From pure icon to metaphor: Six degrees of iconicity

Braga, Lucía Santaella

doi:10.1515/9783110873450.205

Cited by 10 publications

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“…However, the feature of icon varies according to the degree of iconicity from concrete to abstract (see Braga 1996). However, the feature of icon varies according to the degree of iconicity from concrete to abstract (see Braga 1996).…”

Section: From Index To Icon: Concrete or Abstract?mentioning

confidence: 99%

Symbols in dialogical structure of semiotics

Lee¹

2008

Semiotica

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This article examines how a semiotic model can show symbolic mediation between sign-event and life-event through symbol-mediated interpreting activity, introduces the Vygotskyan concept of symbol, and thus contributes to overcoming the demarcation between dyadic and triadic conception of symbol. Three types of semiotic model are introduced: a representational semiotics, an indicative semiotics, and an activity-semiotics. The three systems are correlated in a triad and, in particular, activity semiotics is positioned as Peircean symbol in a Third, mediating representational structure with indicative structure. In relation to mediation and interpretation, a dialogic process of sign relations is discussed: icon, index, and symbol, through which indexical signs are emphasized, enabling the symbolic structure to be dynamic. Brought to you by | University of Iowa Libraries Authenticated Download Date | 5/30/15 5:26 PMThe concept of denotation and connotation corresponds to two systems: denotation is related to a system with two objects in dual relation Symbols in dialogical structure 67 Brought to you by | University of Iowa Libraries Authenticated Download Date | 5/30/15 5:26 PM

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Section: From Index To Icon: Concrete or Abstract?mentioning

confidence: 99%

Symbols in dialogical structure of semiotics

Lee¹

2008

Semiotica

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“…The first instance of musical representation is at the pure icon level: music as icon of itself and music as a matrix of acoustic icons (see Santaella [1988] for more on this issue). Music, from this point of view, is just 'an affair of suchness'.…”

Section: Music As Pure Iconmentioning

confidence: 99%

“…Iconic signs appear in complex and variegated forms in music. Thus, to employ iconicity properly as an analytic instrument, one should consider the divisions of the concept of icon (see Santaella 1989 and1991: 136-137). Besides pure and actual icons, hypoicons in music are extremely important.…”

Section: Music As Pure Iconmentioning

confidence: 99%

Icons in music: A Peircean rationale

Martinez¹

1996

Semiotica

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Various cultures have dealt with questions of musical meaning for as long as musical practice has existed. Here one may recall concepts in Chinese philosophy that relate music with social-political structures and cosmology. Also in this context, one should not forget the Indian nada (primordial sound) and om, as well as the Indian theory of rasa (aesthetic emotion), itself a remarkable semiotics. Hebraic, Christian, and Islamic cultures also somehow relate acoustic ideas with religion and cosmology. Even so-called 'primitive' cultures mix sonorous activities not just with their mythologies and social organizations but also use (musical) sounds as means of functional communication. In the West, music as social education in classical Greece, and its subsequent development in the Middle Ages, concerned questions of musical meaning above all others. Musical signification was of first importance during the Baroque and Romantic style periods. Recall, for instance, the Affektenlehre in the former era and program music and Wagner's operatic ideas in the latter.Studies of musical signification based on semiotics, though, date only from the second half of the present century. The constant search for suitable methods and approaches to various questions of musical signification began to overcome, little by little, the weaknesses of earlier approaches to musical meaning. Linguistics and structuralism, having evolved into semiology, were at last explored in musical studies.Yet the few tentative analyses of music through the semiotic theory developed by the American scientist, philosopher, and logician Charles Sanders Peirce have remained unsatisfactory. Reflections on musical meaning indeed turned to Peirce's semiotics as a possible theory on which to base musical signification studies; still, a truly Peircean semiotic theory of music has not been achieved.A reasonably complete survey of music semiotics based on Peirce's ideas would mention scholars such as Wilson Coker (1972), Willy C. de

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“…To contribute to the clarification of these relations will be a central theme of this paper. To some degree, this criticism also affects much of the literature focusing on Peirce's semiotic taxonomy [19,[23][24][25][26][27]. Nonetheless, beyond classificatory concerns, there is by now also a substantial body of literature addressing hypoiconicity in art [20,21,[28][29][30]), on embodiment [31][32][33], in relation to iconicity and metaphor [20,21,[34][35][36]), on diagrammatic reasoning as such [37][38][39]), on architecture [40], as well as cartooning [41][42][43].…”

Section: Introductionmentioning

confidence: 99%

Hypoiconicity as Intentionality

Ruthrof

2022

Philosophies

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The paper analyses Peirce’s hypoiconicity through the lens of Husserlian intentionality. Peirce’s triple structure of hypoiconicity as resemblance relation, diagrammatical reasoning and metaphoric displacement is shown to require intentional acts in its production and interpretation. Regarding hypoiconicity as a semiotic schematization of Vorstellung, the paper places it in the context of Husserl’s conception of intentionality in which iconicity appears as a stepping-stone towards the skeletonization of resemblance in diagrammatical abstraction and as schematic displacement in metaphor. As such, hypoiconic intentionality is argued to play a role also in Peirce’s community conception of language. The paper’s core claim is that intentionality provides an avenue for revealing hypoiconicity as a major, critical concept of semiotics, functioning as paradigm case for investigating the convergence of semiotics and phenomenology.

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From pure icon to metaphor: Six degrees of iconicity

Cited by 10 publications

References 0 publications

Symbols in dialogical structure of semiotics

Symbols in dialogical structure of semiotics

Icons in music: A Peircean rationale

Hypoiconicity as Intentionality

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