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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Turning to the epoch of Romanticism, we find a similar picture: The events are in complex metaphorical relationships with the close-up shots of the details of the Baroque facade of the church.

It cannot switch itself on by itself. Indices tend towards equality in length and towards rhythm. If the text were in fact constructed in this way it would be wholly redundant.

These features become even- clearer in the next example which has neither a mnemonic nor a conspiratorial function and which is an example of self-communication in its purest form. Geographical space in Russian medieval texts v VI Contents 2. 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 to distance oneself from one pole and even to carry on conscious polemics with it does not mean leaving its structural influence. In both cases we observe a generally analogous structure: The art of the age of Classicism required the unity of style. Thirty years ago, Lotman was already considering the concept of the text as a unity.

A rhetorical effect arises when there is a mmind of signs relating to different registers, and when this conflict leads to a structural renewal of the feeling of a boundary between the self- contained worlds of signs. The mechanism of this note is interesting. They had been unable, for example, to free minv completely from the aesthetics of the image as an ineffable event. We have intimate knowledge of its memory-capacity and the contents of it. But in fact, metaphor and metonymy are in this respect iso-functional: Can there be a science of history and what are.

The Text as a Meaning-generating Mechanism 57 The examples cited illustrate particular points which, taken mibd, also relate to the problems of text-rhetoric.


The image of the ideal reader actively affects the actual readers, making them in its likeness. An icon, on the other hand, as Origen first remarked and Gregory of Nyssa and the Pseudo-Dionysius confirmed, is a material and expressed sign of the non-material and inexpressible divine essence. And this is what gives the text new meanings. We should bear in mind, however, that the poles of this axis are an abstraction unrealizable in actual languages: If one then takes into account cultural traditions the semiotic memory of culture and the inevitable factor of the individual way with which this tradition is revealed to a particular member of a collective, then it will be obvious that the coincidence of codes between transmitter and transmittee is in reality possible only to a very relative extent.

There we find the following jotting: Saussure clearly saw the ‘first function as the main principle of language. But if we cut Introduction xiii up a calf, we obtain lots of veal cutlets.

We may have difficulty in isolating its component signs, and this task smacks of artificiality.

File:Lotman Yuri M Universe of the Mind A Semiotic Theory of Culture pdf – Monoskop

For Saussure both these oppositions were fundamental. Similarity or dissimilarity, equivalence and non-equivalence, commensurability and incommensurability, the perception of any two objects as not juxtaposable or as identical – all this depends on the type of cultural context.

The need will be felt to consider them as semiological phenomena and to explain them in terms of the laws of semiology. Mond Notes to Part Three Index. However, precisely because rhetoric has been naturally asso- ciated with the verbal principle we thought it would be useful to demonstrate the possibility of rhetorical construction in areas other than discourse.

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. Rice from the literary point of view. And only at the next stage does the secondary iconization of the text take place; this corresponds to the moment in poetry when non-verbal iconic features are ascribed to the verbal text. Dec 26, Sachin rated it it was amazing Shelves: But from this we can see how deep are the transformations that even the fundamental propositions and the whole cast of semiotics have undergone in the second half of the twentieth century.


Without going deeply into these problems, we shall single out one aspect which we need for our argument.

Yuri M. Lotman Universe Of The Mind. A Semiotic Theory Of Culture 1990

For example, a carriage is shown on the screen, taken from an angle perpendicular to the screen so that the horses are excluded from the shot, i. But a-semantic texts, with a high degree of syntagmatic organization, tend to become organizers of our associations.

No stage of the hierarchy can be expressed by the means of the preceding stage, which is merely an image i. The univfrse of the external rhythm organizes and stimulates the internal monologue. The material relic, of course, relates to the body of the saint on The Text as a Meaning-generating Mechanism 43 one level. It could be said that at such periods a mirror on the canvas played the same typological role as a verbal game in poetry: The conse- quence min that life and painting in many cases relate to each other through theatre which serves as a mediating rhe, a translation-code.

T and Other as addressees. So what are these functions?

Stylistics and Rhetoric From the point of view of semiotics, stylistics is constituted by two opposites: A reverse translation will result not in the input text but in a third text, T 3. The book will uinverse of great interest to those concerned with cultural studies, univesre, Slavic studies, critical theory, philosophy, and historiography.

In the question of rhetoric in general, and of tropes in particular, the main task of a predictive theory is to attempt to answer the question: The essential difference between inner speech and external speech is the absence of vocalization.