Of all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music that encompasses its two most fundamental communicative dimensions: expression and structure. Units of expression, defined in reference to topoi, are shown here to interact with, confront, and merge into units of structure, defined in terms of the rhetorical conventions of beginning, continuing, and ending. The book draws on examples from works by Mozart, Haydn, and Beethoven to show that the explicitly referential, even theatrical, surface of Classic music derives from a play with signs. Although addressed primarily to readers interested in musical analysis, the book opens up fruitful avenues for further research into musical semiotics, aesthetics, and Classicism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Tex-Mex restaurant's famous marquee sign, whose black letters tell a new joke to passing motorists each day, is featured in "El Arroyo's Big Book of Signs: Volume One." 158 signs to enjoy8"x8" Hardback

A continuation of First Signs to include more first words for babies and parents, but this time in the play setting.

Synchronicity is when the universe gets personal. Through this book of games and enchanting stories, you’ll learn how to monitor the play of coincidence and the symbolic resonance of incidents in daily life in order to tap into the deeper logic of events, receive extraordinary counsel, and have wonderful fun. You will be invited to become a kairomancer: someone who is poised to catch the messages in special moments when synchronicity is in play — and to take action to seize the opportunities those moments present. To be a kairomancer, you need to trust your feelings as you walk the roads of this world, to develop your personal science of shivers, and to recognize in your gut and your skin that you know far more than you hold on the surface of consciousness. This is a way of real magic, which is the art of bringing gifts from a deeper world into this one. Follow it, and you will put a champagne fizz of enchantment into your everyday life.

Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.

In Consciousness and the Play of Signs, Robert E. Innis offers a brilliant study of the relationship between philosophy and semiotics. Taking up the problem as foregrounded by Eco, Merleau-Ponty, Derrida, Goodman, and Rorty, Innis reformulates and reconfigures the philosophical and semiotic premises and frameworks of a descriptively adequate theory of knowledge. In so doing he opens the way to a cultural and historical epistemology of embodied knowledge forms. Innis bases his analysis primarily, though by no means exclusively, on conceptual tools derived from deep and sophisticated readings of Peirce, Polanyi, Dewey, Buhler, Husserl, and Cassirer. He explores the variety of contexts - including the motoric, the perceptual, the aesthetic, the linguistic, and the theoretical - in which semiotic and nonsemiotic factors in consciousness and world building can be related without blurring their crucial differences or irreconcilably opposing them to one another. This book heightens our understanding of ourselves and intersects with all those disciplines concerned with the production and interpretation of meaning.

Of all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music that encompasses its two most fundamental communicative dimensions: expression and structure. Units of expression, defined in reference to topoi, are shown here to interact with, confront, and merge into units of structure, defined in terms of the rhetorical conventions of beginning, continuing, and ending. The book draws on examples from works by Mozart, Haydn, and Beethoven to show that the explicitly referential, even theatrical, surface of Classic music derives from a play with signs. Although addressed primarily to readers interested in musical analysis, the book opens up fruitful avenues for further research into musical semiotics, aesthetics, and Classicism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.