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______________________________________________________________________ The "Zeitschrift für
Semiotik"
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Penny Boyes Braem Claus Dreyer Arnold Günther Vladimir Karbusicky Roland Posner Sixten Ringbom Karl-Heinrich Schmidt Christian Weyers Quotes and quoting in sign language Penny Boyes Braem, Research Centre for Sign Language, Basel Summary. Research over the past thirty years has shown that the sign languages used in
deaf communities represent a form of communication with complex linguistic structures
comparable to those of spoken languages. Citation in sign languages involves the use of
two major styles of presentation, which are called here "narrator style" and
"participatory style". Each of these presentation styles is marked by distinct
behavior, i.e. eyegaze, facial expression, head and body orientation and hand movement. In
spoken languages, the narrator style seems to be used for indirect representation and the
participatory style for direct representation of speech acts. However in sign languages,
unlike in spoken languages such as English or German, direct speech cannot automatically
be considered also as a verbatim report. Verbatim reports in sign languages can, in some
circumstances, use an additionally marked participatory style, but in other circumstances
can be made in narrator style. Quotes and quoting in contemporary architecture Claus Dreyer, University for Applied Science Lippe, Detmold site Summary. The concept of quotation is specified in contrast to that of imitation.
Various types of quotations and methods of quoting are described with reference to
examples from contemporary architecture. On this basis a general typology of
quotation-forms and quoting procedures is developed. A discussion on the roles
architectural quotations play in their cultural context leads to the result that they take
on a significant function in the creation of symbols within the man-made
environment.
The logical status of inverted commas Arnold Günther, Technical University Berlin Summary. A brief survey is given on the different approaches to quotation discussed in
post-Fregean logic and analytic philosophy. Tarski’s theory of quotation is given
particular prominence as it initiated the philosophical and logical discussion, and all
other theories were developed or sketched as a reaction to it. An attempt is made to
capture the essence of each theory in a characterictic thesis: the proper-name theory, the
function theory, the spelling-theory, the picture-theory, the use-theory, and the
pointing-theory of the quotation operation. Vladimir Karbusicky, University of Hamburg Summary. Music is not an argumentational system. "Quotations" in music cannot
corroborate or prove anything, rather they have a structurally productive and
semanticizing function. Rudimentary quotation processes are an essential part of the
techniques of forming sound structures; they include language-like tone formulas, varying
repetitions, imitations, and reoccuring leitmotifs. This is why quotation as a semiosic
phenomenon was discovered relatively late in the aesthetics of music, and the terminology
has remained diffuse until today. In the present contribution an attempt is made to
capture the essence and multiplicity of quotation in music, with the help of a structural
model based on three transposable axes (size; semantic metamorphosis; distinctness).
Quotes and quoting of remarks, expressions and codes Roland Posner, Technical University Berlin Summary. This introductory contribution presents quoting and quotation as a special case of intertextual relations. It argues for an operationalization of the concept of intertextuality so that the consequence that every text must be regarded as an intertext can be avoided. The basic type of quotation is shown to be the utterance quotation, which is constituted by the reference to another utterance through repetition of the expressions occuring in it. A second type is the expression quotation, which is used to refer to expressions while abstracting from their occurence in specific utterances. It includes grammatical as well as modalizing quotations. Borderline cases of the expression quotation are the figura quotation, which is used to refer to parts of coded signs, and the code quotation, which is used to refer to a code that has become a sign in itself. Special attention is paid to the question which sign carriers function as quotation marks in non-linguistic media. Code change, metasemiotic differentiation and the juxtaposition of introductory and quoting sign complexes within the same unit of semiosis are used for this purpose. In the last case, the distinction between the introductory and the quoting sign complexes is facilitated by special devices, such as 1. focusing articulation, 2. the marking of the quoting sign as text within a text, 3. the differentiation of levels, 4. fading, 5. stylization, and 6. the short interruption of sign production in the transition from the introductory to the quoting sign complex. The question what a sign producer gains by referring to other signs through quotation is answered with a distinction of documentary versus creative quoting. The latter emerges as a central collective technique for the semioticizing of our world. Direct and indirect speech in pictures Sixten Ringbom, Åbo Akademi, Finnland Summary. An interesting challenge to the visual artist consists in the task of
conveying to the beholder the contents of the protagonists’ conversations, thoughts,
fantasies, dreams, visions, perceptions and the like. Towards the end of the Middle Ages a
wide variety of pictorial devices were available for this purpose. The text scroll gave
the exact words of the protagonist to whom it belonged. In picture cycles artists could
introduce the speaker, dreamer etc. in the first picture and the content of the speech,
dream etc. in the subsequent scenes. For single images ("monoscenic method")
there were, in principle, four standard solutions: (1) the juxtaposition of protagonist
and content, (2) spatial differentiation, (3) the picture within a picture, and (4) a
differentiation of levels. Most of these devices were rejected by Renaissance and
Classicist theorists, but they survived in popular illustration, became employed in strip
cartoons and were revived by anti-academic movements from the Pre-Raphaelites to the
Expressionists and Pop artists. An attempt is made to consider the devices in question as
a pictorial counterpart of direct and indirect speech in language. This approach, however,
leads to certain problems, some of which are discussed.
Quotes in pattern processing research processes Karl-Heinrich Schmidt, Philips Research Laboratory Hamburg Summary. In the experimental sciences the research process involves the production of
effects in the laboratory on the one hand and the statement of propositions in scientific
argument on the other. If a scientist succeeds in setting up a stable connection between
effects and propositions, his research acquires the quality of having a result. The
present contribution studies the special type of connection established in scientific
publications between effects and propositions by the quotation of experimentally produced
patterns. It analyzes the conditions under which patterns can be quoted, and examines how
such quotations can serve as evidence for the correctness and completeness of the
pattern-producing procedures.
The development of inverted commas in printed texts Christian Weyers, University of Trier Summary. This contribution studies the forms and functions of quotation marks as
documented in European languages following the introduction of the printing press.
Quotation marks are compared with other sign-pairs, such as the question marks and
exclamation marks appearing in Spanish texts. The development of the various ways of
marking quotations is described with reference to the printed editions of Phaedrus’
Aesop’s Fables and Quintilian’s Rhetoric. In the case of quotation marks, there
has up to the present day been more variation in the forms and more freedom in the usage
than with other punctuation signs, which gives typographers considerable flexibility in
differentiating between the particular functions of characterizing direct speech, marking
titles, describing verbal expressions, and expressing the author’s distanced attitude
towards his formulations. |
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