Investigations of iconicity in language, whereby interactants coordinate meaningful bodily actions to create resemblances, are prevalent across the human communication sciences. However, when it comes to analysing and comparing iconicity across different interactions and modes of communication, it is not always clear we are looking at the same thing. For example, tokens of spoken ideophones and manual depicting actions may both be analysed as iconic forms. Yet spoken ideophones may signal depictive and descriptive qualities via speech, while manual actions may (...) signal depictive, descriptive, and indexical qualities via the shape, movement, and placement of the hands in space. Furthermore, each may co-occur with other semiotics articulated with the face, hands, and body within composite utterances. The paradigm of iconicity as a single property is too broad and coarse for comparative semiotics, as important details necessary for understanding the range of human communicative potentialities may be masked. Here, we draw on semiotic approaches to language and communication, including the model of language as signalled via describing, indicating and/or depicting and the notion of non-referential indexicality, to illustrate the multidimensionality of iconicity in co-present interactions. This builds on our earlier proposal for analysing how different methods of semiotic signalling are combined in multimodal language use. We discuss some implications for the language and communication sciences and explain how this approach may inform a theory of biosemiotics. (shrink)

A musical experience is marked by the synthesis of passion and rationality, emotion and understanding, and body and mind. Ferrara demonstrates that each method of musical analysis confines musical significance to a single level. He devises an "eclectic method" that provides bridges for musical sound, form, and reference. In response to the multiplicity of levels of musical significance Ferrara's eclectic method draws upon a wide-ranging number of conventional and nonconventional approaches to musical analysis which results in a dialectic of methods.

Name der Zeitschrift: Cognitive Linguistics Jahrgang: 26 Heft: 2 Seiten: 261-287.

O objetivo deste trabalho é estudar a relação que se estabelece entre as características da fenomenologia filosófica, a natureza do conhecimento que dela deriva e o modo como interfere sobre a produção do conhecimento em comunicação. Em primeiro lugar, observa-se a concepção de comunicação como processo transmissivo desenvolvida pelos clássicos estudos de mídia ou pelos processos de comunicação de massa. Em seguida, aproximam-se comunicação e semiótica como campos epistemológicos que, embora desenvolvam mútuas influências científicas, são, não raro, considerados áreas científicas (...) distintas atualmente, observa-se a emergência de outras bases de reflexão que podem aproximar a comunicação e a semiótica, enquanto áreas científicas. (shrink)

What is science? What is the distinction between scientific knowledge and living science, science of experience. Peirce's pragmatism. The scientific dimension of Peirce's categories: deduction, abduction, induction. Induction as a connection between the abductive hypothesis, that is only probable and the generation of a deductive and indispensable law that characterises behavior habits.Que é ciência? A distinção entre conhecimento científico e ciência como coisa viva, ciência da experiência. A dimensão científica das categorias de Peirce: dedução, abdução, indução. Pragmatismo peirceano. A indução (...) como elemento de ligação entre a hipótese explicativa abdutiva apenas provável e a geração de uma lei dedutiva, necessária porque normativa para hábitos de conduta. (shrink)