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  1. Biosemiotic Aesthetics May Unify General Semiotics.Tyler James Bennett - 2022 - Biosemiotics 15 (1):23-26.
    Kalevi Kull’s target article importantly rejects the argument from biological aesthetics, that beauty is a product of natural selection. Instead, beauty is a reflection of the ongoing diversity of free semiotic choosing and fitting. From this view, biosemiotic aesthetics could become the semiotic branch par excellence, in its theorization of the origins of what has always been the central interest of general semiotics. The narrow argument about sexual selection is couched inside the broader ambition to establish a biological but nonreductive (...)
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  • The homogeneous nature of the theatre medium.Eli Rozik - 2008 - Semiotica 2008 (168):169-190.
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  • Basic kinds of iconic metaphor in the theatre and other iconic arts.Eli Rozik - 2006 - Semiotica 2006 (161):309-331.
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  • Back to ‘cinema is filmed theatre’.Eli Rozik - 2005 - Semiotica 2005 (157):169-185.
    Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a stage, there has been a broadening of the alleged gap between theatre and cinema, in (...)
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  • Error: A way to knowing. Specifications on the concept of symptom.Giorgio Quintavalle - 2002 - Semiotica 2002 (141).
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  • The literal, the metaphorical, and the price of semiotics: An essay on philosophy of language and the doctrine of signs.John Deely - 2006 - Semiotica 2006 (161):9-74.
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