This article, first published in Russian in 1984 in Sign Systems Studies, introduces the concept of semiosphere and describes its principal attributes. Semiosphere is the semiotic space, outside of which semiosis cannot exist. The ensemble of semiotic formations functionally precedes the singular isolated language and becomes a condition for the existence of the latter. Without the semiosphere, language not only does not function, it does not exist. The division between the core and the periphery is a law of the internal (...) organisation of the semiosphere. There exists boundary between the semiosphere and the non- or extra-semiotic space that surrounds it. The semiotic border is represented by the sum of bilingual translatable “filters”, passing through which the text is translated into another language (or languages), situated outside the given semiosphere. The levels of the semiosphere comprise an inter-connected group of semiospheres, each of them being simultaneously both participant in the dialogue (as part of the semiosphere) and the space of dialogue (the semiosphere as a whole). (shrink)

The notion of “translation” in the works of Juri Lotman. The present article deals with the concept of “translation“ and other related concepts (“re-codification”, “exact translation”, “adequate translation”, “equivalence”, “transformation”) in the works of Juri Lotman, demonstrating among other things possible relations with the ideas of Roman Jakobson and Louis Hjelmslev. Two main areas of research have been distinguished where the concept of “translation” clearly stands out. First are Juri Lotman’s works on structural poetics, where he discusses mainly the specifics (...) of translating artistic texts. The other is his articles on the typology of cultures where translation is seen as a dialogue, the principal operational mechanism of culture. (shrink)

The libidinal economy could be exploited by both political movements and advertising campaigns in a pictorial space that is related to the social space at any historical moment. The arrangement of desires in a propaganda poster of the Chinese Cultural Revolution is, in light of political semiotics, the same as in a campaign poster in a consumer society today. The same libidinal economy is rooted in our political unconsciousness and remains to be the deep structure of our political performance. A (...) critical image analysis or a political semiotic critique of this libidinal economy that rules us in the Chinese Cultural Revolution and in consumer society today is necessary and urgent. (shrink)