Many countries throughout the globe function in a system that allows the usage of more than one language. Such a multilingual social reality’s construction, especially in societies like the one in which I am living, is perceived in many different ways: attempting thus to provide for the process of differentiating identity’s oneness and sameness into various cultural subcategories, which already represent new realities. Due to newly created social realities, semiotics naturally discusses the differences and/or oppositions that can contribute to various (...) cultures’ mutual exclusivity or inclusivity, in terms of various heterogeneous “transformations,” which would thus overcome dualities, and be viewed as single acts of signs, or as a result of a process of singularization of their constituent components. I shall also attempt using a semiotic style that may enact a semiotics of action, grounded on the semiotics of passions, through a way of producing semantic taxonomies as pride versus humiliation, hegemony versus subordination, etc., obtainable due to disjunctive and/or conjunctive semiotic relations such as contextualization versus de-contextualization. (shrink)

This text explores four books produced by one of the most prominent semioticians of the previous century, Umberto Eco, in order to create a semiotic meta-theory which enhances a multifarious way of â oereadabilityâ and scientifically justifies the dichotomy between the creation of a work of art and its being read, visualized and experienced by the audience. It begins by treating the â oenarrationâ component as one of the main theoretical challenges of Ecoâ s theory, specifically focusing on the concept (...) of time, seen from the linguistic and semiotic viewpoints. The book also explores Ecoâ s text theory, as well as â oesemiotics properâ, representing an analysis of the â oeencodingâ and â oedecodingâ theories. In addition, it exemplifies the â oeopennessâ and â oecollaborationâ between the writer and the reader, as well as relationships between the creator and audience in all forms of art. The book will appeal to scholars, students, and intellectuals who want to have a detailed knowledge of Ecoâ s overall contribution to semiotics, and seek a â oeformulaâ which would inter-connect informational and code theories with the narration method, so as to create what we call â oeinterpretative semioticsâ today. (shrink)