Vimarsh

Language is an institutionalized form. The interpretation(s) is/are subjective in nature (and culture). -J.A.H. Khatri The above statement captures two complementary ideas from linguistics, sociolinguistics, philosophy of language, and anthropology. It highlights both the socially structured / collective character of language and the individually / culturally variable way meaning is created when people use or understand it. Let's break it down clearly: 1. "Language is an institutionalized form" This means language is not a purely individual, spontaneous, or private creation — it is a social institution , much like law, money, marriage, education systems, or religion. It is "institutionalized" because: It exists as a shared, historically developed system that is maintained and transmitted across generations by communities/societies. It comes with norms, rules, conventions , and expectations that speakers mostly follow without thin...

“This was Saussure’s term for what later came to be called paradigmatic relations. The ‘formulaic’ associations of linguistic signs include synonyms, antonyms, similar-sounding words and words of similar grammatical function.” - Daniel Chandler   What is "Associative Relations" in Saussure's Theory? Ferdinand de Saussure, a foundational figure in modern linguistics, introduced the concept of associative relations (in French: rapports associatifs ) in his Course in General Linguistics (published posthumously in 1916). This term refers to the mental connections a speaker makes between a linguistic sign (a word) and other signs that are not present in the actual sentence but are linked in the mind through shared similarities. Later linguists (especially after Roman Jakobson and others) renamed this concept paradigmatic relations. Paradigmatic relations are contrasts and choices: they involve words that could potentially replace each other in the same position ...

Audrey Diwan's Emmanuelle (2024), starring Noémie Merlant as the titular protagonist, reimagines the iconic erotic franchise as a contemplative exploration of female desire, set against the backdrop of a luxurious Southeast Asian resort. Here, the gaze moves from male centrality and pleasure of the past Emmanuelle to self-reflective feminine gaze. Drawing on semiotic theory—particularly Roland Barthes' concepts of denotation (literal image) and connotation (cultural meaning)—this analysis focuses on the film's visual symbolism. Diwan employs a restrained, dreamlike aesthetic, cinematography by Laurent Tangy, to signify the tension between opulent excess and internal repression. Visual signs such as pristine architecture, symbolic objects, color palettes, and camera movements construct a narrative of elusive gratification, where pleasure is both promised and perpetually deferred. Poster: Emmanuelle (2024)   The Luxury Hotel as a Signifier of Controlled Desire The film...

યુરી લૉટમેન ( ૧૯૨૨ – ૧૯૯૩ ) એક પ્રખ્યાત સોવિયેત - રશિયન સંકેતવિજ્ઞાની અને સાંસ્કૃતિક સિદ્ધાંતકાર હતા . તેઓ ટાર્ટુ - મોસ્કો સ્કૂલ ઑફ સેમિયૉટિક્સના સૌથી મહત્વના યોગદાનકર્તા તરીકે જાણીતા છે . તેમનું કાર્ય સંરચનાવાદ , સાયબરનેટિક્સ અને સિસ્ટમ્સ થિયરી પર આધારિત છે , જેના દ્વારા તેમણે એ બતાવ્યું કે સંકેત , લખાણો અને સંસ્કૃતિઓ કેવી રીતે ગતિશીલ અને પરસ્પર જોડાયેલી વ્યવસ્થાઓ તરીકે કાર્ય કરે છે . તેમનો સૌથી પ્રભાવશાળી ખ્યાલ છે સેમિયોસ્ફિયર (semiosphere), જેનો પરિચય તેમણે પોતાના મહત્વના પુસ્તક Universe of the Mind: A Semiotic Theory of Culture ( ૧૯૯૦ ) માં કરાવ્યો હતો . સેમિયોસ્ફિયર એ ફક્ત ચિહ્નો કે ભાષાઓનો સમૂહ નથી , પરંતુ એક સંપૂર્ણ , પહેલેથી જીવંત સંકેતાત્મક જગ્યા છે – જે જીવવિજ્ઞાનમાં બાયોસ્ફિયર ( biosphere) સાથે સરખાવી શકાય છે – જેની અંદર બધા પ્રકારનું સંવાદન , અર્થ - નિર્માણ અને સાંસ્કૃતિક પ્રક્રિયાઓ થાય છે . લૉટમેનના શબ્દોમાં : “ ભાષાઓના અસ્તિત્વ અને કાર્ય માટે જરૂરી સંકેતાત્મક જગ્યા , ફક્ત વિ...