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iReview: Introduction to Universe of Mind by Umberto Eco

I would like to discuss a chapter entitled "Introduction" from the book Universe of the Mind: A Semiotic Theory of Culture. The book is originally written in Russian by Yuri Lotman.

The chapter of Introduction that I will be discussing here is written by Umberto Eco. It is an introduction to the English translation of the book which is translated by Ann Shukman.


𝟭. 𝗔𝗕ð—Ēð—Ļ𝗧 𝗧𝗛𝗘 𝗔ð—Ļ𝗧𝗛ð—Ēð—Ĩ:

Umberto Eco was an Italian medievalist, philosopher, semiotician, novelist, cultural critic, and political and social commentator. In English, he is best known for his novels. Eco wrote prolifically throughout his life, with his output including children's books, translations from French and English. At the time of his death, he was an Emeritus professor at the University of Bologna, where he taught for much of his life. In the 21st century, he has continued to gain recognition for his 1995 essay "Ur-Fascism", where Eco lists fourteen general properties he believes comprise fascist ideologies.


ðŸŪ. 𝗊𝗛𝗔𝗧 𝗜ð—Ķ 𝗧𝗛𝗜ð—Ķ 𝗖𝗛𝗔ð—Ģ𝗧𝗘ð—Ĩ 𝗔𝗕ð—Ēð—Ļ𝗧?

The chapter provides an overview of the work of Yuri Lotman focusing on his contribution to semiotics and the history of culture. Eco attempts to explain how Lotman, initially influenced by structuralism, moved towards a more complex understanding of culture as a system of codes and texts, ultimately developing the concept of Semiosphere as a dynamic whole. The text explains how Lotman develop a more comprehensive semiotic theory that views culture as a complex system of interconnected sign systems, rather than just individual devices or codes. The chapter stresses on Lotman’s interdisciplinary approach and his insightful analysis of cultural typologies and concepts.

Eco states that two very important intellectual movements erupted in European academia during sixties: Semiotics/Semiology and Structuralism.

Eco also differentiates semiotics from structuralism: Semiotics is the study of the entire range of sign systems and communication processes, while structuralism is a method that has proven useful for analyzing linguistic and cultural systems. He also notes that all semioticians may not use structuralist method.

For Lotman, considering the whole semiosphere as a single mechanism is necessary because understanding its various aspects is only possible by viewing it as a unified entity, not just a collection of individual parts.

ðŸŊ. 𝗞𝗘𝗎 𝗧𝗘ð—Ĩ𝗠ð—Ķ:

ðŸŊ.𝟭 ð—Ķð—ē𝗚ð—ķ𝗞𝘁ð—ķ𝗰𝘀/ð—Ķð—ē𝗚ð—ķ𝗞ð—đ𝗞ð—ī𝘆:

The study of signs and symbols and their use or interpretation, encompassing the entire range of signs systems and communication processes.

ðŸŊ.ðŸŪ ð—Ķ𝘁ð—ŋ𝘂𝗰𝘁𝘂ð—ŋð—Ūð—đð—ķ𝘀𝗚:

A method of analysis that views culture as analogous to language, emphasizing underlying structures and systems of relations.

ðŸŊ.ðŸŊ ð—Ĩ𝘂𝘀𝘀ð—ķð—Ūð—ŧ 𝗙𝗞ð—ŋ𝗚ð—Ūð—đð—ķ𝘀𝗚:

A school of literary criticism originating in Russia in the late 1910s and 1920s, focusing on the formal properties and “devices” of literary texts rather than their content or social context.

ðŸŊ.𝟰 𝗗ð—ē𝘃ð—ķ𝗰ð—ē:

In formalism, a technique used by a writer to produce a specific effect, such as defamiliarization.

ðŸŊ.ðŸą 𝗗ð—ē-ð—ģð—Ū𝗚ð—ķð—đð—ķð—Ūð—ŋð—ķ𝘇ð—Ū𝘁ð—ķ𝗞ð—ŧ:

A formalist concept referring to the technique of presenting common things in an unfamiliar or strange way in order to enhance perception and understanding.

ðŸŊ.ðŸē ð—Ģð—ŋð—Ūð—ī𝘂ð—ē ð—Ķ𝗰ð—ĩ𝗞𝗞ð—đ:

A group of linguists and literary theorists active in Prague during the 1920s and 1930s, known for their contributions to structural linguistics and phonology.

ðŸŊ.ðŸģ 𝗟ð—Ūð—ŧð—ī𝘂ð—ē ð—Ūð—ŧð—ą ð—Ģð—Ūð—ŋ𝗞ð—đð—ē:

A fundamental distinction in Saussurean linguistics; ‘langue’ refers to the abstract language system or code, while ‘parole’ refers to individual acts of speaking or writing messages.

ðŸŊ.ðŸī ð—–ð—žð—ąð—ē𝘀 𝗞ð—ģ 𝗠ð—ē𝘀𝘀ð—Ūð—īð—ē:

Concepts derived from Information Theory and Structuralism; the code is the system of rules or conventions, and the message is the specific instance of communication encoded using that system.

ðŸŊ.ðŸĩ ð—Ģð—ŋð—ķ𝗚ð—Ūð—ŋ𝘆 ð— ð—žð—ąð—ēð—đð—đð—ķð—ŧð—ī ð—Ķ𝘆𝘀𝘁ð—ē𝗚:

According to Lotman, the fundamental system by which we apprehend the world, which is language.

ðŸŊ.𝟭𝟎 ð—Ķð—ē𝗰𝗞ð—ŧð—ąð—Ūð—ŋ𝘆 ð— ð—žð—ąð—ēð—đð—đð—ķð—ŧð—ī ð—Ķ𝘆𝘀𝘁ð—ē𝗚:

Other semiotic systems, such as myth, cultural rules, religion, art, and science, which build upon and organize the primary modelling system (language) to offer different ways of understanding and talking about the world.

ðŸŊ.𝟭𝟭 ð—§ð˜†ð—―ð—žð—đ𝗞ð—ī𝘆 𝗞ð—ģ 𝗖𝘂ð—đ𝘁𝘂ð—ŋð—ē:

The study of different types of classifications of cultures based on their underlying semiotic systems and rules.

ðŸŊ.𝟭ðŸŪ 𝗚ð—ŋð—Ū𝗚𝗚ð—Ū𝘁ð—ķ𝗰ð—Ūð—đ 𝗟ð—ēð—Ūð—ŋð—ŧð—ķð—ŧð—ī:

A mode of learning a system (like language or culture) by understanding its underlying rules and combining discrete units according to those rules.

ðŸŊ.𝟭ðŸŊ 𝗧ð—ē𝘅𝘁𝘂ð—Ūð—đ 𝗟ð—ēð—Ūð—ŋð—ŧð—ķð—ŧð—ī:

A mode of learning a system by being exposed to and imitating exiting text (macro-units) from which rules can eventually be inferred.

ðŸŊ.𝟭𝟰 ð—Ķð—ē𝗚ð—ķð—žð˜€ð—―ð—ĩð—ēð—ŋð—ē:

Lotman’s concept of the entire semiotic space of a culture or continuum, within which various semiotic processes occur. Analogous to the biosphere.

ðŸŊ.ðŸ­ðŸą 𝗖ð—ŋð—ē𝗞ð—đð—ķ𝘇ð—Ū𝘁ð—ķ𝗞ð—ŧ (𝗖𝘂ð—đ𝘁𝘂ð—ŋð—Ūð—đ):

The process of mixing different cultural codes and systems, resulting in contrasts and hybrids.

ðŸŊ.𝟭ðŸē ð—Ķ𝘆ð—ŧ𝗰ð—ĩð—ŋ𝗞ð—ŧð—ķ𝗰 ð—”ð—―ð—―ð—ŋ𝗞ð—Ū𝗰ð—ĩ:

The analysis of a system (like language or culture) at a specific point in time, without considering its historical development.

That is all for today. Comment which ideas you would like to explore in more details.

#Semiotics #Culture #UmbertoEco #YuriLotman 

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Book: The Dialogic Imagination: Four Essays (1981) Author: M. M. Bakhtin Translated by: Caryl Emerson & Michael Holquist Edited: Michael Holquist Austin & London: University of Texas Press "The Dialogic Imagination: Four Essays" by Mikhail Bakhtin is already considered a classic not only from the perspective of literary genre but also as an important work on the philosophy of language. The present book contains the four essays: 1. Epic and Novel, 2. From the Prehistory of Novelistic Discourse, 3. Forms of Time and of the Chronotope in the Novel, 4. Discourse in the Novel and an Introduction and Glossary by the editor. The essays are a commentary on the  historical development of novel form and how it is different from the other literary form. His argument is that as the novel form is different from the other literary forms, we need a different type of stylistic and poetic analysis and dogmas for that in order to truly evaluate the Novel. He tries ...

"āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી": āŠāŠ• āŠ…āŠĩāŠēોāŠ•āŠĻ

āŠŦિāŠē્āŠŪ “ āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી ” āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœāŠĻી āŠāŠ• āŠŊુāŠĩāŠĪી , āŠ§ુāŠģāŠ•ી , āŠĻી āŠĩાāŠĪ āŠ•āŠ°ે āŠ›ે . āŠ† āŠŦિāŠē્āŠŪ ‘ āŠ°ાāŠ  ’ āŠĩિāŠļ્āŠĪાāŠ° āŠĪāŠ°ીāŠ•ે āŠ“āŠģāŠ–āŠĪા āŠ›ોāŠŸાāŠ‰āŠĶેāŠŠુāŠ° , āŠŠાāŠĩીāŠœેāŠĪāŠŠુāŠ° , āŠĻāŠļāŠĩાāŠĄી , āŠŽોāŠĄેāŠēી , āŠĩāŠ—ેāŠ°ે āŠœેāŠĩા āŠ—ાāŠŪāŠĄાંāŠ“āŠŪાં āŠ–ૂāŠŽ āŠļāŠŦāŠģ āŠĨāŠ‡ āŠđāŠĪી . āŠ† āŠĩિāŠļ્āŠĪાāŠ°āŠĻા āŠļિāŠĻેāŠŪાāŠ˜āŠ°ોāŠŪાં , āŠœ્āŠŊાં āŠŦિāŠē્āŠŪ āŠŦāŠ•્āŠĪ āŠĪ્āŠ°āŠĢ āŠĶિāŠĩāŠļ āŠšાāŠēāŠĪી , āŠ† āŠŦિāŠē્āŠŪ āŠŪāŠđિāŠĻાāŠ“ āŠļુāŠ§ી āŠšાāŠēી . āŠŠāŠ°ંāŠĪુ , āŠŪાāŠ°ા āŠ•ેāŠŸāŠēાāŠ• āŠŪાāŠđિāŠĪીāŠĶાāŠĪાāŠ“āŠĻા āŠŪāŠĪ āŠ…āŠĻુāŠļાāŠ° āŠ† āŠŦિāŠē્āŠŪ āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœ āŠĩિāŠ·ે āŠĻ āŠđāŠĪી . āŠĪો āŠŠāŠ›ી āŠ† āŠŦિāŠē્āŠŪ āŠ•ેāŠŸāŠēાāŠ• āŠšોāŠ•્āŠ•āŠļ āŠĩિāŠļ્āŠĪાāŠ°ોāŠŪાં āŠœ āŠ†āŠŸāŠēી āŠļāŠŦāŠģ āŠ•ેāŠŪ āŠĨāŠ‡ ? āŠŠ્āŠ°āŠļ્āŠĪુāŠĪ āŠŠેāŠŠāŠ° āŠāŠĻા āŠ•ેāŠŸāŠēાāŠ• āŠ•ાāŠ°āŠĢો āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે , āŠ…āŠĻે āŠŦિāŠē્āŠŪāŠŪાં ‘ āŠ°ાāŠ āŠĩા ’ āŠ“āŠģāŠ– āŠ•āŠˆ āŠ°ીāŠĪે āŠ‰āŠ­ી āŠ•āŠ°āŠĩાāŠŪાં āŠ†āŠĩી āŠ›ે āŠĪેāŠĻા āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે . āŠļાāŠŪાāŠœીāŠ• āŠ°ીāŠĪે āŠŠāŠ›ાāŠĪ āŠĩāŠ°્āŠ—āŠĻી āŠ‰āŠŠāŠēા āŠĩāŠ°્āŠ— āŠĪāŠ°āŠŦāŠĻી āŠ—āŠĪિ āŠœે āŠŦિāŠē્āŠŪāŠĻી āŠŪુāŠ–્āŠŊ āŠ•āŠĨાāŠĻો āŠ—āŠ°્āŠ­ીāŠĪાāŠ°્āŠĨ āŠ›ે , āŠœે āŠŦિāŠē્āŠŪāŠĻું āŠ…āŠĻ્āŠŊ āŠŠાāŠļુ āŠ°āŠœુ āŠ•āŠ°ે āŠ›ે . āŠĪāŠĶુāŠŠāŠ°ાંāŠĪ , āŠ†āŠŠāŠĢે āŠŦિāŠē્āŠŪ āŠ…āŠĻે āŠļāŠŪાāŠœāŠŪાં āŠŠ્āŠ°āŠļ્āŠĨાāŠŠિāŠĪ āŠŪાāŠēીāŠ•્āŠĩāŠ°્āŠ— āŠ…āŠĻે āŠŠીāŠĄીāŠĪāŠĩāŠ°્āŠ— āŠĩāŠš્āŠšેāŠĻા āŠŠાāŠ°āŠļ્āŠŠāŠ°િāŠ• āŠļંāŠŽંāŠ§ોāŠĻે āŠŠāŠĢ āŠœોāŠˆāŠķું . ***                 āŠŪાāŠĢāŠļ āŠļāŠđુāŠĨી āŠŠāŠđેāŠēા āŠāŠ• āŠŪાāŠĢāŠļ āŠ›ે , āŠ§āŠ°્āŠŪ , āŠœાāŠĪિ , āŠĩંāŠķ , āŠŽāŠ§ું āŠœ āŠĪેāŠĻી āŠŪાāŠĻāŠĩāŠĪા āŠ…āŠĻે āŠŪાāŠĻāŠĩāŠ§āŠ°્āŠŪ āŠļાāŠŪે āŠ—ૌāŠĢ āŠ›ે . āŠ†āŠĩો āŠļāŠ°āŠļ āŠļંāŠĶેāŠķો āŠ°āŠœુ āŠ•āŠ°āŠĪી...