Basic Tasks of Cultural Semiotics

Posner, Roland

doi:10.5840/cpsem20035

Cited by 11 publications

(8 citation statements)

References 61 publications

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“…(Posner and Schmauks 2004, 364; see also Posner 2004) The three dimensions of culture postulated by cultural semiotics are dynamically interrelated, since users of 'signs' (social dimension) are dependent on 'codes' (mental dimension) if they want to understand 'texts' (material dimension). In a specific cultural formation, codes manifest themselves in social interaction as well as in media and other artefacts; and at the same time, it is here that culture is continually created anew.…”

Section: Iv2 Material Social and Mental Dimensions Of Memory Culturementioning

confidence: 99%

Memory in Culture

Erll¹

2011

489

206

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The nascent field of Memory Studies emerges from contemporary trends that include a shift from concern with historical knowledge of events to that of memory, from 'what we know' to 'how we remember it'; changes in generational memory; the rapid advance of technologies of memory; panics over declining powers of memory, which mirror our fascination with the possibilities of memory enhancement; and the development of trauma narratives in reshaping the past.These factors have contributed to an intensifi cation of public discourses on our past over the last thirty years. Technological, political, interpersonal, social and cultural shifts affect what, how and why people and societies remember and forget. This groundbreaking series tackles questions such as: What is 'memory' under these conditions? What are its prospects, and also the prospects for its interdisciplinary and systematic study? What are the conceptual, theoretical and

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Section: Iv2 Material Social and Mental Dimensions Of Memory Culturementioning

confidence: 99%

Memory in Culture

Erll¹

2011

489

206

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“…Does such a comparison also have a semiotic basis? Let me summarize here the answer for which I have argued elsewhere ( see Posner 1989 and2004). All human cultures are semiotic entities of the following kind: Each culture consists of -a set of sign users belonging to overlapping institutions which constitute a society, -a set of signs which the sign users produce as artifacts that constitute a civilization, and -a set of codes which the sign users need in order to deal with their society and civilization, the codes constituting their mentality.…”

Section: • 94 ·mentioning

confidence: 80%

Semiotics as a Theoretical Basis of the Human Sciences

Posner¹

2009

Chinese Semiotic Studies

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In all cultures of the world, the members of the younger generation must prepare themselves for life within the environment into which they were born. They do this by learning to adjust themselves to the social institutions, to handle the tools in use, and to master the valid sign systems. That is, they acquire the social, civilizational, and mental competences of their culture. In the schools and universities of the Western hemisphere, the academic disciplines that teach the relevant knowledge and skills have for several millennia been known as "the humanities".Historically, the most influential characterization of the humanities has conceived of them as studying the human "spirit" ( "Geist" , "esprit" ) and its cultural expressions as striving not to explain, but rather to understand what goes on in a culture.In the present paper, this approach is discussed with respect to the various conceptions of the humanities that were developed in the course of European history. It will be shown that each of these conceptions is motivated by trying to account for newly introduced types of signs and sign processes.This observation is taken to justify the claims that (1) semiotics provides a scientific basis for a rational explication of the tasks and terminologies of all the humanities, that(2) semiotics can serve to re-design the humanities of the various cultures as human sciences, and that (3) semiotics is able to specify the cultural role and the educational values of the human sciences as a whole.

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“…They use the term "cultural code" to indicate a basic building block of a cultural system. The term is used to indicate anything which is capable of carrying a meaning which will be understood by members of a given group (Posner, 2003). Cultural codes can be words, images, symbols, routines, rituals, heroes, myths or any other source of information whose interpretation would be obvious within a specific culture or subculture.…”

Section: Ideologymentioning

confidence: 99%

What is Design for Meaning?

Giacomin

2017

Journal of Design, Business &Amp; Society

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Considering the importance of meaning it is perhaps surprising to note the frequent lack of clarity about the matter in the design literature and in design practice. Concepts such as value, ideology, meaning, function, ritual, myth and metaphor are often used interchangeably, with important consequences in terms of possible misunderstanding. A review of key concepts in the discussion of artefact meaning has been performed, and several considerations of relevance to commercially active designers have been identified. The reflections are summarised as a framework which provides a tool for identifying key questions which should be answered. As part of the process of defining the framework of design for meaning the concept of "meaningfication" was established. The potential usefulness of the proposed framework is noted in relation to recent developments in the areas of value creation, business and branding.

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Basic Tasks of Cultural Semiotics

Cited by 11 publications

References 61 publications

Memory in Culture

Memory in Culture

Semiotics as a Theoretical Basis of the Human Sciences

What is Design for Meaning?

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