The most common difficulty in translation studies has traditionally been the dilemma between the historical and synchronic approaches in the analysis and description of the culture of translation. On the one hand the culture of translation might be presented as the sum of various kinds of translated texts (repertoire of culture), on the other hand it might be described as the hierarchy of the various types of translations themselves. The first approach assumes plenty of languages for such description, in the (...) latter one suggests only one language for the same representation. A cultural critic faces the same problems. In these perspectives the translation reveals important mechanisms of the performance of culture. First of all it is the semiotic interpretation of the theory of translation, introduced by the number of scientists beginning with R. Jakobson and including U. Eco who put together interlinguistic, intra-linguistic, and inter-semiotic translations, so crucial for the further understanding of culture. As a result, the general notion of culture might be described as the process of total translation. And secondly, the othervaluable contribution to the theory of translation has been made by both M. Bakhtin and J. Lotman in terms of the synthesis of two traditions in semiotics of culture resulted in juxtaposing such notions as dialogism and autonomy — creolization, polyphony, counterword, and translation. (shrink)

Since 1984 when J. Lotman’s article “On semiosphere” was published, this concept has been moving from one terminological field to another. In the disciplinary terminological field of the Tartu–Moscow School semiotics of culture, ‘semiosphere’ is connected with terms ‘language — secondary modelling system — text — culture’. From interdisciplinary terminological fields, the associations either with biosphere and noosphere, or with logosphere, are more important. As a metadisciplinary concept, semiosphere belongs to the methodology of culture studies and is associated with the (...) concepts of holism and the part and the whole. In this context, semiosphere marks the complementarity of disciplines studying culture, the movement towards the creation of general culture studies and “understanding methodology”. On the background of the contemporary trends of science it has to be remembered that semiosphere is simultaneously an object- and a metaconcept. The dynamism of culture as a research object forces science to search for new description languages but the new description languages in turn influence the cultural dynamics as they offer new possibilities for self-description. Often, however, from a historical perspective, a new description language is nothing but a methodological translation. Thus also the term semiosphere joins together several concepts that are related to semiotics of culture and that have gained new relevance on the background of the culture’s developmental dynamics. The concept of semiosphere brings semiotics of culture again into contact with its history, as it also brings applicational cultural analysis into contact with the history of culture and with the newest phenomena in culture. These contacts determine the place of the semiotics of culture among the sciences studying culture. (shrink)

The article gives a historical overview of the institutional development of semiotics in Estonia during two centuries, and describes briefly its current status. The key characteristics of semiotics in Estonia include: (1) seminal role of two world-level classics of semiotics from the University of Tartu, Juri Lotman and Jakob von Uexkull; (2) the impact of Tartu–Moscow school of semiotics, with a series of summer schools in Kaariku in 1960s and the establishment of semiotic study of culture; (3) the publication of (...) the international journal Sign Systems Studies, since 1964; (4) the development of biosemiotics, notably together with colleagues from Copenhagen; (5) teaching semiotics as a major in bachelor, master, and doctoral programs in the University of Tartu, since 1994; (6) a plurality of institutions — in addition to the Department of Semiotics in the University of Tartu, several supporting semiotic institutions have been established since 1990s; and (7) a wide scope of research in various branches of semiotics, including theoretical studies, empirical studies, and applied semiotics projects on governmental and other request. (shrink)

If one wants to understand translation, it is necessary to look at all its aspects from the psychological to the ideological. And it is necessary to see the process of translation, on the one hand, as a complex of interlinguistic, intralinguistic, and intersemiotic translations, and on the other hand, as a complex of linguistic, cultural, economic, and ideological activities. Translators work at the boundaries of languages, cultures, and societies. They position themselves between the poles of specificity and adaptation in accordance (...) with the strategies of their translational behaviour. They either preserve the otherness of the other or they transform the other into self. By the same token, they cease to be simple mediators, because in a semiotic sense they are capable of generating new languages for the description of a foreign language, text, or culture, and of renewing a culture or of having an influence on the dialogic capacity of a culture with other cultures as well as with itself. In this way, translators work not only with natural languages but also with metalanguages, languages of description. One of the missions of the translator is to increase the receptivity and dialogic capability of a culture, and through these also the internal variety of that culture. As mediators between languages, translators are important creators of new metalanguages. (shrink)

The most common difficulty in translation studies has traditionally been the dilemma between the historical and synchronic approaches in the analysis and description of the culture of translation. On the one hand the culture of translation might be presented as the sum of various kinds of translated texts (repertoire of culture), on the other hand it might be described as the hierarchy of the various types of translations themselves. The first approach assumes plenty of languages for such description, in the (...) latter one suggests only one language for the same representation. A cultural critic faces the same problems. In these perspectives the translation reveals important mechanisms of the performance of culture. First of all it is the semiotic interpretation of the theory of translation, introduced by the number of scientists beginning with R. Jakobson and including U. Eco who put together interlinguistic, intra-linguistic, and inter-semiotic translations, so crucial for the further understanding of culture. As a result, the general notion of culture might be described as the process of total translation. And secondly, the othervaluable contribution to the theory of translation has been made by both M. Bakhtin and J. Lotman in terms of the synthesis of two traditions in semiotics of culture resulted in juxtaposing such notions as dialogism and autonomy — creolization, polyphony, counterword, and translation. (shrink)

RESUMO A Escola de Tártu-Moscou aceitou, como atitude profissional, reconstruir a tradição e ligar-se com as realizações - esquecidas ou reprimidas cultural e cientificamente - das primeiras décadas do séc. XX. Uma missão de Lotman como um de seus líderes foi conhecer e mediar a herança esquecida. Na situação de censura muitos contatos entre Lotman e a teoria russa não estavam visíveis. Dessa forma, a síntese de Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein e outros, num intenso diálogo implícito, pode ser a (...) base para a formação da próxima etapa da semiótica da cultura. Enfim, a compreensão de Tynianov acerca da dinâmica literária e cultural, a teoria semiótica lotmaniana de texto e seus pensamentos sobre um modelo de espaço como uma das linguagens primárias da cultura, e a teoria bakhtiniana do cronotopo formam um complexo teórico que pode oferecer novas possibilidades para o desenvolvimento tanto dos princípios culturais teóricos e práticos quanto da análise textual. ABSTRACT The Tartu‒Moscow School accepted as its professional attitude to reconstruct the tradition and connect itself to the forgotten or repressed cultural-scientific achievements of the period of the first decades of the 20th century. One mission of Lotman as one of the leaders of the Tartu-Moscow School was knowing and mediating forgotten heritage. In the situation of censorship many contacts between Lotman and Russian theory were not visible. Thus, the synthesis of Lotman, Tynianov, Bakhtin, Vygotsky, Eisenstein and others, in an implicit dialogue, can be the basis for the formation of the next stage of semiotics of culture. Finally, Tynjanov’s understanding of literary and cultural dynamics, Lotman’s semiotic theory of text and his thoughts about a model of space as one of the primary languages of culture, and Bakhtin’s theory of chronotope form this theoretical complex that can give new possibilities for developing both, theoretical and practical principles of cultural and textual analysis. (shrink)

If one wants to understand translation, it is necessary to look at all its aspects from the psychological to the ideological. And it is necessary to see the process of translation, on the one hand, as a complex of interlinguistic, intralinguistic, and intersemiotic translations, and on the other hand, as a complex of linguistic, cultural, economic, and ideological activities. Translators work at the boundaries of languages, cultures, and societies. They position themselves between the poles of specificity and adaptation in accordance (...) with the strategies of their translational behaviour. They either preserve the otherness of the other or they transform the other into self. By the same token, they cease to be simple mediators, because in a semiotic sense they are capable of generating new languages for the description of a foreign language, text, or culture, and of renewing a culture or of having an influence on the dialogic capacity of a culture with other cultures as well as with itself. In this way, translators work not only with natural languages but also with metalanguages, languages of description. One of the missions of the translator is to increase the receptivity and dialogic capability of a culture, and through these also the internal variety of that culture. As mediators between languages, translators are important creators of new metalanguages. (shrink)

The most common difficulty in translation studies has traditionally been the dilemma between the historical and synchronic approaches in the analysis and description of the culture of translation. On the one hand the culture of translation might be presented as the sum of various kinds of translated texts (repertoire of culture), on the other hand it might be described as the hierarchy of the various types of translations themselves. The first approach assumes plenty of languages for such description, in the (...) latter one suggests only one language for the same representation. A cultural critic faces the same problems. In these perspectives the translation reveals important mechanisms of the performance of culture. First of all it is the semiotic interpretation of the theory of translation, introduced by the number of scientists beginning with R. Jakobson and including U. Eco who put together interlinguistic, intra-linguistic, and inter-semiotic translations, so crucial for the further understanding of culture. As a result, the general notion of culture might be described as the process of total translation. And secondly, the othervaluable contribution to the theory of translation has been made by both M. Bakhtin and J. Lotman in terms of the synthesis of two traditions in semiotics of culture resulted in juxtaposing such notions as dialogism and autonomy — creolization, polyphony, counterword, and translation. (shrink)

The semiospherical approach to semiotics and especially to semiotics of culture entails the need of juxtaposing several terminological fields. Among the most important, the fields of textuality, chronotopicality, and multimodality or multimediality should be listed. Textuality in this paper denotes a general principle with the help of which it is possible to observe and to interpret different aspects of the workings of culture. Textuality combines in itself text as a well-defined artefact and textualization as an abstraction (presentation or definition as (...) text). In culture, we can pose in principle the same questions both to a concrete and to an abstract text, although an abstract text is only an operational means for defining, with the help of textualization, a certain phenomenon in the interests of a holistic and systemic analysis. The practice of textualization in turn helps us to understand the necessity of distinguishing between articulation emerging from the textual material itself and articulation ensuing from textuality or textualization — the former provides for comparability between texts made from the same material, thelatter makes comparable all textualized phenomena irrespective of their material. Textuality is a possibility that culture offers to its analyser, and at the same time it is an ontological property of culture and an epistemological principle for investigating culture. (shrink)

Semiotics of mediation is based on comparative analysis of mediation processes, on typology of forms of mediation and on the subsequent complementary analysis of culture. Not only does cultural analysis that is based on semiotics of mediation proceed from communication processes, it also searches for possibilities of correlation between concepts of describability, analysability, translatability. Depending on the strategy of mediation semiotics it is possible to create an overview of the main parameters of cultural analysis and to specify the boundaries of (...) semiotic analysis of culture. The main types of mediation are simultaneously parameters of cultural analysis. The main types include autocommunicative mediation, metalingual mediation, intertextual mediation, interdiscursive mediation, and inter- or transmedial mediation. Typology of mediation types facilitates the understanding of the autocommunicative aspect of culture and creates the basis for analysing communication processes not on the level of the immediate sender and receiver but as part of the culture’s communication with itself. Semiotics of mediation starts from semiotic mediation and ends with a culture of mediation in which one and the same cultural language or text operates as a means of dialogue with itself, as a means of communication with others, as part of some textual system or discourse, or as a transmedial phenomenon. Semiotics of mediation is a means of studying the correlation between implicit semiotic mediation and forms of explicit semiotic mediation, thus complementing cultural semiotic study of culture. (shrink)

The article gives a historical overview of the institutional development of semiotics in Estonia during two centuries, and describes briefly its current status. The key characteristics of semiotics in Estonia include: seminal role of two world-level classics of semiotics from the University of Tartu, Juri Lotman and Jakob von Uexküll; the impact of Tartu–Moscow school of semiotics, with a series of summer schools in Kääriku in 1960s and the establishment of semiotic study of culture; the publication of the international journal (...) Sign Systems Studies, since 1964; the development of biosemiotics, notably together with colleagues from Copenhagen; teaching semiotics as a major in bachelor, master, and doctoral programs in the University of Tartu, since 1994; a plurality of institutions — in addition to the Department of Semiotics in the University of Tartu, several supporting semiotic institutions have been established since 1990s; and a wide scope of research in various branches of semiotics, including theoretical studies, empirical studies, and applied semiotics projects on governmental and other request. (shrink)

The semiospherical approach to semiotics and especially to semiotics of culture entails the need of juxtaposing several terminological fields. Among the most important, the fields of textuality, chronotopicality, and multimodality or multimediality should be listed. Textuality in this paper denotes a general principle with the help of which it is possible to observe and to interpret different aspects of the workings of culture. Textuality combines in itself text as a well-defined artefact and textualization as an abstraction (presentation or definition as (...) text). In culture, we can pose in principle the same questions both to a concrete and to an abstract text, although an abstract text is only an operational means for defining, with the help of textualization, a certain phenomenon in the interests of a holistic and systemic analysis. The practice of textualization in turn helps us to understand the necessity of distinguishing between articulation emerging from the textual material itself and articulation ensuing from textuality or textualization — the former provides for comparability between texts made from the same material, thelatter makes comparable all textualized phenomena irrespective of their material. Textuality is a possibility that culture offers to its analyser, and at the same time it is an ontological property of culture and an epistemological principle for investigating culture. (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode of thinking (...) (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)

For each culture-studying discipline, the problem of culture’s analysability stems from disciplinary identity. One half of analysability consists of the culture's attitude and the ability of the discipline's methods of description and analysis to render the culture analysable. The other half of analysability is shaped by the discipline’s own adaptation to the characteristics of culture as the object of study and the development of a suitable descriptive language. The ontologisation and epistemologisation of culture as the subject of analysis is present (...) in each culture-studying discipline or discipline complex. Culture analysts are therefore scholars with double responsibilities. Their professionalism is measured on the basis of their analytical capability and the ability to construct (imagine, define) the object of study. The analytical capability and the ability to construct the object of study also determine the parameters of analysability. Be the analyst an anthropologist or a culture semiotician, the analysability of culture depends on how the analyst chooses to conduct the dialogue between him/herself and his/her object of study. (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode of thinking (...) (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode of thinking (...) (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception. (shrink)