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Semiotics (/ ˌ s ɛ m i ˈ ɒ t ɪ k s / SEM-ee-OT-iks) is the systematic study of sign processes and the communication of meaning. In semiotics, a sign is defined as anything that communicates intentional and unintentional meaning or feelings to the sign's interpreter. Semiosis is any activity, conduct, or process that involves signs.
Although it is useful to distinguish semantic (i.e. denotative or referential) meaning (dictionary meaning) from pragmatic meaning, and thus metasemantic discourse (for example, "Mesa means 'table' in Spanish") from metapragmatic utterances (e.g. "Say 'thank you' to your grandmother," or "It is impolite to swear in mixed company"), meta ...
In semiotics, signified and signifier (French: signifié and signifiant) are the two main components of a sign, where signified is what the sign represents or refers to, known as the "plane of content", and signifier which is the "plane of expression" or the observable aspects of the sign itself.
Semiotics is the study of signs ... This page was last edited on 15 June 2023, ... (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 ...
Hypertext, in semiotics, is a text which alludes to, derives from, or relates to an earlier work or hypotext (a subsequent of a hypotext). [1]For example, James Joyce's Ulysses could be regarded as one of the many hypertexts deriving from Homer's Odyssey; Angela Carter's "The Tiger's Bride" can be considered a hypertext which relates to an earlier work, or hypotext, the original fairy-story ...
Daniel Chandler defines the term as "a signifier with a vague, highly variable, unspecifiable or non-existent signified". [4] The concept of floating signifiers originates with Claude Lévi-Strauss, who identified cultural ideas like mana as "represent[ing] an undetermined quantity of signification, in itself void of meaning and thus apt to receive any meaning".
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The semiotic square, also known as the Greimas square, is a tool used in structural analysis of the relationships between semiotic signs through the opposition of concepts, such as feminine-masculine or beautiful-ugly, and of extending the relevant ontology.