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May 30, 2014
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This article investigates the design structure of ancient Decorative Chinese Calligraphy, an art form that is steeped in traditional Chinese philosophy, and explores the relationship between calligraphic form and its denotation. Three design characteristics are distinguished: “circle heaven and square earth”, “being symmetrical or balanced”, and “in harmony with myriad things”. Examples of Decorative Chinese Calligraphy are analyzed from the epistemological, semiotic, aesthetic, and cultural perspective of ancient Chinese culture.
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In 1973, a collectively written manifesto titled Theses on the Semiotic Study of Cultures was penned under the leadership of Tartu scholar Juri Lotman together with his Moscow colleagues Vjacheslav Ivanov, Vladimir Toporov, Aleksandr Pjatigorskij, and Boris Uspenskij. The appearance of this work marked the birth of a new scholarly field of research called the semiotics of culture. In the present contribution we provide a bibliographic list of republications and translations of this seminal text.
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The article describes the role of the Tartu semiotics school in the formation of the new academic field called semiotics of culture, particularly in the context of writing the Theses on the Semiotic Study of Cultures in 1973. Special attention is paid to the typology of languages of culture, and to the concept of culture as an object for semiotics.
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In addressing the semiotics of utopia and the utopian, we target the semiotic techniques and principles applied in More’s seminal text Utopia (1516) that established the universal logic for utopian discourse, and raise the question of the legitimacy of describing certain cultural production as utopian. Utopian discourse is often tied with an urban context. We question this association. The semiotic interpause is hard to achieve in the context of the physical environment. Yet this is where the utopia, the city, the society, and the utopian come together. Thus it is useful to review the notion of utopia in connection with the quite practical development of the (urban) sociocultural life in which the status of objects in communicative situations is continually redefined.
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This essay traces the reception of Tartu semiotics in the Chinesespeaking world, including Mainland China and Taiwan. Our preliminary survey covers materials of three main categories: (1) research projects, (2) postgraduate degree theses, and (3) publications in Chinese and other languages. A number of common features in cross-cultural reception are identified, such as the temporal gap in theory travelling, the role of a third language mediating source and target languages, the phenomenon of negative influence, and the political interference with the introduction and reception of foreign cultural products. Because of its predominant interest in the dynamics of culture as sign system and inter-systemic dialogue, Tartu Semiotics is becoming increasingly attractive to the growing Chinese semiotic community.
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