Skip to main content

Semiotics: Sign Structure in Peircean Semiotics

Hello and welcome dear colleagues and fellow researchers. 

Today, I will continue talking about Peircean semiotics. Today, we will discuss the Basic Sign Structure in Peircean Semiotics.


In one of his many definitions of a sign, Peirce writes:

"I define a sign as anything which is so determined by something else, called its Object, and so determines an effect upon a person, which effect I call its interpretant, that the later is thereby mediately determined by the former." (EP2, 478)

What we see here is Peirce’s basic claim that signs consist of three inter-related parts: a sign or representamen, an object, and an interpretant.


For the sake of simplicity, we can think of the sign or representamen as the signifier, for example, a written word, an utterance, smoke as a sign for fire, etc.

The object, on the other hand, is best thought of as whatever is signified, for example, the object to which the written or uttered word attaches, or the fire signified by the smoke.

The interpretant, the most innovative and distinctive feature of Peirce’s account, is best thought of as the understanding that we have of the sign-object relation.

The importance of the interpretant for Peirce is that signification is not a simple dyadic relationship between sign/representamen and object: a sign signifies only in being interpreted. This makes the interpretant central to the content of the sign, in that, the meaning of a sign is manifest in the interpretation that it generates in sign users.



That is all for today. Comment which concepts you want to know in more detail. Stay tuned.

Thank you. 

Source: https://plato.stanford.edu/entries/peirce-semiotics/ 

Comments

Popular posts from this blog

āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪો : ‘āŠ•ંāŠ•ુ’, ‘āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ’ āŠ…āŠĻે ‘āŠ§ાāŠĄ’āŠĻા āŠļંāŠĶāŠ°્āŠ­ે

  āŠ†āŠŪ āŠœોāŠˆāŠ āŠĪો āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪ āŠ‡āŠĻ્āŠĄāŠļ્āŠŸ્āŠ°ી āŠ–ૂāŠŽ āŠœૂāŠĻી āŠ›ે āŠ…āŠĻે āŠ•ેāŠŸāŠēાāŠŊ āŠŪāŠđāŠĪ્āŠĩāŠĻા āŠ•āŠēાāŠ•ાāŠ°ો āŠ…āŠĻે āŠŦિāŠē્āŠŪો āŠ†āŠŠી āŠšૂāŠ•ી āŠ›ે. āŠŠāŠ°ંāŠĪુ āŠ†āŠœેāŠŊ āŠ āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ-āŠ†ંāŠĪāŠ°āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠļ્āŠĪāŠ° āŠŠāŠ° āŠ–ૂāŠŽ āŠœ āŠŠાāŠ›āŠģ āŠĶેāŠ–ાāŠŊ āŠ›ે. āŠ…āŠđીં , āŠđું āŠĪ્āŠ°āŠĢ āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪો ‘ āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ ’ , ‘āŠ•ંāŠ•ુ ’ āŠ…āŠĻે ‘ āŠ§ાāŠĄ ’ āŠĩિāŠķે āŠĩાāŠĪ āŠ•āŠ°ીāŠķ, āŠ…āŠĻે āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪોāŠĻાં āŠŠāŠŸ āŠŠāŠ° āŠĪેāŠŪāŠĻાં āŠŪāŠđāŠĪ્āŠĩ āŠĩિāŠķે āŠĩાāŠĪ āŠ•āŠ°āŠĩાāŠĻો āŠĻાāŠĻāŠ•āŠĄો āŠŠ્āŠ°āŠŊાāŠļ āŠ•āŠ°ીāŠķ. āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ (āŦ§āŦŊāŦŪāŦĶ) āŠ•ેāŠĪāŠĻ āŠŪāŠđેāŠĪા āŠĶ્āŠĩાāŠ°ા āŠĶિāŠ—્āŠĶāŠ°્āŠķિāŠĪ āŠŦિāŠē્āŠŪ ‘ āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ ’ āŦ§āŦŊāŦŪāŦĶāŠŪાં āŠŠ્āŠ°āŠĶāŠ°્āŠķિāŠĪ āŠĨāŠˆ āŠđāŠĪી āŠœે āŠ§ીāŠ°ુāŠŽāŠđેāŠĻ āŠŠāŠŸેāŠēāŠĻા āŠĻાāŠŸāŠ• āŠŠāŠ° āŠ†āŠ§ાāŠ°િāŠĪ āŠđāŠĪી , āŠ…āŠĻે āŠœાāŠĪિāŠĩાāŠĶāŠĻા āŠŪુāŠĶ્āŠĶા āŠĩિāŠķે āŠ–ૂāŠŽ āŠœ āŠ°āŠļāŠŠ્āŠ°āŠĶ āŠ°ીāŠĪે āŠĩાāŠĪ āŠ•āŠ°ે āŠ›ે. āŠ† āŠŦિāŠē્āŠŪāŠĻે āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠ…āŠĻે āŠ†ંāŠĪāŠ°āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠļ્āŠĪāŠ° āŠŠāŠ° āŠ–્āŠŊાāŠĪિ āŠŠ્āŠ°ાāŠŠ્āŠĪ āŠĨāŠˆ āŠ›ે. āŠŪાāŠ°ા āŠŪાāŠŸે āŠŦિāŠē્āŠŪāŠĻું āŠļāŠđુāŠĨી āŠŪāŠđāŠĪ્āŠĩāŠĻું āŠĶૃāŠķ્āŠŊ āŠķāŠ°ૂāŠ†āŠĪāŠĻી āŦŽ āŠļેāŠ•āŠĻ્āŠĄ્āŠļāŠŪાં āŠœ āŠœોāŠĩા āŠŪāŠģે āŠ›ે; āŠ āŠ•āŠđે āŠ›ે, āŠ…āŠļાāŠˆāŠĪ āŠ ાāŠ•ોāŠ° āŠ…āŠĻે āŠŽેāŠ°્āŠĪોāŠē āŠŽ્āŠ°ેāŠ–્āŠĪāŠĻે āŠļāŠŪāŠ°્āŠŠિāŠĪ. āŠ† āŠāŠ• āŠŦ્āŠ°ેāŠŪ āŠŦિāŠē્āŠŪāŠĻે āŠ—ુāŠœāŠ°ાāŠĪી āŠ…āŠĻે āŠĩૈāŠķ્āŠĩિāŠ• āŠĻાāŠŸ્āŠŊāŠŠāŠ°ંāŠŠāŠ°ા āŠļાāŠĨે āŠœોāŠĄી āŠ†āŠŠે āŠ›ે. ‘āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ’ (āŠĶિ. āŠŪāŠđેāŠĪા , āŦ§āŦŊāŦŪāŦĶ)       āŠŦિāŠē્āŠŪ āŠŠોāŠĪાāŠĻી āŠĩાāŠĪ āŠ•āŠđેāŠĩાāŠŪાં āŠ­āŠĩાāŠˆ āŠĻાāŠŸ્āŠŊāŠŠāŠ°ંāŠŠāŠ°ાāŠĻો āŠ‰āŠŠāŠŊોāŠ— āŠ•āŠ°ે āŠ›ે, āŠ…āŠĻે āŠāŠ• āŠĻāŠĩી āŠœ āŠĻેāŠ°ેāŠŸીāŠĩ āŠŠāŠĶ્āŠ§āŠĪિ...

Mikhail Bakhtin and his Dialogic Imagination

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...