Preface to Sein und Schein
Contents
Part I Philosophy: Varieties of Being
1 Existential semiotics today: Sein (Being) and Schein (Appearing)
1.1 Introduction
1.2 A return to basic ideas
1.3 Modalities
1.4 Dasein and transcendence
1.5 Turn-around of Dasein
1.6 Values
1.7 New types of signs
1.8 More on transcendence
1.9 Mimesis
1.10 The subject reconsidered: BEING
1.11 Questions by a subject: From BEING to DOING
1.11.1 Consequences of our varieties of subjectivity
2 On the appearance or the present structure and existential digressions of the subject
2.1 Introduction
2.2 More on vertical appearance
2.3 More on horizontal appearance
3 Representation in Semiotics
3.1 The relation of representation in semiotics
3.2 Mapping representation
3.3 Nöth’s handbook
3.4 Representation in philosophy – John Deely
3.5 Peirce
3.6 Model theory
3.7 From cybernetics to cultural semiotics
3.8 Representation as function
3.9 The archaeology of Foucault
3.10 Existential semiotic interpretation
4 The concept of genre: In general and in music
4.1 A semiotic approach to genre in general ...
4.2 ... and inmusic
4.2.1 Before genres
4.2.2 Major genre categories: Art music and popular music
4.2.3 Norms and varieties of music
4.2.4 Genre in musical communication
4.2.5 Transgressing genres
4.2.6 Crises of genres
4.2.7 Cultural reflections
4.2.8 Classics
4.2.9 National versus universal
4.2.10 Social classification and functions
4.2.11 Genre as classification
4.2.12 Recent theories
5 The world and its interpretation
5.1 World and worlds
5.1.1 Philosophers
5.1.2 Artists
5.1.3 Semioticians
5.2 Closing thoughts
6 Signs around Us – Umwelt, Semiosphere and Signscape
6.1 Introduction
6.2 Milieu – Taine
6.3 Surrounding/surrounded
6.4 New models of communication
6.5 Umwelt and Uexküll
6.6 Dasein . . .
6.7 ... and transcendence
6.8 Semiosphere, Lotman and Ruskin
6.9 Heidegger’s view
6.10 Subject and environment
Part II Doing: Society and Culture
7 Semio-crises in the era of globalisation: Towards a new theory of collective and individual subjectivity
7.1 Introduction
7.2 The lesson of semiocrises
7.3 Collective subjectivity or identity as a world view
7.4 Individual subjectivity or the fight between two manners of ‘being’ in the world
8 Ideologies manifesting axiologies
8.1 Introduction
9 Semiotics of resistance: Being, memory, history, and the counter-current of signs
9.1 Globalization and transcendence
9.2 Globalization as the new civilization: Some signs of the time
9.3 Aesthetics of resistance
9.3.1 Forces of resistance I: Being
9.3.2 Forces of resistance II: Memory
9.3.3 Forces of resistance III: History
9.4 What are we resisting?
10 Culture and transcendence
10.1 The theory in brief
10.2 Transculturality
10.3 Criticism of British cultural studies
10.4 Language games
10.5 Articulation
10.6 Subject positions
10.7 What Foucault said
10.8 Action
10.9 Cultivating
10.10 Content and Speculation
10.11 The organism
10.12 Generation
10.13 Nature
10.14 Rhizome
10.15 Zemic/Zetic
10.16 Transfer
10.17 Alien-psychic
10.18 Conclusion
Part III Lesser Arts
11 A proposal for a semiotic theory of performing arts
11.1 General observations
11.1.1 Skill
11.1.2 Theory
11.1.3 Time
11.1.4 Emotions
11.1.5 Intentional body
11.1.6 Unpredictability
11.1.7 Schein
11.2 An existential semiotic theory of performance
11.3 Performance in various arts
11.3.1 Performance of the text
11.3.2 Film performance-analysis
11.3.3 Varieties of actor/actress, musician, dancer
12 On culinemes, gastrophemes, and other signs of cooking
12.1 Introduction
12.2 Two historical perspectives
12.3 Semiotic questions about food
12.4 Cooking as a generative course
12.5 An application: cooking in Paris according to Ville Vallgren, Finnish sculptor and gourmet
12.6 Conclusion
Part IV Heimat
13.A Metaphors of nature and organicism
13.A.1 Introduction
13.A.2 What semioticians say about nature
13.A.3 Auguste Comte
13.A.4 German thinkers from Kant to Schiller
13.A.5 Différance
13.A.6 In biosemiotics
13.A.7 Semiogerms
13.B Metaphors of nature and organicism in the epistemology of music
13.B.1 On the musically “organic”
13.B.2 Sibelius and the idea of the “organic”
13.B.3 Organic narrativity
14 Finland in the eyes of a semiotician
14.1 Introduction
Part V Precursors
15 From absolute spirit to the community of interpretation: Josiah Royce (1855–1916), the American classic between Hegel and Peirce
15.1 Josiah Royce as a historical figure
15.2 Why Hegel?
15.3 Back to Royce
15.4 Toward the world of interpretation
15.5 The moral burden of the individual
15.6 Royce’s metaphysics and last insights on interpretation
16 Victoria Lady Welby – A pioneer of semiotic thought rediscovered by Susan Petrilli
16.1 Introduction
16.2 The challenge of originality
16.3 The idea of “three”
16.4 Royce as Lady Welby’s contemporary
16.5 Welby’s independence as a scholar
16.6 Who is a significian?
16.7 Problematic language
16.8 Metaphors
16.9 How to educate our expressive powers
16.10 Transcendence
17 Vladimir Solovyov
17.1 Background
17.2 Moral philosophy
17.3 Sophia and the World Soul
18 Russian formalism in the global semiotics – Precursor of the European branch
18.1 Introduction
18.2 Wassily Kandinsky
18.3 Its key concepts are metaphors from music
18.4 Lev Karsavin (1892–1952)
18.5 Wilhelm Sesemann
18.6 Vladimir Propp
18.7 Mikhail Bakhtin
19 Wilhelm Sesemann in the context of semiotics
19.1 Introduction
20 Roland Barthes or the birth of semiotics from the spirit of music
21 The right of unfunctionality – Explorations in Ponzio’s philosophical semiotics
22 São Paulo, Helsinki, New Delhi – The life of José Luiz Martinez
Part VI Practice
23 Can Semiotics be organized? Observations over a 40-year period
23.1 Introduction
23.2 Beginning: Lévi-Strauss, Greimas ... and Paris
23.3 The Impact of Thomas A. Sebeok
23.4 Semiotics expands
23.5 Imatra starts: Founding of the ISI
23.6 IASS Continues
23.7 The World Congress in Finland
23.8 From Italy to Bulgaria and Estonia
23.9 The Finnish Network University of Semiotics as an experiment
23.10 SEMKNOW
23.11 What do we want?
Literature
Index