Universe of the Mind: A Semiotic Theory of Culture. Front Cover. Yuri Mikhailovich Lotman. Indiana University Press, – pages. Universe of the Mind: A Semiotic Theory of Culture. Front Cover. Yuri Mikhailovich Lotman. I. B. Tauris, Limited, Aug 11, – pages. Wiki for Collaborative Studies of Arts, Media and Humanities.
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In the translation of French poetry into Russian the rendering of the French twelve-syllable syllabic line by the Russian six-foot syllabo-tonic iambics is a convention, the result of an accepted tradition.
And we should bear in mind that in actual texts the same tension between textual and meta-textual encoding levels is in operation so that the pattern can be duplicated. Language for him is a grammatical system existing potentially in every brain, or more exactly in the brains of a group of individuals; for the language is never complete in any single individual, but exists perfectly only in the collectivity.
The choice of role was accompanied by a choice of gesture. Charles Sanders Peirce and Charles Morris, for example, propounded a semiotic theory which was by no means structuralist. In the article referred to, Jakobson makes an exceedingly subtle analysis of the features of iconism inherent in the language of everyday usage, i. The asymmetrical relationship, the constant need for choice, make translation in this case an act of generating new The Text as a Meaning-generating Mechanism 15 information and exemplify the creative function both of language and of the text.
A good working criterion for diagnosing the general orientation of literature towards the message is a negative attitude towards the standard text.
File:Lotman Yuri M Universe of the Mind A Semiotic Theory of Culture pdf – Monoskop
This leg which does not fit into the composition of the picture is sculptural. Maksym Karpovets rated it really liked it Jun 24, How pensive is their genius, and how much childlike simplicity, and how many languorous expressions, and how much voluptuousness and fantasy! This may be seen clearly in this book. However, when we are dealing with discrete and non-discrete texts, translation is in principle impossible.
In the former category, texts are generated by combinations of discrete units and are judged correct or incorrect according to their conformity to the combinational rules. In fact it is the mirror and the perspective reflected in it which reveal the contradiction between the flatness of the canvas and the three- dimensionality of the world represented on it, i.
In these cases the object and its representation are so glaringly not equivalent, and the transformation of the representation in the process of replication is so obvious, that attention is naturally drawn to the mechanism whereby the replica is madeand the semiotic process becomes a conscious one rather than a spontaneous one.
Yuri M. Lotman Universe Of The Mind. A Semiotic Theory Of Culture 1990
LPenting rated it really liked it Oct 28, The principle of rhetorical organization lies at the base lotmman this culture as such, transforming each new stage into a semiotic mystery for those below it. We notice this specially at traditional moments which have come down to us from the past. Berit rated it it was amazing Feb 07, What is more, while one term of the cinema-metaphor is as a rule predicted in the flow of the verbal text and is consciously related to itthe other term more often than not is independent of it.
They became a craze which took them far outside the bounds of science. Therefore there is no simple relationship either between the elements or the integral wholes of artistic and non-artistic texts, and consequently there cannot be a two-way equivalent translation.
As a result the minf acquires semiotic life. We shall define the rhetorical text, as distinct from the non-rhetorical text, as one which can be conceptualized as a structural unity of two or more subtexts encoded with the help of several, mutually untranslatable, codes.
Lotman realized, however, that seeing a text as a message elaborated on the basis of a linguistic code is by no means the same as seeing a text or a teh as a set of texts as a code.
Universe of the Mind: A Semiotic Theory of Culture – Yuri Mikhailovich Lotman – Google Books
However, the deeper the abyss of untranslatability between two languages, the more acute is the need for lotmna common metalanguage to bridge the gap between them by creating equivalences. The verse-like nature of this construction is obvious. The text is evidently based on a real experience, the memory of a storm which lasted for four days in September when Tyutchev was travelling through the Adriatic.
There we find the following jotting: We could liken this system to the registers of a musical instrument, such as an organ.
In the final analysis the words in these notes become indices which can be deciphered only if one knows what has been written. From this point of view one and the same scientific object may be studied from a semiotic and uniferse non- semiotic point of view.
The three-dimensional leg also ruptures this space but by another method and in the opposite direction.
The earth grew green, and air grew bright, We had to pick out European culture of the eighteenth and nineteenth centuries because this culture has conditioned our normal scientific ideas and especially our identification of the act of information with acquisition and exchange.
Yet being translated into a new system of graphic signs which have another degree of authority in the given culture it acquires supplementary value. The other term of the metaphor, the events that take place, are not verbally narrated but are interpreted by reference to the first term and to others like it. The repetition of certain architectural elements in the interior of a church makes one perceive the structure not as something bound up with the technical demands of construction, but, let us say, as a model of the universe or of the human personality.
And finally, in the third place, the language of art is inevitably heterogeneous and even though it is far removed from the pole of lotmam and artificial universee it must, paradoxically, include elements of self-reflexivity, i.
The Baroque metaphor was in this context perceived as a sign of triviality and did not serve any rhetorical function, while the absence of metaphor, now playing an active role, turned out to be aesthetically significant. Refresh and try again. Ccqa rated it really liked it Mar 10, We might extend this statement and say that the rhetorical level must have an alien structure. To them all I express my warm thanks. And this precisely is the essence of rhetorical relationships.