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http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
D.I.Y. Semiotic Analysis: Advice to My Own Students
Semiotics can be applied to anything which can be seen as signifying something. Even within the context of the mass media you can apply semiotic analysis to any media texts, including television and radio programmes, films, cartoons, newspaper and magazine articles, posters and other ads. I strongly recommend detailed comparison and contrast of paired media texts dealing with a similar topic: this is a lot easier than trying to analyse a single text. It may also help to use a good example of semiotic analysis by an experienced practitioner as a model for your own analysis. John Fiske offers a valuable account of 'semiotic methods and applications' (Fiske 1982, 103-117).
• Wherever possible, include a copy of the sign with your analysis of it, noting any significant shortcomings of the copy. Where including a copy is not practicable, offer a clear description of the sign which would allow someone to recognize it easily if they encountered it themselves. Briefly describe the genre to which it belongs and the context in which it was found.
• What are the important signifiers and what do they signify?
- What is the system within which these signs make sense?
• Paradigmatic analysis
- To which class of paradigms (medium; genre; theme) does the whole text belong?
- How might a change of medium affect the meanings generated?
- What might the text have been like if it had formed part of a different genre?
- What paradigms are noticeably absent?
- What paired opposites seem to be involved (e.g. nature/culture)?
- Is there a central opposition in the text?
- What connotative meanings do such paradigmatic structures suggest?
- Apply the commutation test in order to identify distinctive paradigms and to define their significance. This involves an imagined substitution of one paradigm for another of your own, and assessing the effect.
• What is the syntagmatic structure of the text?
- How does one unit (e.g. a film shot) relate to the others used?
- How does the sequential or spatial arrangement of the elements influence meaning?
- Are there formulaic features that have shaped the text?
- How far does identifying the paradigms and syntagms help you to understand the text?
• Metaphors and metonyms
- What metaphors and metonyms are involved?
- How are they used to influence the preferred reading?
• Intertextuality
- Does it allude to other genres?
- Does it allude to or compare with other texts within the genre?
- How does it compare with treatments of similar themes within other genres?
- Does one code within the text (such as a linguistic caption to an advertisement or news photograph) serve to 'anchor' another (such as an image)? If so, how?
• What semiotic codes are used?
- Do the codes have double, single or no articulation?
- Are the codes broadcast or narrowcast?
- Are they analogue or digital?
- Which conventions of its genre are most obvious in the text?
- Which codes are specific to the medium?
- Which codes are shared with other media?
- How do the codes involved relate to each other (e.g. words and images)?
- What cultural assumptions are called upon?
- What seems to be the preferred reading?
- How far does this reflect or depart from dominant cultural values?
- How 'open' to interpretation does the sign seem to be?
• Social semiotics
- What does a purely structural analysis of the text downplay or ignore?
- Who created the sign?
- For whom was it intended?
- How do people differ in their interpretation of the sign?
- On what do their interpretations seem to depend?
• Benefits of semiotic analysis
- What other contributions have semioticians made that can be applied productively to the text?
- What insights has a semiotic analysis of this text offered?
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
____________________________________
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
D.I.Y. Semiotic Analysis: Advice to My Own Students
Semiotics can be applied to anything which can be seen as signifying something. Even within the context of the mass media you can apply semiotic analysis to any media texts, including television and radio programmes, films, cartoons, newspaper and magazine articles, posters and other ads. I strongly recommend detailed comparison and contrast of paired media texts dealing with a similar topic: this is a lot easier than trying to analyse a single text. It may also help to use a good example of semiotic analysis by an experienced practitioner as a model for your own analysis. John Fiske offers a valuable account of 'semiotic methods and applications' (Fiske 1982, 103-117).
• Wherever possible, include a copy of the sign with your analysis of it, noting any significant shortcomings of the copy. Where including a copy is not practicable, offer a clear description of the sign which would allow someone to recognize it easily if they encountered it themselves. Briefly describe the genre to which it belongs and the context in which it was found.
• What are the important signifiers and what do they signify?
- What is the system within which these signs make sense?
• Paradigmatic analysis
- To which class of paradigms (medium; genre; theme) does the whole text belong?
- How might a change of medium affect the meanings generated?
- What might the text have been like if it had formed part of a different genre?
- What paradigms are noticeably absent?
- What paired opposites seem to be involved (e.g. nature/culture)?
- Is there a central opposition in the text?
- What connotative meanings do such paradigmatic structures suggest?
- Apply the commutation test in order to identify distinctive paradigms and to define their significance. This involves an imagined substitution of one paradigm for another of your own, and assessing the effect.
• What is the syntagmatic structure of the text?
- How does one unit (e.g. a film shot) relate to the others used?
- How does the sequential or spatial arrangement of the elements influence meaning?
- Are there formulaic features that have shaped the text?
- How far does identifying the paradigms and syntagms help you to understand the text?
• Metaphors and metonyms
- What metaphors and metonyms are involved?
- How are they used to influence the preferred reading?
• Intertextuality
- Does it allude to other genres?
- Does it allude to or compare with other texts within the genre?
- How does it compare with treatments of similar themes within other genres?
- Does one code within the text (such as a linguistic caption to an advertisement or news photograph) serve to 'anchor' another (such as an image)? If so, how?
• What semiotic codes are used?
- Do the codes have double, single or no articulation?
- Are the codes broadcast or narrowcast?
- Are they analogue or digital?
- Which conventions of its genre are most obvious in the text?
- Which codes are specific to the medium?
- Which codes are shared with other media?
- How do the codes involved relate to each other (e.g. words and images)?
- What cultural assumptions are called upon?
- What seems to be the preferred reading?
- How far does this reflect or depart from dominant cultural values?
- How 'open' to interpretation does the sign seem to be?
• Social semiotics
- What does a purely structural analysis of the text downplay or ignore?
- Who created the sign?
- For whom was it intended?
- How do people differ in their interpretation of the sign?
- On what do their interpretations seem to depend?
• Benefits of semiotic analysis
- What other contributions have semioticians made that can be applied productively to the text?
- What insights has a semiotic analysis of this text offered?
http://visual-memory.co.uk/daniel//Documents/S4B/semold.html
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https://en.wikipedia.org/wiki/Edward_T._Hall
The 'transference' of 'extension transference' is a term he coined to describe when people regard a symbol to actually be its referent [the thing that the word or phrase stands for]. The clearest example of this would be language; like when people do not realize that words are merely symbolic to their referents [the things that the word or phrase stands for]. For example, there is nothing inherently watery about the physical object water, at least in terms of the symbolic acoustic properties that are produced when someone utters water. Evidence for this would be the fact that across languages there are thousands of unique words that all refer to water. Culture, as an extension, is also a good example; extension transference of culture happens naturally when people are unaware of the extent to which culture shapes how they perceive time and space, or that culture shapes their perception of them at all. Time and space are the two prominent aspects that Hall in particular focuses on in many of his works.
https://en.wikipedia.org/wiki/Edward_T._Hall
The 'transference' of 'extension transference' is a term he coined to describe when people regard a symbol to actually be its referent [the thing that the word or phrase stands for]. The clearest example of this would be language; like when people do not realize that words are merely symbolic to their referents [the things that the word or phrase stands for]. For example, there is nothing inherently watery about the physical object water, at least in terms of the symbolic acoustic properties that are produced when someone utters water. Evidence for this would be the fact that across languages there are thousands of unique words that all refer to water. Culture, as an extension, is also a good example; extension transference of culture happens naturally when people are unaware of the extent to which culture shapes how they perceive time and space, or that culture shapes their perception of them at all. Time and space are the two prominent aspects that Hall in particular focuses on in many of his works.
https://en.wikipedia.org/wiki/Edward_T._Hall
https://en.wikipedia.org/wiki/Extension_transference
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13:13
High Context Culture – Low Context Culture. How much information is enough?
https://www.youtube.com/watch?v=A4zbtYrWAeU
https://www.youtube.com/watch?v=A4zbtYrWAeU
CultureAcademy
Nov 25, 2020 Understanding Culture
We look at the description, properties, and expressions of high- and low- Context cultures and contrast them with each other. It is important for our understanding of another culture to know about their inner systems or contexts of the society. Only if we know how the culture functions, can we understand it and communicate well.
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High Context Culture – Low Context Culture. How much information is enough?
https://www.youtube.com/watch?v=A4zbtYrWAeU
https://www.youtube.com/watch?v=A4zbtYrWAeU
CultureAcademy
Nov 25, 2020 Understanding Culture
We look at the description, properties, and expressions of high- and low- Context cultures and contrast them with each other. It is important for our understanding of another culture to know about their inner systems or contexts of the society. Only if we know how the culture functions, can we understand it and communicate well.
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high context societies - low context societies
high context communication - low context communication
high context culture - low context culture
high context - low context relative scale (anthropology)
high context - low context culture
high context - low context societies
high context - low context communication
low context culture tends to be individualistic
high context tends to be collective
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33:17
The Culture Map - Erin Meyer - Italian Subs
https://www.youtube.com/watch?v=FRBpwjdk7dw
https://www.youtube.com/watch?v=FRBpwjdk7dw
Chantyba
May 21, 2021
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The Culture Map - Erin Meyer - Italian Subs
https://www.youtube.com/watch?v=FRBpwjdk7dw
https://www.youtube.com/watch?v=FRBpwjdk7dw
Chantyba
May 21, 2021
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what is in a message
http://visual-memory.co.uk/daniel/Documents/S4B/sem07.html
An ironic statement is not, of course, the same as a lie since it is not intended to be taken as 'true'. Irony has sometimes been referred to as 'double-coded'.
Modality Postcard Truth Perceived
status message status intent
--------------- --------------- ----------- ------------
literal/factual "the weather is true to inform
is wonderful" (the weather
is wonderful)
ironic "the weather is false to amuse
is wonderful" (the weather
is dreadful)
lie "the weather false to mislead
is wonderful" (the weather
is dreadful)
Irony thus poses particular difficulties for the literalist stance of structuralists and formalists that meaning is immanent - that it lies within a text.
http://visual-memory.co.uk/daniel/Documents/S4B/sem07.html
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An ironic statement is not, of course, the same as a lie since it is not intended to be taken as 'true'. Irony has sometimes been referred to as 'double-coded'.
Modality Postcard Truth Perceived
status message status intent
--------------- --------------- ----------- ------------
literal/factual "the weather is true to inform
is wonderful" (the weather
is wonderful)
ironic "the weather is false to amuse
is wonderful" (the weather
is dreadful)
lie "the weather false to mislead
is wonderful" (the weather
is dreadful)
Irony thus poses particular difficulties for the literalist stance of structuralists and formalists that meaning is immanent - that it lies within a text.
http://visual-memory.co.uk/daniel/Documents/S4B/sem07.html
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4:37
Intro to Hermeneutics in under 5 minutes!
https://www.youtube.com/watch?v=-YiACCea0wY
https://www.youtube.com/watch?v=-YiACCea0wY
Ethan Renoe
Feb 7, 2019
A very, VERY surface level introduction!
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Intro to Hermeneutics in under 5 minutes!
https://www.youtube.com/watch?v=-YiACCea0wY
https://www.youtube.com/watch?v=-YiACCea0wY
Ethan Renoe
Feb 7, 2019
A very, VERY surface level introduction!
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Edward T. Hall
https://en.wikipedia.org/wiki/Edward_T._Hall
Known for Proxemics, High-context and low-context cultures, monochronic and polychronic time
https://en.wikipedia.org/wiki/High_context_culture
https://en.wikipedia.org/wiki/Low_context_culture
https://en.wikipedia.org/wiki/Proxemics
https://en.wikipedia.org/wiki/Chronemics#Monochronic_time
https://en.wikipedia.org/wiki/Chronemics#Polychronic_time
https://en.wikipedia.org/wiki/High-context_and_low-context_cultures
https://en.wikipedia.org/wiki/Proxemics
https://en.wikipedia.org/wiki/Beyond_Culture
https://en.wikipedia.org/wiki/Extension_transference
https://en.wikipedia.org/wiki/Kinesics
https://en.wikipedia.org/wiki/Ray_Birdwhistell
https://en.wikipedia.org/wiki/Paralanguage
https://en.wikipedia.org/wiki/George_L._Trager
https://en.wikipedia.org/wiki/Prosody_(linguistics)
https://en.wikipedia.org/wiki/Pitch_(music)
https://en.wikipedia.org/wiki/Loudness
https://en.wikipedia.org/wiki/Intonation_(linguistics)
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https://en.wikipedia.org/wiki/Edward_T._Hall
Known for Proxemics, High-context and low-context cultures, monochronic and polychronic time
https://en.wikipedia.org/wiki/High_context_culture
https://en.wikipedia.org/wiki/Low_context_culture
https://en.wikipedia.org/wiki/Proxemics
https://en.wikipedia.org/wiki/Chronemics#Monochronic_time
https://en.wikipedia.org/wiki/Chronemics#Polychronic_time
https://en.wikipedia.org/wiki/High-context_and_low-context_cultures
https://en.wikipedia.org/wiki/Proxemics
https://en.wikipedia.org/wiki/Beyond_Culture
https://en.wikipedia.org/wiki/Extension_transference
https://en.wikipedia.org/wiki/Kinesics
https://en.wikipedia.org/wiki/Ray_Birdwhistell
https://en.wikipedia.org/wiki/Paralanguage
https://en.wikipedia.org/wiki/George_L._Trager
https://en.wikipedia.org/wiki/Prosody_(linguistics)
https://en.wikipedia.org/wiki/Pitch_(music)
https://en.wikipedia.org/wiki/Loudness
https://en.wikipedia.org/wiki/Intonation_(linguistics)
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