Search results for 'Eero Hyvönen' (try it on Scholar)

50 found
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  1.  6
    Aurel Codoban (2010). Eero Tarasti, Existential Semiotics. Journal for the Study of Religions and Ideologies 6 (17):134-141.
    Eero Tarasti, Existential Semiotics Indiana University Press, Bloomington and Indianapolis, 2001.
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  2. Loone Eero Nikolaevich (1994). [Book Review] Soviet Marxism and Analytical Philosophies of History, Eero Loone; Translated by Brian Pearce. [REVIEW] Science and Society 58 (3).
     
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  3.  6
    T. W. Manson (1953). Eero Repo: Der Begriff 'Rhëma? im Biblisch-Griechischen. Eine traditionsgeschichtliche und semologische Untersuchung. Pp. 204. Helsinki: Academia Scientiarum Fennica, 1951. Paper, 600 mk. [REVIEW] The Classical Review 3 (3-4):199-.
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  4.  2
    Daniel Charles (1995). Music and Antimetaphor (to Eero Tarasti). In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter 121--27.
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  5.  1
    Karen J. Greenberg (2005). Eero Tarasti's Existential Semiotics. American Journal of Semiotics 21 (1/4):92-100.
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  6. Stephen Davies (1989). Review of Veikko Rantala, Lewis Rowell, Eero Tarasti : Essays on the philosophy of music. [REVIEW] Theoria 55 (2):137.
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  7. Raymond Monelle (1999). Two Musical Semiologists (Eero Tarasti, A'Theory of Musical Semiotics' and David Lidov,'Elements of Semiotics'). Semiotica 123 (3-4):349-355.
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  8. James P. Scanlan (1983). EERO N. LOONE, "Sovremennaia Filosofiia Istorii". [REVIEW] History and Theory 22 (3):311.
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  9.  17
    Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (1996). Musical Semiotics in Growth. International Semiotics Institute.
    (by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...
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  10.  1
    Jukka Mäkinen & Eero Kasanen (forthcoming). Boundaries Between Business and Politics: A Study on the Division of Moral Labor. Journal of Business Ethics.
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  11.  1
    Eero Tarasti (2000). Existential Semiotics. Monograph Collection (Matt - Pseudo).
    Existential semiotics involves an a priori state of signs and their fixation into objective entities. These essays define this new philosophical field.
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  12.  18
    Eero Tarasti (1995). “Après Un Rêve”: A Semiotic Analysis of the Song by Gabriel Fauré. In Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter 121--435.
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  13. Eero Loone (1992). Soviet Marxism and Analytical Philosophies of History. Verso.
  14. Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.) (1988). Essays on the Philosophy of Music. Distributed by Akateeminen Kirjakauppa.
     
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  15.  47
    Eero Tarasti (1992). A Narrative Grammar of Chopin's G Minor Ballade. Minds and Machines 2 (4):401-426.
    A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...)
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  16.  17
    Eero Tarasti (1980). Peirce and Greimas From the Viewpoint of Musical Semiotics. Semiotics:503-511.
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  17.  4
    John A. Hall & Ian Jarvie (eds.) (1996). The Social Philosophy of Ernest Gellner. Rodopi.
    Contents: John A. HALL and Ian JARVIE: Preface. John A. HALL and Ian JARVIE: The Life and Times of Ernest Gellner. PART 1 INTELLECTUAL BACKGROUND. Ji_i MUSIL: The Prague Roots of Ernest Gellner's Thinking. Chris HANN: Gellner on Malinowski: Words and Things in Central Europe. Tamara DRAGADZE: Ernest Gellner in the Soviet East. PART 2 NATIONS AND NATIONALISM. Brendan O'LEARY: On the Nature of Nationalism: An Appraisal of Ernest Gellner's Writings on Nationalism. Kenneth MINOGUE: Ernest Gellner and the Dangers of (...)
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  18.  5
    Jukka Mäkinen & Eero Kasanen (2015). In Defense of a Regulated Market Economy. Journal of Global Ethics 11 (1):99-109.
    The dominant understanding of political corporate social responsibility suggests new, broader political roles for businesses in the globalized economy, challenging the classical liberal social order. In this paper, we show how the major framing of the political CSR discussion not only challenges the classical liberal social order but also goes against the more general political economic perspective of the regulated market economy. We argue that this latter tendency of the political CSR discussion is its main weakness. We introduce a Rawlsian (...)
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  19.  9
    Eero Tarasti (2007). An Essay on Appearance. Cultura 4 (1):44-61.
    One need not know much history of semiotics in order to recognize the background of my title. It is of course an allusion to Umberto Eco’s classic Struttura assente from 1968, which turned out to be a major touchstone in the history of European semiotics. At that time, everything about semiotics had become “structural” . But why, for Eco, was structure “absent”? This notion of absence reveals something essential in both the history of structuralism and in the reasoning to which (...)
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  20.  9
    Eero P. Simoncelli (2003). Seeing Patterns in the Noise. Trends in Cognitive Sciences 7 (2):51-53.
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  21.  5
    Erkka Maula & Eero Kasanen (1989). Cher Fermat A.D. 1637. Philosophica 43:127-162.
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  22.  9
    Eero Tarasti (2001). Metaphors of Nature and Organicism in the Epistemology of Music. Sign Systems Studies 29 (2):657-681.
    Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the so-called (...)
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  23.  12
    Eero Tarasti (1982). Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics. Semiotics:247-254.
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  24.  9
    Eero Tarasti (2013). Victoria Lady Welby – A Pioneer of Semiotic Thought Rediscovered by Susan Petrilli. Semiotica 2013 (196):21-34.
    Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 21-34.
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  25.  6
    Anti Randviir, Eero Tarasti & Vilmos Voigt (2000). Finno-Ugric Semiotics. Sign Systems Studies 28:425-438.
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  26.  6
    Marja-Liisa Kakkuri-Knuuttila & Eero Vaara (2007). Reconciling Opposites in Organisation Studies. Philosophy of Management 6 (1):81-98.
    In view of the current fragmentation in management and organisation studies, we argue that there is a need to elaborate techniques that help reconcile contradictory and superficially incommensurable standpoints. For this purpose, we draw on ‘pre-modern’ Aristotelian epistemological and methodologicalsources, particularly the idea of ‘saving the appearances’ (SA), not previously introduced into organisation studies. Using SA as our starting point, we outline a methodology that helps to develop reasonable and acceptable intermediary positions in contemporary debates between ‘modernism’ and ‘post-modernism’. Weillustrate (...)
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  27.  19
    Eero Hyvönen (1986). Applying a Logical Interpretation of Semantic Nets and Graph Grammars to Natural Language Parsing and Understanding. Synthese 66 (1):177 - 190.
    In this paper a logical interpretation of semantic nets and graph grammars is proposed for modelling natural language understanding and creating language understanding computer systems. An example of parsing a Finnish question by graph grammars and inferring the answer to it by a semantic net representation is provided.
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  28. Eero Tarasti (1987). Semiotics of Music. Semiotica 66 (1-3):1-330.
     
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  29.  4
    Eero Tarasti (2000). Vladimir Soloviev: Pre- or Anti-Semiotician? Semiotica 128 (3-4):581-596.
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  30.  2
    Eero Tarasti (2001). Looduse metafoorid ja organitsism muusika epistemoloogias. Sign Systems Studies 29 (2):682-682.
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  31.  4
    Eero Tarasti (2009). Semiotics of Resistance: Being, Memory, History—the Counter-Current of Signs. Semiotica 2009 (173):41-71.
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  32.  3
    Eero Tarasti (1998). From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music. Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.
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  33.  2
    Eero Tarasti (2001). The Semiosis of Light in Music: From Synaesthesias to Narratives. Semiotica 2001 (136).
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  34.  2
    Eero Tarasti (1999). Signs and Transcendence. Semiotica 126 (1-4):17-40.
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  35.  1
    Eero Tarasti (1987). Foreword. Semiotica 66 (1-3):1-4.
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  36. Luca Marconi, Gino Stefani & Eero Tarasti (1998). Musical Signification, Between Rhetoric and Pragmatics Proceedings of the 5th International Congress on Musical Signification = la Significazione Musicale, Tra Retorica E Pragmatica. Monograph Collection (Matt - Pseudo).
     
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  37. Eero Riikonen & Sara Vataja (1999). Can (and Should) We Know How, Where and When Psychotherapy Takes Place. In Ian Parker (ed.), Deconstructing Psychotherapy. Sage Publications 175--188.
     
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  38. Eero Tarasti (2010). Daniel Charles ou le principe du non-vouloir. Nouvelle Revue d'Esthétique 5.
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  39. Eero Tarasti (1991). Finland in the Eyes of a Semiotician. Semiotica 87 (3-4):203-216.
     
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  40. Eero Tarasti (2004). Ideologies Manifesting Axiologies. Semiotica 2004 (148).
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  41.  39
    Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
    PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...
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  42.  27
    Eero Tarasti (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton De Gruyter.
    Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...
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  43. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (2003). Musical Semiotics Revisited. International Semiotics Institute.
     
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  44. Eero Tarasti (1998). On Post-Colonial Semiotics. Σημιοτκή-Sign Systems Studies 1:115-135.
     
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  45. Eero Tarasti (1988). On the Modalities and Narrativity in Music. In Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.), Essays on the Philosophy of Music. Distributed by Akateeminen Kirjakauppa 43--155.
     
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  46. Eero Tarasti (1987). On the Modalities of Opera. Semiotica 66 (1):3.
     
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  47. Eero Tarasti (ed.) (1999). Snow, Forest, Silence: The Finnish Tradition of Semiotics. Indiana University Press.
    Thirty high-level essays on various aspects of semiotics by Finnish, Estonian, and Hungarian scholars.
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  48.  5
    Eero Tarasti (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. De Gruyter Mouton.
    Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...
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  49.  47
    Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  50. Eero Tarasti (1995). The Taste of Finnish Semiotics. Semiotica 106 (3/4):301-308.
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