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This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
The major principles and systems of C. S. Peirce's ground-breaking
theory of signs and signification are now generally well known.
Less well known, however, is the fact that Peirce initially
conceived these systems within a 'Philosophy of Representation',
his latter-day version of the traditional grammar, logic and
rhetoric trivium. In this book, Tony Jappy traces the evolution of
Peirce's Philosophy of Representation project and examines the sign
systems which came to supersede it. Surveying the stages in
Peirce's break with this Philosophy of Representation from its
beginnings in the mid-1860s to his final statements on signs
between 1908 and 1911, this book draws out the essential
theoretical differences between the earlier and later sign systems.
Although the 1903 ten-class system has been extensively researched
by scholars, this book is the first to exploit the untapped
potential of the later six-element systems. Showing how these
systems differ from the 1903 version, Peirce's Twenty-Eight Classes
of Signs and the Philosophy of Representation offers an innovative
and valuable reinterpretation of Peirce's thinking on signs and
representation. Exploring the potential of the later sign-systems
that Peirce scholars have hitherto been reluctant to engage with
and extending Peirce's semiotic theory beyond the much canvassed
systems of his Philosophy of Representation, this book will be
essential reading for everyone working in the field of semiotics.
Contemporary culture is as much visual as literary. This book
explores an approach to the communicative power of the pictorial
and multimodal documents that make up this visual culture, using
Peircean semiotics. It develops the enormous theoretical potential
of Peirce's theory of signs of signs (semiotics) and the persuasive
strategies in which they are employed (visual rhetoric) in a
variety of documents. Unlike presentations of semiotics that take
the written word as the reference value, this book examines this
particular rhetoric using pictorial signs as its prime examples.
The visual is not treated as the 'poor relation' to the (written)
word. It is therefore possible to isolate more clearly the specific
constituent properties of word and image, taking these as the basic
material of a wide range of cultural artefacts. It looks at comic
strips, conventional photographs, photographic allegory, pictorial
metaphor, advertising campaigns and the huge semiotic range
exhibited by the category of the 'poster'. This is essential
reading for all students of semiotics, introductory and advanced.
This book considers the work and influence of Charles Sanders
Peirce, showing how the concepts and ideas he developed continue to
impact and shape contemporary research issues. Written by a team of
leading international scholars of semiotics, linguistics and
philosophy, this Companion examines the growing impact of Peirce's
thought and semiotic theories on a range of different fields.
Discussing topics such as narrative, architecture, design,
aesthetics and linguistics, the book furthers understanding of the
contemporary pertinence of Peircean concepts in theoretical and
empirical fashion. The Bloomsbury Companion to Contemporary
Peircean Semiotics is the definitive guide to the enduring legacy
of one of the world's greatest semioticians.
This book takes up the most important of Charles Sanders Peirce’s
undeveloped semiotic concepts and highlights their theoretical
interest for a general semiotics. Peirce’s career as a logician
spanned almost half a century, during which time he produced
several increasingly complex sign systems. The best-known, from
1903, included a signifying process involving sign, object and
interpretant, the universally known icon-index-symbol division and,
finally, a system of 10 distinct classes of signs. Peirce
subsequently expanded this signifying process to include 2 objects,
the sign and 3 interpretants; however, in the 5 years between 1903
and his final systems of 1908, he introduced a number of highly
innovative semiotic concepts which he never developed. Among these
concepts is hypoiconicity, which comprises 3 levels of isomorphism
holding between sign and object and offers an interesting
alternative to the traditional literal-figurative distinction in
the analysis of verbal and non-verbal signs, in spite of the
mutations the subdivisions of the icon subsequently underwent.
Another is semiosis, which Peirce introduced and defined in 1907
but rarely illustrated. This is shown to be a far more complex
signifying process than the well-known three-correlate definition
of 1903. Exploring the changing theoretical background to the
introduction of these new concepts, this book identifies and
explains these developments.
This book considers the work and influence of Charles Sanders
Peirce, showing how the concepts and ideas he developed continue to
impact and shape contemporary research issues. Written by a team of
leading international scholars of semiotics, linguistics and
philosophy, this Companion examines the growing impact of Peirce's
thought and semiotic theories on a range of different fields.
Discussing topics such as narrative, architecture, design,
aesthetics and linguistics, the book furthers understanding of the
contemporary pertinence of Peircean concepts in theoretical and
empirical fashion. The Bloomsbury Companion to Contemporary
Peircean Semiotics is the definitive guide to the enduring legacy
of one of the world's greatest semioticians.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
The major principles and systems of C. S. Peirce's ground-breaking
theory of signs and signification are now generally well known.
Less well known, however, is the fact that Peirce initially
conceived these systems within a 'Philosophy of Representation',
his latter-day version of the traditional grammar, logic and
rhetoric trivium. In this book, Tony Jappy traces the evolution of
Peirce's Philosophy of Representation project and examines the sign
systems which came to supersede it. Surveying the stages in
Peirce's break with this Philosophy of Representation from its
beginnings in the mid-1860s to his final statements on signs
between 1908 and 1911, this book draws out the essential
theoretical differences between the earlier and later sign systems.
Although the 1903 ten-class system has been extensively researched
by scholars, this book is the first to exploit the untapped
potential of the later six-element systems. Showing how these
systems differ from the 1903 version, Peirce's Twenty-Eight Classes
of Signs and the Philosophy of Representation offers an innovative
and valuable reinterpretation of Peirce's thinking on signs and
representation. Exploring the potential of the later sign-systems
that Peirce scholars have hitherto been reluctant to engage with
and extending Peirce's semiotic theory beyond the much canvassed
systems of his Philosophy of Representation, this book will be
essential reading for everyone working in the field of semiotics.
Contemporary culture is as much visual as literary. This book
explores an approach to the communicative power of the pictorial
and multimodal documents that make up this visual culture, using
Peircean semiotics. It develops the enormous theoretical potential
of Peirce's theory of signs of signs (semiotics) and the persuasive
strategies in which they are employed (visual rhetoric) in a
variety of documents. Unlike presentations of semiotics that take
the written word as the reference value, this book examines this
particular rhetoric using pictorial signs as its prime examples.
The visual is not treated as the 'poor relation' to the (written)
word. It is therefore possible to isolate more clearly the specific
constituent properties of word and image, taking these as the basic
material of a wide range of cultural artefacts. It looks at comic
strips, conventional photographs, photographic allegory, pictorial
metaphor, advertising campaigns and the huge semiotic range
exhibited by the category of the 'poster'. This is essential
reading for all students of semiotics, introductory and advanced.
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