This book is designed to usher the reader into the realm of semiotic studies. It analyzes the most important approaches to semiotics as they have developed over the last hundred years out of philosophy, linguistics, psychology, and biology. As a science of sign processes, semiotics investigates all types of com munication and information exchange among human beings, animals, plants, internal systems of organisms, and machines. Thus it encompasses most of the subject areas of the arts and the social sciences, as well as those of biology and medicine. Semiotic inquiry into the conditions, functions, and structures of sign processes is older than anyone scientific discipline. As a result, it is able to make the underlying unity of these disciplines apparent once again without impairing their function as specializations. Semiotics is, above all, research into the theoretical foundations of sign oriented disciplines: that is, it is General Semiotics. Under the name of Zei chenlehre, it has been pursued in the German-speaking countries since the age of the Enlightenment. During the nineteenth century, the systematic inquiry into the functioning of signs was superseded by historical investigations into the origins of signs. This opposition was overcome in the first half of the twentieth century by American Semiotic as well as by various directions of European structuralism working in the tradition of Semiology. Present-day General Semiot ics builds on all these developments.

History and Classics of Modern Semiotics -- Sign and Meaning -- Semiotics, Code, and the Semiotic Field -- Language and Language-Based Codes -- From Structuralism to Text Semiotics: Schools and Major Figures -- Text Semiotics: The Field -- Nonverbal Communication -- Aesthetics and Visual Communication.

This book is designed to usher the reader into the realm of semiotic studies. It analyzes the most important approaches to semiotics as they have developed over the last hundred years out of philosophy, linguistics, psychology, and biology. As a science of sign processes, semiotics investigates all types of com munication and information exchange among human beings, animals, plants, internal systems of organisms, and machines. Thus it encompasses most of the subject areas of the arts and the social sciences, as well as those of biology and medicine. Semiotic inquiry into the conditions, functions, and structures of sign processes is older than anyone scientific discipline. As a result, it is able to make the underlying unity of these disciplines apparent once again without impairing their function as specializations. Semiotics is, above all, research into the theoretical foundations of sign oriented disciplines: that is, it is General Semiotics. Under the name of Zei chenlehre, it has been pursued in the German-speaking countries since the age of the Enlightenment. During the nineteenth century, the systematic inquiry into the functioning of signs was superseded by historical investigations into the origins of signs. This opposition was overcome in the first half of the twentieth century by American Semiotic as well as by various directions of European structuralism working in the tradition of Semiology. Present-day General Semiot ics builds on all these developments.

"Eco wittily and enchantingly develops themes often touched on in his previous works, but he delves deeper into their complex nature . . . this collection can be read with pleasure by those unversed in semiotic theory." —Times Literary Supplement

"In his Course in General Linguistics, first published in 1916, Saussure postulated the existence of a general science of signs, or Semiology, of which linguistics would form only one part. Semiology, therefore aims to take in any system of signs, whatever their substance and limits; images, gestures, musical sounds, objects, and the complex associations of all these, which form the content of ritual, convention or public entertainment: these constitute, if not languages, at least systems of signification . . . The Elements here presented have as their sole aim the extraction from linguistics of analytical concepts which we think a priori to be sufficiently general to start semiological research on its way. In assembling them, it is not presupposed that they will remain intact during the course of research; nor that semiology will always be forced to follow the linguistic model closely. We are merely suggesting and elucidating a terminology in the hope that it may enable an initial (albeit provisional) order to be introduced into the heterogeneous mass of significant facts. In fact what we purport to do is furnish a principle of classification of the questions. These elements of semiology will therefore be grouped under four main headings borrowed from structural linguistics: I. Language and Speech; II. Signified and Signifier; III. Syntagm and System; IV. Denotation and Connotation."--Roland Barthes, from his Introduction

This provocative book undertakes a new and challenging reading of recent semiotic and structuralist theory, arguing that films, novels, and poems cannot be studied in isolation from their viewers and readers.

Musical semiotics is a new discipline and paradigm of both semiotics and musicology. In its tradition, the current volume constitutes a radically new solution to the theoretical problem of how musical meanings emerge and how they are transmitted by musical signs even in most "absolute" and abstract musical works of Western classical heritage. Works from symphonies, lied, chamber music to opera are approached and studied here with methods of semiotic inspiration. Its analyses stem from systematic methods in the author's previous work, yet totally new analytic concepts are also launched in order to elucidate profound musical significations verbally. The book reflects the new phase in the author's semiotic approach, the one characterized by the so-called "existential semiotics" elaborated on the basis of philosophers from Kant , Hegel and Kierkegaard to Jaspers, Heidegger, Sartre and Marcel. The key notions like musical subject, Schein, becoming, temporality, modalities, Dasein, transcendence put musical facts in a completely new light and perspectives of interpretation. The volume attempts to make explicit what is implicit in every musical interpretation, intuition and understanding: to explain how compositions and composers "talk" to us. Its analyses are accessible due to the book's universal approach. Music is experienced as a language, communicating from one subject to another.