پژوهشنامه فرهنگستان هنر
پیاپی 1 (بهمن و اسفند 1385)

While the French and American semiotics are grown up on the basis of linguistics and logic, the main ground for semiotics in Russia was literary criticism and art criticism. In order to answer the question that to what extent semiotics has abilities for explanation of artistic features, we should have an overview on teaching of Russian semiotics and its historical grounds. What is critical in the approach of a structural scie ence to the art is the dominant structure and ignoring the place of individual as the creative factor. In first steps, the most efficient role in the formation of Russian semiotics has been played by the symbolists and formalists whose main field of study was literature and not language. In the further steps, we should notice the important role of Bakhtin and his followers whose emphasis on Dialogism has criticized struc-t turalism and paid special attention to the place of creativity in language and art. In Moscow-Tartu school, in the stage of promotion of Russian semiotics, we can also realize the place of creativity as a key feature in artistic activity away from orthodox structuralism. They have discussed the issue of individual and creativity seriously and extended its place in the system of culture.

One could argue that the “nature of linguistic sign” is the most important aspect of Ferdinand de Saussure’s theories. This article, through presenting Saussurean system of signification, prepares the basic and necesssary ground for the main argument. In other words, introducing Saussurean semiology is the first step towwards presenting Jacques Derrida’s deconstructive reading of Saussure. In order to do this, the signifier and the signified, their relationship, logocentrism, transcendental signified, and representation are discussed and the point in which poststructuralist deconstructive reading separates itself from structuralist Saussurean semiology is presented.

In its current implication, sign acts as an active, dynamic and generative element. This makes the passage from one sign to another possible. This point confronts us with two genres of sign-sémiotique, the intens sive and extensive. On one hand, the intensive sign can open its door to the other signs and on the other it can initiate a competitive process with other signs through closing its door to other signs. If a sign gives way to the creation of another sign, we confront what is called duplicity or multiplicity of language. Neve ertheless, the openness of a sign to other signs (regardless of their challenge or association with parent sign) shows that each sign can generate and accept infinite caller signs. That is why the caller sign always oscillates between intensive to extensive, minimum to maximum, static to moving, presence to absence, ordinary to extraordinary, usual to unexpected, from shell to core and isolation to transcendence …. In fact through introducing this article, I intend to compare three indexes: fixed, variable, and provisional to indicate how sémiotique oscillations emerge in the image and how they make the visual signs unstable. Finally this instability will provide the ground for multiplicity of semiotic genres and mythopoeia or the opposite, de-mythicization.

The issue of time, passage of time, conceptualization and expression of time has always been considered by philosophers, on the one hand, and semiologists, on the other, and has led both to study how the concept of time and passage of time in various texts is established. The present article initially observes the genera alities of the issue, then we consider the views of Lakoff, one of the theorist of cognitive semantics. Next, through comparative study of time and the ways of its expression in various verbal and visual texts, we try to answer the question of whether painting which uses quite different means of expression and differs with verbal texts is able to make the concept of time and the passage of time and how.

Time in digital texts – whether in limited spaces of CDs, or theoretically unlimited spaces of internets – has different structures, and accordingly various interpretations. To put it differently, temporal structure of virt tual spaces might be construed from various viewpoints: 1- internal time (including digital-program time, and web time, yet a variety of times might be identified); and 2- external time. Aspect, usually coupled with time, also branches into: 1- static; 2- semi-static; 3- dynamic; 4- explicitly multi-aspectual; and 5- imp plicitly multi-aspectual. In this study, a comparison is also made between time in virtual space with time (including tense) in language and time in imagination.

The discussion of point of view is the most important aspect of narrative structure and can be contributed to the narrative discourse of structure. Point of view is a textual system which leads the reader or viewer of a painting to access the meaning. Point of view is one of the mechanisms which influences the reader. Through selecting various points of views, the elements of a painting, film and story can be considered from diverse positions and the discourse may be formed in another way. As a matter of fact, when we face up to a discussion or text, we trace an identifying mind who has created such discussion. The appreciation of the identifying mind and considering the technique of «point of view» is absolutely significant. Therefore we try to find answers for the following questions: How can one discover the identifying mind or minds in a painting, film or literary text? Who or what system can determine the attitude of viewer which guides him/her to read a specific sequence? Or can one basically classify such system? I try to explore some answers for these questions. Thus, at first the relation of narrattive act with the aspects and then the relation of aspects with narrative perspective will be defined. Next, the position of narrative perspective or point of view will be illustrated and finally I will consider the issue of narrative perspective from the view of Lint Velt.

In Paris school semiology founded by Greimas, various theories and methods are presented which can be used to analyze the marketing of some publicity products or discourses. In other words, these theories may be used as a means for the analysis of the semiology for a discourse or a study of a particular marketing. One of these theories is called semiotic square introduced by Greimas. The sides of this square contain fundamental semantic categories. Another theory which is a condensation of the theories of Greimas is the generative process of signification, which can help explain the emergence of meaning from the deep structure of discourse up to the superficial structure. In the analysis of discourse, we can also see the con-t tradictory relationship between the elements of the discourse in order to understand the significance of the semiotic system. This paper will analyze some publicity discourse using these various method.