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  1. C. S. Peirce and Intersemiotic Translation.Joao Queiroz & Daniella Aguiar - 2015 - In P. Trifonas (ed.), International Handbook of Semiotics. Berlin: Springer. pp. 201-215.
    Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...)
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  2. Intersemiotic Translation and Transformational Creativity.Daniella Aguiar, Pedro Ata & Joao Queiroz - 2015 - Punctum 1 (2):11-21.
    In this article we approach a case of intersemiotic translation as a paradigmatic example of Boden’s ‘transformational creativity’ category. To develop our argument, we consider Boden’s fundamental notion of ‘conceptual space’ as a regular pattern of semiotic action, or ‘habit’ (sensu Peirce). We exemplify with Gertrude Stein’s intersemiotic translation of Cézanne and Picasso’s proto-cubist and cubist paintings. The results of Stein’s IT transform the conceptual space of modern literature, constraining it towards new patterns of semiosis. Our association of Boden’s framework (...)
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  3. Semiosis and Intersemiotic Translation.Daniella Aguiar & Joao Queiroz - 2013 - Semiotica 2013 (196):283-292.
    This paper explores Victoria Welby's fundamental assumption of meaning process (“semiosis” sensu Peirce) as translation, and some implications for the development of a general model of intersemiotic translation.
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    Intersemiotic Translation of a Mobile Art Project to a Photographic Essay.Leticia Vitral, Daniella Aguiar & Joao Queiroz - 2016 - photographies 9 (1):91-107.
    VIA is a mobile art project (video-dance and computational music) semiotically translated to photographic media by means of formal constraints derived from selected properties of Rio de Janeiro’s predefined downtown routes. Under the constraints of street buildings and the morphology of the routes, questions regarding the influence of the bodily movements of the urban space led to the creation of a dance typology. This typology is related to pedestrians in the area and to the structure of the buildings spans where (...)
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