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- Sonesson, Göran, et al.
(författare)
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Perspective from a semiotical perspective
- 2004
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Ingår i: Essays on fiction and perspective. - 3039101234
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- No abstract but see Conclusion: In this article I have described a kind of relationship to the subject which may aptly be called a perspective while distinguishing it from other similar phenomena (such as “aspect”): it is a case in which an object is conceived as being constant, while the modes of access which a subject may have to it varies. I have also singled out some different kinds of perspective: positional perspective, which only focuses on the respective spatial positions of the subject and the object; perceptual perspective, which is concerned with the exact perceptual adumbration in which the subject has access to the object; and personal perspective, which is involved with the way in which the subject itself is modified in presence of the object. In addition, I have distinguished different components within the consciousness of the subject, such as his body, his feelings, his conception, his thought and his means of expression. Against the background of a distinction between the resources of verbal and visual media, revised from Lessing’s classic discussion, I have also tried to determine to which extent ordinary language, literature, pictures and the cinema, respectively, offer the resources capable of expressing these different kinds of perspective.
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| 2. |
- Sonesson, Göran
(författare)
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Au délà du montage, la rhétorique du cinéma
- 2002
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Ingår i: Visio. - 1026-8340. ; 7:1-2, s. 155-170
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Tidskriftsartikel (refereegranskat)abstract
- Abstract in French Au-delà du montage – la rhétorique du cinéma Contrairement à d'autres types d'images plus statiques, le film, avec son fort "effet de réalité", semble résister à une explication inspirée d'un modèle rhétorique. Même du point de vue d'une rhétorique "écologique", telle que la nôtre, qui reconnaît une rupture de normes déjà dans les transformations homogènes, le film peut facilement donner l'impression d'être trop fermement enraciné dans le monde de la vie pour pouvoir fonctionner d'une manière rhétorique. Le montage classique, tel que l'on le trouve, notamment, chez Eisenstein et Pudovkin, constitue évidemment le contre-exemple le plus convaincant. Mais il faut aller au-delà du montage classique, vers les différentes régions de sens, ou les niveaux de fictions, pour trouver la vraie rhétorique du film. Beyond the montage – the rhetoric of the cinema Contrary to the static picture, the film, which conveys such a strong impression of reality, seems to resist any explanation which takes its point of departure in a rhetorical model. Even from the point of view of the “ecological” rhetoric defended by the present author, which recognises homogeneous transformations, alongside the heterogeneous ones, the film may easily give the impression of being too firmly rooted in the common sense Lifeworld for it to be interpreted rhetorically. No doubt it is easy to discover a rhetorical aspect in the classical theories of the montage formulated by Eisenstein and Pudovkin. But it will be necessary to go well beyond these classical conceptions to different levels of meaning and fiction in order to discover the real rhetoric of the cinema.
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| 4. |
- Sonesson, Göran, et al.
(författare)
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Bildflödet i den levda världen.
- 2004
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Ingår i: Text, bild, samhälle. - 951445863X
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
- Sonesson, Göran
(författare)
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Does Ego meet Alter — in the Global Village? A View from Cultural Semiotics
- 2004
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Ingår i: Cultural identity in transition/Identitate culturalã în transitie, Proceedings of the 1st Semotics of Culture conference, Univesitatea din Bacâu, Romania, November 1 - 4, 2001. - 1224-9181. ; , s. 95-119
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Konferensbidrag (refereegranskat)abstract
- Starting out from the rather different views on Ego and Alter formulated by Peirce and Bakhtin, and, more indirectly, by Foucault, the present contribution attempts to characterise the position of these familiar philosophical personages within the framework of cultural semiotics, as it has been adapted in Lund from the models of the Prague and Tartu schools. The resulting model is tried out in a confrontation with two cultural-historical examples, one of which is well-know because it is historically attested, i.e. the conquest of America, and another one which is difficult to circumscribe, because we are in the middle of it, and it may not be much more than an ideological position, i.e. the globalised society.
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| 9. |
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| 10. |
- Sonesson, Göran
(författare)
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La fotografía – entre el dibujo y la virtualidad.
- 2003
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Ingår i: Significação. - 2316-7114. ; 20:Noviembre 2003, s. 81-132
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Tidskriftsartikel (refereegranskat)abstract
- Abstract in SpanishResumen: La tarea de la semiótica de la imagen no consiste solamente en determinar la especificidad de la imagen como signo, sino también en describir las particularidades de diferentes imágenes, como son, por ejemplo, el dibujo, la fotografía y la imagen de computadora. El presente texto describe, primero, el desarrollo del signo del tipo de laAbstract: The task of pictorial semiotics is not only to determine the specificity of the picture as a sign, but also to describe the peculiar nature of different kinds of pictures, such as the drawing, the photograph, and the computer image. The present text first describes the development of the pictorial signs throughout the history of humanity, and then considers the properties which characterise these signs as far as their possibility of repetition and the limits to reality are concerned. The fourth part of the essay studies indexical and iconic sign character of photography and emphasise the global character of its rules of reproduction as opposed to those of hand-made pictures. In the last part, we investigate the ways in which the definition of photography has changed as a consequence of the emergence of synthetic pictures as well as virtual reality.
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