Literary Mind and the Carving of Dragons, an ars poetica in the third century. The transformation of sign systems from nonverbal to verbal, in the case of the Changes, and from literate to literary or “creative” to “theoretical”, in the case of the Dragons, bears witness to the Hjelmslevian reciprocity of object-semiotic and meta-semiotic.

Ferdinand de Saussure and Charles Sanders Peirce are two founding fathers of modern semiotics but, up until fairly recently, their theories have fared differentlyon the mainland of China, with the former canonized in university textbooks and the latter banished from academic discussion for political reasons. What this article tries to show is that, thanks to its picto-phonetic origin, the Chinese language lends itself particularly well to theorization from the Peircean perspective, hence the importance of embracing his trichotomous approach to language and other types of signs.

Sources of angst in Chinese society, ranging from concerns about the environment to political stability and the ongoing economic reforms have persisted into the late 1990s and early 2000s. While official policy often discouraged directly addressing these anxieties in public forums, several articles printed in various officialnewspapers, many of them subsequently reprinted by the People’s Daily, offer advice on dealing with stress or frustration. Self-transcendence is a characteristically Chinese method that many of these articles advocate. Self-transcendence, which one could define as expanding one’s boundaries of the self to take on broader life perspectives to help one make one’s life more meaningful, has religious, philosophical, and psychological dimensions. Chinese philosophy, the historical interactions between the people and their rulers, and even their language have all worked to make the strategy of transcendence a particularly appealing one to the Chinese.

The present paper is divided into two parts. Part one is an attempt to reconstruct the semiotic models of Freudian-Lacanian psychoanalysis, in which conceptsfrom De Saussure, C. S. Peirce, Jakobson, Lotman, Eco are drawn for mutual illumination and synthesis. Psychoanalytic semiotics is considered a particular areaand discipline in semiotics, aiming at the unconscious dimension of the subject. Lacan could be considered a post-structuralist revision and extension of Freud. Part two is an application of psychoanalytic semiotics to the interpretation of dream painting, focusing on the Dali example. Essential issues in psychoanalytic semiotics of dream painting are explored in the Dali example, such as dream indexes, dream mechanisms, self-portraits as imago and icon, and psychoanalytic Nirvana as a recovery and memory of a non-alienated subject. My reading of Dali demonstrates the possibility of a convergence of semiotics, psychoanalysis, and art criticism.

The Confucianist learning of rites and related code systems are full of performing details realized in patterned conducts, programmed processes and multiplemedia-emblematic network most of which exhibit themselves as nonverbal signs and rhetoric. Those nonverbal ritual codes and the related regular performance exercise an extremely effective impact on the directed communication and domination of the society. As a result, in the Li-System the nonverbal signs and codes could function more relevantly and effectively than the related verbal part which itself functions also at a quasi-nonverbal level.

A semiotic study seeks to find sign significance in its relation with others. This paper is a search for the semiotic manifestation of certain signs in the contemporary campaign against corruption in mainland China. It uses Greimas’s semiotic square as a theoretical base upon which an examination of official discourse pertaining to anti-corruption is conducted. Power, agency, and sexual relation are the three parameters of analysis. The study comes to the tentative conclusion that the marked combinatory presence of women in anti-corruption discourse implicates women as the primary benefactors in the male-dominated corruption practice, thus directing the public attention to a gender issue of minor importance.

Biosemiotics asserts the idea that semiosis is fundamental to life, and that all living creatures are therefore semiotic systems. The idea itself is strongly supportedby the evidence of the genetic code — but thus far it has made little impact in the scientific world, and is largely regarded as the basis for a philosophy of meaning, rather than a basis for a science of meaning. This is regrettable, but perhaps understandable from the scientists’ point of view. Scientists know that the cell is the necessary unit of all life. I will argue here, then, that Biosemiotics can become a science only if it can prove that the cell is, in fact, a semiotic system — i.e., that semiosis exists at the cellular level. To do this, we first need to define what is semiosis, so that we can be explicit about what exactly constitutes a semiotic system. So far, we have had two main answers to this question. One is the model proposed by Saussure, who defined a semiotic system as a duality of ‘signifier and signified’. The other is the model of Peirce, who pointed out that interpretation is an essential component of semiosis and defined a semiotic system as a triad of ‘sign, object and interpretant’. After the discovery of the genetic code, each of these two models have been applied to biology and have given rise to two distinct schools of biosemiotics. One is the school of Marcel Florkin (1974), which is based on the model of Saussure, and the other is the school of Thomas Sebeok (1972, 2001), which is based on the model of Peirce. Unfortunately, neither of them can be applied to the cell, and that is why most biologists continue to be skeptical about biosemiotics. There is however a third model of semiosis that is actually applicable to the cell. It is based on the theory that the cell is a trinity of genotype, phenotype and ribotype (Barbieri 1981, 1985, 2003). Here, the ribotype is the ribonucleoprotein system of the cell and represents its ‘codemaker’, i.e., the seat of the genetic code. This model assumes that semiosis is defined by coding, not by interpretation, and is therefore referred to as the code model of semiosis. This paper is dedicated to illustrating this third model and, above all, to showing that the cell is a true semiotic system.

This paper asserts that the dominant mental models of a social system are shaped by the conditions at the time when the society first gains its identity and unity,and that the basic traits of these models are maintained to a great extent throughout that society’s subsequent social evolution. Based on this assumption, some basic traits of the mental models’ characteristics of today’s civilisations are expected to have their origins in the mental models of early human agricultural societies and city-states. Since Mesopotamian myths constitute some of the earliest available records originating from that ancient period, several of these myths are analysed here to examine the roots of some fundamental epistemological assumptions of our contemporary society.

The emergence of organic, metabolic, cognitive and cultural codes points us to the need for a new kind of explanatory causality, and a different kind of bio-logic— one dependent on, but different from, the deterministic logic derived from mechanical causality, and one which can account for the increase in semiotic freedom which is evident in the biological hierarchy. Building upon previous work (Bruni 2003), in this article I provide a stipulative definition of semiotic freedom and its relation to causality in biological and cognitive systems. To do so, I will first discuss the close relation that triadic causality and semiotic freedom have to the notions of teleology and emergence, and how the latter two are interrelated in living systems. I pinpoint some of the reservations that these notions have encountered in the history of science (including evolutionary biology and cognitive science), but stress also their necessity in the study of any given biological and cognitive system. I draw a distinction between horizontal and vertical emergence in order to arrive at a notion of ‘second order emergence’ that affords us a more viable definition of semiotic freedom. I will then attempt to show that all of these concepts are of paramount importance when we come to study processes of sensing, perception andcognition at any level of a living system. Accordingly, these ideas are part of a framework-in-development to research the scale of thresholds of semiotic freedom, by assuming a top-down approach i.e., by starting from the highest levels of semiotic freedom and cognitive processes, and exploring how those processes disaggregate into lesser degrees of freedom. I thus hope to bridge the gap between those levels from above.

Drawing on biosemiotic theory and the Peircean idea of ‘abduction’, I shall propose the idea of a layered structure of bio / semiotic evolution, in which humanknowledge is systemic and recursive — and thus emergent both from what is forgotten and from earlier evolutionary strata. I will argue that abductions are those processes by which we move creatively between often unacknowledged types of knowledge which are rooted in our natural and cultural evolutionary past (e.g., unconscious, preconscious, or tacit knowledge; knowledge that is experienced affectively) and the more familiar types of knowledge associated with self-conscious deductive and inductive reasoning. I shall suggest that these processes of ‘hooking back’ into the past in order to make new sense in the light of subsequent experience, are characteristic of all human inventiveness in both the arts and the sciences, and are facilitated by what Peirce called ‘The Play of Musement’.My reasons for attempting this task are that I hope to offer a semiotic and biosemiotic corrective to the widespread and culturally dominant idea that the progress ofhuman knowledge and cultural evolution depends on self rational efficiency, conceived of in terms of self-conscious deduction and induction alone — a conception which runs the risk of excluding from the account what is actually the most creative part of human knowing. Second, I will suggest that a properly semiotically informed understanding of human creativity — i.e., one which understands the Peircean semiotic as triadic and which draws on the post-Peircean theory that the semiotic drive in nature and in culture derives from the need to model the world as accurately as possible — should provide a very stern warning against the dangers of confusing the map with the territory. For creative artists and scientists (and life-livers, in general) progress, I shall suggest, inasmuch as they ignore the utilitarian dogma in practice. A biosemiotic understanding of human reasoning as an evolutionary semiotic process should thus contribute to a removal of the impediments of modernity which lie in the failure to properly grasp both what language (and semiosis in general) is, as well as the historical and prehistorical evolution that makes such semiosis possible.