Text Production

Riffaterre, Michael; Lyons, Terese

doi:10.2307/1772452

Cited by 11 publications

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“…In fact, he uses a musical analogy: 'Content is not assured by the kind of passive reception involved in normal communication, but by the active performance (in the musical sense of the term) of the score represented by the text' (Riffaterre 1983). Texts display 'textualities' and exist in relationships to each other: intertextuality.…”

Section: Textualitymentioning

confidence: 99%

“…In his work, Text Production, Michael Riffaterre describes the reading of the signs of a text as a 'game' which is 'guided and programmed by the text'. In fact, he uses a musical analogy: 'Content is not assured by the kind of passive reception involved in normal communication, but by the active performance (in the musical sense of the term) of the score represented by the text' (Riffaterre 1983).…”

Section: Textualitymentioning

confidence: 99%

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Interpretation and musical signification in acousmatic listening

Atkinson

2007

Org. Sound

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The challenges of understanding musical meaning are considered in light of ways in which electroacoustic practice and acousmatic listening might embody yet further nuances in how music can function as a signifying system. 'Classical' semiotics is discussed, as well as more recent developments with post-structuralist approaches and musical semantics in other areas of music scholarship. The idea, inherited from the tradition of 'absolute music', that musical meaning lies exclusively in the inner operations of the musical materials and their structural organisation, is questioned. Concepts from ecologically inspired music psychology are drawn upon to highlight the importance of interpretation, as well as perception, in acousmatic listening. It is argued that if new theoretical terminologies are needed, an invaluable project would be to develop a taxonomy (and thus theoretical framework) of how sound can 'stand for something', i.e. function as a sign in semiotic terms. It is also argued that such terminology should not reinforce distinctions between intraand extra-musical that feature in many theoretical constructs used in relation to this music. Consideration of the Peircean semiotic model in electroacoustic music (as well as the more widely used Saussurean one), tropology in the study of literature, and a much more widely comparative and culturally explicit approach to analysis are suggested as practical starting points. A more critical approach to the integral role of sound recording and reproduction in relation to concepts of representation is needed.

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Section: Textualitymentioning

confidence: 99%

Section: Textualitymentioning

confidence: 99%

Interpretation and musical signification in acousmatic listening

Atkinson

2007

Org. Sound

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“…Various theories of intertextuality (e.g. Riffaterre 1978Riffaterre , 1983 describe the mechanism of text formation differently than it is presented by Even-Zohar using the concepts of repertoire and model. Dialogue, and even confrontation with them, may possibly contribute to the development of polysystem theory more than disregarding them would.…”

Section: A Disciple's Doubtsmentioning

confidence: 99%

Translation Research in the Framework of the Tel Aviv School of Poetics and Semiotics

Weissbrod¹

2002

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“…Sebagai contoh adalah sesuatu yang berupa gambar sendok garpu yang biasa kita temui di jalan sebagai salah satu rambu lalu lintas, mewakili atau berarti sebuah informasi yang menjelaskan bahwa tempat itu adalah restoran, atau dengan kata lain tanda sendok garpu sama dengan restoran.Riffaterre menyatakan beberapa faktor penting yang menjadi sifat puisi sekaligus berguna dalam memahami puisi, yakni ketidaklangsungan ekspresi dan tahapan pemaknaan puisi.Dalam puisi seringkali terjadi neologisme, yakni penciptaan makna baru oleh pengarang yang muncul berdasarkan pandangan atas pengalaman yang dirasakannya. Neologisme dalam puisi berbeda dengan penggunaan bahasa sehari-hari(Riffaterre, 1983), karena bahasa puisi tidak terikat pada tata bahasa yang baku dan lebih mengedepankan faktor seni atau keindahan.Bahasa yang digunakan dalam puisi berbeda dengan maksud sebenarnya, terjadi ketidaklangsungan ekspresi secara semantik. Riffaterre menunjukkan bahwa terdapat tiga hal yang berpengaruh pada penggunaan bahasa puisi yang mengakibatkan ketidaklangsungan semantik dalam puisi.…”

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Pemaknaan Lirik Lagu Shabondama Karya Ujo Noguchi Berdasarkan Analisis Semiotika Michael Riffaterre

Noviana

Saifudin

2020

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Shabondama is a children's song whose lyrics are composed by Ujo Noguchi. This song tells about a game of soap balloons. Interestingly, even though it tells about children's play, this song seems mysterious. There are nuances of sadness when listening to this song. The diction used has a negative connotation, unlike most other children's songs which are cheerful and use words that have a positive connotation. This is what motivates the writer's interest in examining more deeply what the real meaning is contained in the song. The semiotic theory of Riffaterre's poetry was used to study it. Through the process of heuristic reading, hermeneutic reading, and intertext studies, the result shows that the meaning contained in this song is helplessness or weakness. Keywords: semiotics, poetry, Riffaterre, semantic indirectionShabondama adalah lagu anak yang liriknya dikarang oleh Ujo Noguchi. Lagu ini menceritakan permainan balon sabun. Menariknya, meskipun bercerita tentang permainan anak namun lagu ini terkesan misterius. Ada nuansa kesedihan ketika mendengarkan lagu ini. Diksi yang digunakan pun berkonotasi negatif, tidak seperti kebanyakan lagu anak lainnya yang ceria dan menggunakan kata-kata yang berkonotasi positif. Inilah yang melatarbelakangi ketertarikan penulis untuk mengkaji lebih dalam apa makna sebenarnya yang terkandung di dalam lagu itu. Untuk mengkajinya digunakan teori semiotika puisi Riffaterre. Melalui proses pembacaan heuristik, hermeneutik, dan studi interteks, diperoleh hasil bahwa makna yang terkandung dalam lagu ini adalah ketidakberdayaan.Kata Kunci: semiotika, puisi, Riffaterre, ketidaklangsungan semantik

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Text Production

Cited by 11 publications

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Interpretation and musical signification in acousmatic listening

Interpretation and musical signification in acousmatic listening

Translation Research in the Framework of the Tel Aviv School of Poetics and Semiotics

Pemaknaan Lirik Lagu Shabondama Karya Ujo Noguchi Berdasarkan Analisis Semiotika Michael Riffaterre

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