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Neo-rhetoric and figures of speech

Neo-rhetoric operates basically with three concepts: metaphor – the semantic of a ‘seme’ according to the principle of similarity or likeness, metonymy – a substitution according to the principle of contiguity , association, causality (different authors emphasize different types of connection); synecdoche, which some authors regard as the primary figure and others as a particular example of metonymy – a substitution on the basis of participation, inclusiveness, partiality or the substitution of plurality by singleness. -Yuri Lotman (Universe of Mind)   This passage describes the core framework of neo-rhetoric (also called the "new rhetoric" or modern rhetorical theory, particularly in its structuralist and semiotic forms from the mid-20th century onward). Neo-rhetoric shifts classical rhetoric’s focus on persuasion and ornate figures toward a more systematic, linguistic, and semantic analysis of how meaning is produced through tropes, i.e. figures of speech that involve subst...
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What is Trope? - 2

A trope is the semantic transposition from a sign in praesentia to a sign in absentia, 1) based on the perception of a connection between one or more semantic features of the signified; 2) marked by the semantic incompatibility of the micro- and macro-contexts; 3) conditioned by a referential connection by similarity, or inclusiveness, or opposition. Yuri Lotman [Universe of Mind]   This quotation sounds intimidating, but it’s really describing how figurative language, i.e. tropes works. Let’s try and understand it.   What is a “trope”? A trope is when we use a word or expression in a shifted or indirect way—like in metaphors, similes, irony, or symbolism. Example: “Time is a thief.” Time isn’t literally a thief, but we treat it like one to express meaning.   Now, the quotation in simple parts: 1) “Semantic transposition from a sign in praesentia to a sign in absentia” - You replace what is actually there (present) with someth...
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Metaphor and Metonymy: Poetry and Prose

“ he [Roman Jakobson] narrows it relegating metaphor to the domain of semiotic structure = poetry, and metonymy to the sphere of the text = prose. ” - Yuri Lotman [Universe of Mind]   Roman Jakobson The quote refers to a key idea in the work of Russian-American linguist and literary theorist Roman Jakobson, particularly expressed in his influential 1956 essay "Two Aspects of Language and Two Types of Aphasic Disturbances" (part of Fundamentals of Language ). The quote is taken from Universe of Mind by Yuri Lotman where Lotman elaborates upon Jakobson’s idea. Jakobson proposes that all language operates along two fundamental axes or "poles": The metaphoric pole — based on similarity (or substitution or selection). One element replaces or stands for another because of resemblance, analogy, or semantic likeness. Examples include synonyms, comparisons, or figurative substitutions like "life is a journey." The metonymic pole — based on contiguity ...
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What is Trope?

“In traditional rhetoric, ‘device for changing the basic meaning of a word are termed as tropes.’”  - Tomashevsky  (Quoted in Universe of Mind by Yuri Lotman)   Brief explanation: The statement means: In classical and traditional rhetoric and literary theory, tropes are specific figures of speech or rhetorical devices that alter or shift the literal or basic meaning of a word or phrase.   Simple breakdown: Literal meaning = the ordinary, dictionary definition of a word. Trope = a deliberate twist or turn (from Greek tropos = "turn") that makes the word mean something different from its basic sense.   Common examples of tropes: Metaphor: "He is a lion." (changes "he" from a person to something brave or fierce). Metonymy: "The White House issued a statement." (uses "White House" to mean the U.S. President or administration). Synecdoche: "All hands on deck." (uses "hands" to mean whole sa...
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Fear: Human vs. Animal

"Most animals feel stress when they sense danger. Humans feel stress when they 'imagine' danger." The above quote highlights a key difference between how animals and humans experience stress. Breakdown: Animals: Their stress is reactive and tied to the present moment. When they detect a real, immediate threat like a predator nearby, loud noise, or sudden movement, their body triggers stress (fight-or-flight) to help them survive. Once the danger passes, the stress usually disappears quickly. Humans: Our stress is often proactive and imaginative. We don't need an actual danger in front of us — we can create it in our minds through worry, anticipation, rumination, or "what if" thinking. We stress about future possibilities, e.g., "What if I lose my job?", past mistakes, or imagined scenarios that may never happen. This mental simulation keeps our stress response active even when we're physically safe. Why it matters: This ability to imagine ...
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Repetition and Cultural Value

“ The same principle can be seen in a more consistent form, not in art, but in moralistic and religious texts such as parables, in myths and in proverbs. Repetitions found their way into proverbs at a time when they were not yet perceived aesthetically but had a much more important mnemonic or moralising function. ” -Yuri Lotman The quotation comes from Yuri Lotman, a prominent Soviet/Russian semiotician and cultural theorist. It appears in his book Universe of the Mind: A Semiotic Theory of Culture. In this passage, Lotman discusses repetition as a structural device in texts. He contrasts its role in "art", especially poetry and literary works, with its appearance in non-artistic, more "practical" or functional genres like parables , myths , and proverbs . Key ideas in the quotation Lotman observes that repetition, for example, parallel structures, redundant phrasing, rhythmic echoes, or symmetrical patterns, often appears in artistic texts. In art, such repetiti...
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Semiotics of Culture

When a culture is analysed as a code or system (an also happens with natural languages), the processes of use are richer and less predictable that the semiotic model which explains them. Reconstructing a code of a culture does not mean explaining all the phenomena of that culture, but rather allows us to explain why that culture has produced those phenomena.  -Umberto Eco (Universe of Mind) The above quote comes from Umberto Eco's introduction to Yuri Lotman's Universe of the Mind: A Semiotic Theory of Culture (1990), where Eco reflects on Lotman's ideas while drawing on his own semiotic framework. Here’s a clear breakdown of what the passage means: “When a culture is analysed as a code or system (and also happens with natural languages), the processes of use are richer and less predictable than the semiotic model which explains them.” A “ code ” or “ system ” in semiotics refers to a structured set of rules and conventions that allow signs (words, images, gestures, ...
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