The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, ...developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.
The article examines the problem of translating experimental poetic texts into other languages. The focus is on the transfer of verse’s spatial design between the source and the target languages. We ...analyze some cases of unconventional poetry translation with particular attention to verbal/visual properties of avant-garde poems. Stéphane Mallarmé’s, Guillaume Apollinaire’s, Augusto de Campos’ and Dmitry A. Prigov’s visual poetry provides examples of autographic (hand-written or hand-drawn) and allographic (typewritten or typeset) texts. The former, as we argue, are problematic for translation, just like pictures in painting, whereas the latter may be rendered in another language. The analysis of E. E. Cummings’ allographic experimental verse allows to propose a special strategy for translating this kind of texts. By analogy with ‘phonetic translation’, this strategy can be called ‘graphic translation’. This type of translation preserves the visual and metagraphemic forms of the original text, rearranging its lexical elements in translation. It specifically applies to visually-oriented avant-garde and experimental texts. Graphic translation ‘transcreates’ the text to a certain degree and this contributes to preserve and reinforce the experimental nature of avant-garde verse in languages other than its own.
Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued ...their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground.
The article is devoted to the poetics of contemporary American writer Lyn Hejinian (1941–2024), considered one of the most consistent successors of Gertrude Stein's experimentalism in Anglophone ...literary writing. The study encompasses all stages of Hejinian’s poetic creativity: from early experiences of “language writing” in the 1960–70s, autobiographical texts and collective works of the 1980–90s, to theoretical and poetic quests in the first decades of the 21st century. The writer's main interest is the persistence and impermanence of memory and the subject, as well as the role of writing in their preservation and transformation. Descriptions of the writing process as a driving force of memory and experience come to the fore here. Syntax acts as the materialization of temporality in writing. Texts in a variety of formats explore natural and cultural worlds brought to life by language. Many of Hejinian's texts, both theoretical and artistic, explore the problem of language as a social space, as a philosophical search and as political pragmatics, as well as the problem of the relationship of time to language and language to time. The book The Language of Inquiry has become a kind of manifesto for poetic language, which is the “language of inquiry.” A special place in the book is occupied by essays about Gertrude Stein, which actualize the writing practices of the great American modernist in the contemporary context of language-oriented poetics. In her work of the recent years, Hejinian increasingly turns to social themes, never ceasing to experiment with the boundaries of the poetic. She puts forward a theory of so-called “allegorical activism,” which is understood as “artistic and political practice in the service of activating creative potential in everyday life.”
This article deals with voice and bodily deixis as manifestations of performativity in written texts. A speech act of origin presents as both vocal and performative events. Ritual matrixes of culture ...contain performative complexes, as suggested by Austin. Such performative nuclei are neither true nor false, that is, their negation cannot be logically inferred from true premises. The term deixis describes the performative moment of the utterance, its active and transformative force. The first embodied deictic utterance in Western history would be the biblical phrase “And the word made flesh.” It is the first mythopoetical performative denoting the bodily incarnation of logos. In the article, the term bodily deixis is considered against the background of experimental poetry of E.E. Cummings.
The article examines the implicit tradition of deep semiotics in Russia initiated by Gustav Shpet, a Russian philosopher of language. Shpet’s semiotic approach was developed synchronously with the ...major lines of European and American semiotics (Saussurian and Peircean), but has not been sufficiently known or studied. The recent publication of previously unknown papers by Shpet makes this Russian philosopher an advanced fi gure on the Russian semiotic scene. Shpet was one of the rst Russian scholars to use the term ‘semiotics’, by which he meant a “general ontological study of signs”. Shpet used this term in his work History as a Problem of Logic as early as in 1916. Shpet’s main work on semiotics, the book Language and Sense (1920s), traced back the origins of semiotic thinking and laid the foundations for new semiotics, by which he meant a science of understanding signs. It is here that Shpet spoke of the ontological study of a sign, calling this study semiotics, or else characterics, and raising the issue of the semiotic mind.
Propofol-induced alpha rhythm Feshchenko, Vladimir A; Veselis, Robert A; Reinsel, Ruth A
Neuropsychobiology,
01/2004, Volume:
50, Issue:
3
Journal Article
Peer reviewed
The electroencephalographic effects of two intravenous sedative/hypnotic drugs, propofol and thiopental, were studied at three stable blood concentrations in 52 normal healthy volunteers. The higher ...concentration resulted in unresponsiveness (lack of response to auditory/tactile stimuli) in all subjects. This report describes the strong frontal-central rhythms apparent in this state using a quantitative description of oscillatory systems underlying the rhythm. These rhythms occur when sedative drug concentrations are greater than those producing the well-described increase in broadband beta-power associated with many sedative drugs. Propofol induces rhythms in the alpha-range, while thiopental produces rhythms in the beta-range. Quasistationary for a period of about 1 h, these rhythms exceed the baseline alpha-rhythm in power. By their resonant nature, these propofol-induced rhythms are analogous to 'the classic alpha-rhythm', but quantitative characteristics of the underlying oscillatory systems are different. Baseline properties of the oscillatory system underlying the initial resting alpha-rhythm recover completely as drug concentration decays to negligible values.
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