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Rossana De Angelis

The concept of “text” is ambiguous: it can identify at the same time a concrete reality and an abstract one. Indeed, text presents itself both as an empirical object subject to analysis and an abstract object constructed by the analysis itself. This duplicity characterizes the development of the concept in the 20th century. According to different theories of language, there are also different understandings of “text”: a restricted use as written text, an extensive use as written and spoken text, and an expanded use as any written, verbal, gestural, or visual manifestation. The concept of “text” also presupposes two other concepts: from a generative point of view, it involves a proceeding by which something becomes a text (textualization); from an interpretative point of view, it involves a proceeding by which something can be interpreted as a text (textuality). In textual linguistics, “text” is considered at the same time as an abstract object, issued from a specific theoretical approach, and a concrete object, a linguistic phenomenon starting the process of analysis. In textual linguistics, textuality presents as a global quality of text issued from the interlacing of the sentences composing it. In linguistics, the definition of textuality depends on the definition of text. For instance, M. A. K. Halliday and Ruqaiya Hasan define textuality through the concepts of “cohesion” and “coherence.” Cohesion is a necessary condition of textuality, because it enables text to be perceived as a whole, but it’s not sufficient to explain it. In fact, to be interpreted as a whole, the elements composing the text need to be coherent to each other. But according to Robert-Alain De Beaugrande and Wolfgang Ulrich Dressler, cohesion and coherence are only two of the seven principles of textuality (the other five being intentionality, acceptability, informativity, situationality, and intertextuality). Textual pragmatics deals with a more complex problem: that of the text conceived as an empirical object. Here the text is presented as a unit captured in a communication process, “a communicative unit.” Considered from a pragmatic point of view, every single unit composing a text constitutes an instruction for meaning. Since the 1970s, analyzing connections between texts and contexts, textual pragmatics, has been an important source of inspiration for textual semiotics. In semiotics, the theory of language proposed by Louis T. Hjelmslev, the concept of “text” is conceived above all as a process and a “relational hierarchy.” Furthermore, according to Hjelmslev, textuality consists in the idea of “mutual dependencies,” composing a whole which makes the text an “absolute totality” to be interpreted by readers and analyzed by linguists. Since texts are composed of a network of connections at both local and global levels, their analyses depend on the possibility to reconstruct the relation between global and local dimensions. For this reason, François Rastier suggests that in order to capture the meaning of a text, the semantic analysis must identify semantic forms at different semantic levels. So textuality comes from the articulation between the semantic and phemic forms (content and expression), and from the semantic and phemic roots from which the forms emerge. Textuality allows the reader to identify the interpretative paths through which to understand the text. This complex dynamic is at the foundation of this idea of textuality. Now that digital texts are available, researchers have developed several methods and tools to exploit such digital texts and discourse, representing at the same time different approaches to meaning. Text Mining is based on a simple principle: the identification and processing of textual contents to extract knowledge. By using digital tools, the intra-textual and inter-textual links can be visualized on the screen, as lists or tables of results, which permits the analysis of the occurrences and frequency of certain textual elements composing the digital texts. So, another idea of text is visible to the linguist: not the classical one according to the culture of printed texts, but a new one typical of the culture of digital texts, and their textuality.


Bob Hodge

Semiotics refers to an intellectual tradition that deals with processes of making and interpreting meaning in all kinds of text, in all modes. However, semiotics was never integrated into mainstream disciplinary structures. Because of this marginal status semiotic tendencies flourished outside and between the major disciplines. As a discipline semiotics seems small, vulnerable and out-of-date. But as a broad intellectual tradition semiotics can be seen as a meta-theory which encompasses literary theory. This second perspective makes semiotics more useful for literary readers, and hence is emphasized in this chapter. Semiotics’ value is enhanced when it is seen as a complex, heterogeneous field with fuzzy boundaries and productive entanglements with literary objects and theories. “Semiotics” comes from Greek semeion (sign, omen, or trace), something that points towards important, often hidden meanings. Signs in this sense go beyond words and verbal media. This scope gives “semiotics” a radically disruptive quality. Western culture in the modern era has been based on the primacy of words as carriers of all meaning and thought. Semiotics is the site of a radical challenge to this dominance. Semiotics sees signs and meanings everywhere, in every mode, not just in words. The changing media of literature in the present and past raise many semiotic issues for literary theory. Poetry always carried meanings through sound as well as words. Drama needs to be performed. Film and multimedia carry the role of print fiction in new contexts. In the multimedia 21st century, literature has gone beyond writing, and its theories need a semiotic dimension. Semiotics has a divided history, with two founding fathers. Peirce emphasized complexity and flow, and Saussure emphasized structure. Before 1960 structuralism dominated, but by the end of the 20th century post-structuralism prevailed. Semiotics went underground, but left traces everywhere of the intellectual revolution it participated in. It helped to trigger the turn to meaning across the social sciences and celebrated the irreducible complexity and diversity of forms and meanings in literature and life in the modern world.


Since the 1960s, film theory has undergone rapid development as an academic discipline—to such an extent that students new to the subject are quickly overwhelmed by the extensive and complex research published under its rubric. “Film Theory in the United States and Europe” presents a broad overview of guides to and anthologies of film theory, followed by a longer section that presents an historical account of film theory’s development—from classical film theory of the 1930s–1950s (focused around film as an art), the modern (or contemporary) film theory of the 1960s–1970s (premised on semiotics, Marxism, feminism, and psychoanalysis), to current developments, including the New Lacanians and cognitive film theory. The second section ends with a very brief overview of film and/as philosophy. The article covers the key figures and fundamental concepts that have contributed to film theory as an autonomous discipline within the university. These concepts include ontology of film, realism/the reality effect, formalism, adaptation, signification, voyeurism, patriarchy, ideology, mainstream cinema, the avant-garde, suture, the cinematic apparatus, auteur-structuralism, the imaginary, the symbolic, the real, film and emotion, and embodied cognition.