37 found
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  1. Signs of music: a guide to musical semiotics.Eero Tarasti - 2002 - New York: Mouton de Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  2.  33
    Semiotics of resistance: Being, memory, history—the counter-current of signs.Eero Tarasti - 2009 - Semiotica 2009 (173):41-71.
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  3.  35
    Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us.Eero Tarasti - 2012 - 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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  4.  40
    Snow, Forest, Silence: The Finnish Tradition of Semiotics.Eero Tarasti (ed.) - 1999 - Indiana University Press.
    Thirty high-level essays on various aspects of semiotics by Finnish, Estonian, and Hungarian scholars.
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  5.  15
    The semiotics of A. J. Greimas.Eero Tarasti - 2017 - Sign Systems Studies 45 (1-2):33-53.
    The essay deals with the formation of the Greimassian thought from its earliest origins in his young years at Kaunas University, i.e. his connections with Wilhelm Sesemann, Lev Karsavin and Russian formalism, to the rise of structuralism in Paris. The Paris School approach stems from Semantique structurale (1967) leading to the ‘third semiotic revolution’, as Greimas called it, by the invention of the modalities. This made his method close to even analytic philosophy and modal logics. In both, a linguistic turn (...)
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  6.  14
    Essays on the philosophy of music.Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.) - 1988 - Helsinki: Akateeminen Kirjakauppa.
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  7.  91
    Myth and music: a semiotic approach to the aesthetics of myth in music, especially that of Wagner, Sibelius and Stravinsky.Eero Tarasti - 1979 - The Hague: 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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  8.  26
    Foreword.Eero Tarasti - 1987 - Semiotica 66 (1-3):1-4.
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  9.  13
    ⚘ The Profile of John Deely as a Semiotician and a Philosopher ☀ Eero Tarasti.Eero Tarasti, Bujar Hoxha & Elma Berisha - unknown
    Kick off the year right... and you will find yourself capable of recognizing the depth and breadth of John's genius. This event, commented on by Bujar Hoxha (South-East European University) chaired by Elma Berisha (Lyceum Institute), is part of the activities of the 2022 International Open Seminar on Semiotics: a Tribute to John Deely on the Fifth Anniversary of His Passing, cooperatively organized by the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra, (...)
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  10.  6
    Philosophies of performance.Dario Martinelli, Eero Tarasti & Juha Torvinen (eds.) - 2014 - Helsinki: The Semiotic Society of Finland.
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  11.  20
    Finno-Ugric semiotics.Anti Randviir, Eero Tarasti & Vilmos Voigt - 2000 - Sign Systems Studies 28:425-438.
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  12.  10
    Finno-Ugric semiotics.Anti Randviir, Eero Tarasti & Vilmos Voigt - 2000 - Sign Systems Studies 28:425-438.
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  13.  37
    An Essay on Appearance.Eero Tarasti - 2007 - 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 most (...)
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  14.  92
    A narrative grammar of chopin's G minor ballade.Eero Tarasti - 1992 - 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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  15.  23
    Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics.Eero Tarasti - 1982 - Semiotics:247-254.
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  16.  86
    “Après un rêve”: A semiotic analysis of the song by Gabriel Fauré.Eero Tarasti - 1995 - In Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. pp. 121--435.
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  17.  14
    Daniel Charles ou le principe du non-vouloir.Eero Tarasti - 2010 - Nouvelle Revue d'Esthétique 5 (1):85-93.
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  18.  10
    Du Fl'neur au traceur: playful bodies in urban spaces.Eero Tarasti & Mattia Thibault - 2022 - Semiotica 2022 (249):79-94.
    This paper investigates how play practices affect players’ relationships with the urban environment through the bodily movement and performances that characterize them. Building on a definition of playful behavior derived by semiotics of culture, we investigate urban play from the perspective of motor praxology to outline how movement is central for the experience of the players. We then concentrate on the role of semiotic valorizations in different urban contexts, notably the famous typology of Metro users by Floch and different kinds (...)
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  19.  21
    From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music.Eero Tarasti - 1998 - Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.
  20. Finland in the Eyes of a Semiotician.Eero Tarasti - 1991 - Semiotica 87 (3-4):203-216.
     
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  21.  20
    Ideologies manifesting axiologies.Eero Tarasti - 2004 - Semiotica 2004 (148).
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  22.  18
    Looduse metafoorid ja organitsism muusika epistemoloogias.Eero Tarasti - 2001 - Sign Systems Studies 29 (2):682-682.
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  23.  37
    Metaphors of nature and organicism in the epistemology of music.Eero Tarasti - 2001 - 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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  24.  94
    Musical signification: essays in the semiotic theory and analysis of music.Eero Tarasti (ed.) - 1995 - New York: 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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  25.  71
    Musical semiotics in growth.Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) - 1996 - Imatra: 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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  26.  12
    Musical semiotics revisited.Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) - 2003 - Imatra: International Semiotics Institute.
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  27. On post-colonial Semiotics.Eero Tarasti - 1998 - Σημιοτκή-Sign Systems Studies 1:115-135.
  28. On the modalities and narrativity in music.Eero Tarasti - 1988 - In Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.), Essays on the Philosophy of Music. Akateeminen Kirjakauppa. pp. 43--155.
     
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  29. On the modalities of opera.Eero Tarasti - 1987 - Semiotica 66 (1):3.
     
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  30.  57
    Peirce and Greimas from the Viewpoint of Musical Semiotics.Eero Tarasti - 1980 - Semiotics:503-511.
  31.  35
    Signs and transcendence.Eero Tarasti - 1999 - Semiotica 126 (1-4):17-40.
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  32.  40
    Semiotics of Music.Eero Tarasti - 1987 - Semiotica 66 (1-3):1-330.
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  33.  17
    The semiosis of light in music: From synaesthesias to narratives.Eero Tarasti - 2001 - Semiotica 2001 (136).
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  34. The taste of Finnish semiotics.Eero Tarasti - 1995 - Semiotica 106 (3/4):301-308.
     
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  35.  45
    Victoria Lady Welby – A pioneer of semiotic thought rediscovered by Susan Petrilli.Eero Tarasti - 2013 - 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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  36.  22
    Vladimir Soloviev: Pre- or anti-semiotician?Eero Tarasti - 2000 - Semiotica 128 (3-4):581-596.
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  37.  3
    Daniel Charles ou le principe du non-vouloir.Eero Tarasti - 2010 - Nouvelle Revue d'Esthétique 5 (1):85-93.
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