One may notice that in the Russian translation the title is more restrictive, referring mainly on... more One may notice that in the Russian translation the title is more restrictive, referring mainly on Lotman. In the English translation, the word "culturally was added to the third sentence of the para graph ( 1.0.0) : "None of the sign systems possesses a mechanism which would enable it to func tion culturally in isolation ". In this revised edition, we removed this alteration, as it is unneces sary and diminishes Lotmans concept.
In the semiotics of culture, text is a complex notion. Text as a whole emerges at the touchpoint ... more In the semiotics of culture, text is a complex notion. Text as a whole emerges at the touchpoint of inner-and extratextual relations. Thus, text is a ternary whole made of signs (e.g., language is the ‛material' for literature), specifically used (due to its artistic structure), and constructed in a certain cultural-historical context (including the author's worldview, their life experience, etc.). As a result, textual meanings vary on the subtextual, textual, and functional levels depending on the semiotic resource (‛word'), text, and work of art. Scholars use a range of criteria to analyze the structure of the text as a hierarchical phenomenon. On the one hand, to interpret the text structure is to compare it with the structure of the sign system (a semiotic approach) and the structure of the work of art (a functional approach). On the other hand, the structure of the text can be analytically described as compositional (from the point of view of exposition, rising action, climax, falling action, resolution, etc.), architectonical (title, epigraph, prologue, chapters, epilogue etc), or narrative (plot, story). The poetics of text, or the conceptual artistic whole, comprises the next level of analysis. Poetics is based on textual and intertextual characteristics, and proceeds from the conceptual value of the structural features of text. From the viewpoint of contemporary multimodal culture, the same text may exist in different discursive formats, especially on the web, thus becoming an interdiscursive phenomenon (cf. Wildfeuer, 2014). Long before the Internet era, the issues of disourse in text, and text in discourses were partly described by Bakhtin. Meaning-making and text mentality depend upon the medium. In different media, meanings of the same text diverge (a) due to a particular purpose-or target-oriented activity (resulting in crossmediality, which is characteristic of marketing, education, and so on); (b) motivated by the necessity of creating secondary texts (pictures, music, film and theater adaptations, translations, comic books, parodies, etc.) corresponding to transmediality. In both cases, text proves to be a result of convergence (cf. Pearson & Smith, 2015;; in collective memory, the image of text is stored as a mental whole. Textual meanings, the structure, and poetics of text are its internal characteristics. The interdiscursivity of text may be either internal or external. Internal interdiscursivity, for example, is an upspring of the writers' own illustrations as a part of their text as in Vonnegut's Breakfast of Champions (1973). External interdiscursivity is a variation of the same text in different discourses for different target groups such as Homer's Iliad in prose for adults and in adaptations or simplifications for children. Eco concluded: Neither story nor plot is a question of language. Both are structures that can be translated into another semiotic system, and in fact I can tell the same story of the "Odyssey", with the same plot, by means of a linguistic paraphrase, in English instead of Greek, through a film or a comic book. In other cases, I can tell the same story of the "Odyssey" even though I partially change the plot, for instance, by starting with the events that Ulysses (in Homer's
Intersemiosis and Intersemiotic Translation Peeter Torop The article proceeds from the conception... more Intersemiosis and Intersemiotic Translation Peeter Torop The article proceeds from the conception of total translation describing different types of textual communication in culture (textual, metatextual. intextual, intertextual and extratextual translationl. The change of the text's ...
Скандал Ф. Достоевского и М. Бахтина Аннотация: На основе частотности употребления слова скандал ... more Скандал Ф. Достоевского и М. Бахтина Аннотация: На основе частотности употребления слова скандал в художественных произведениях и публицистике Ф. Достоевского и в работах о Достоевском М. Бахтина анализируется соотношение объектного языка, автометаязыка и метаязыка в дискурсе скандала. Ставится методологический вопрос о гибкости метаязыка в условиях употребления одного и того же слова на всех уровнях и стадиях анализа.
Resumo: O artigo é um primeiro estudo sobre a herança de Lotman, que deixou 169 autorretratos. Co... more Resumo: O artigo é um primeiro estudo sobre a herança de Lotman, que deixou 169 autorretratos. Concentra-se apenas naqueles que refletem o discurso interior do cientista não em rascunhos de artigos científicos, mas em vários textos mais ou menos íntimos: em cartas particulares às pessoas mais próximas, mas também em pedaços de papel aleatórios, auto-ironia. Ao considerar os autorretratos de Lotman no eixo do tempo, verificase o processo de autocompreensão e autoafirmação. Tomados separadamente, eles podem ser percebidos como caricaturas lúdicas, formam o automito de Lotman e o texto mitopoético que o expressa. Os autorretratos de Lotman são característicos da peculiar mitopoética deste pensador. Аннотация: Статья представляет собой первое исследование наследия Лотмана, оставившего 169 автопортретов (личных записок или записок, адресованных самому себе?). Исследование сфокусировано только на тех текстах, которые отражают внутреннюю речь ученого не в черновиках научных статей, а в различных более или менее интимных текстах: в частных письмах самым близким людям, случайных записях, самоиронии. Рассмотрение автопортретов Лотмана в контексте времени позволяет нам увидеть процесс его личного познания и понимания себя. Взятые по отдельности, они могут быть восприняты как шутливые карикатуры, они образуют автомиф Лотмана и выражающий его мифопоэтический текст. Автопортреты Лотмана характеризуют своеобразную мифопоэтику этого мыслителя
O artigo é um primeiro estudo sobre a herança de Lotman, que deixou 169 autorretratos. Concentra-... more O artigo é um primeiro estudo sobre a herança de Lotman, que deixou 169 autorretratos. Concentra-se apenas naqueles que refletem o discurso interior do cientista não em rascunhos de artigos científicos, mas em vários textos mais ou menos íntimos: em cartas particulares às pessoas mais próximas, mas também em pedaços de papel aleatórios. auto-ironia. Ao considerar os autorretratos de Lotman no eixo do tempo, verifica-se o processo de autocompreensão e autoafirmação. Tomados separadamente, eles podem ser percebidos como caricaturas lúdicas, formam o automito de Lotman e o texto mitopoético que o expressa. Os autorretratos de Lotman são característicos da peculiar mitopoética deste pensador.
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