My writing career has been, at least in this one respect,
idiosyncratic: it had to mark and chart, step by step, its own
peculiar champaign. My earliest papers, beginning in 1942, were
technical articles in this or that domain of Uralic linguistics,
ethnography, and folklore, with a sprinkling of contributions to
North and South American linguistics. In 1954, my name became
fecklessly associated with psycholinguistics, then, successively,
with explorations in my thology, religious studies, and stylistic
problems. It now takes special effort for me to even revive the
circumstances under which I came to publish, in 1955, a hefty tome
on the supernatural, another, in 1958, on games, and yet another,
in 1961, utilizing a computer for extensive sorting of literary
information. By 1962, I had edged my way into animal communication
studies. Two years after that, I first whiffled through what Gavin
Ewart evocatively called "the tulgey wood of semiotics." In 1966, I
published three books which tem porarily bluffed some of my friends
into conjecturing that I was about to meta morphose into a
historiographer of linguistics. The topmost layer in my scholarly
stratification dates from 1976, when I started to compile what
eventually became my "semiotic tetralogy," of which this volume may
supposably be the last. In the language of "Jabberwocky," the word
"tulgey" is said to connote variability and evasiveness. This
notwithstanding, the allusion seems to me apt.
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