Codes are mechanisms in which signs are actualized. They relate various sign sides to each other. These sign sides can be represented as heterogeneities (diversity, relations, differences), some are organized with the help of various differences – identities formulated in a specific way. The basis of the codes of visual perception and art are primarily the heterogeneities of the elements perceived directly (contours of objects, sizes, directions of movement, light and color irritants, etc.). A structure, conceived of as a manner (...) of connection, is a principle for constructing a kind of a whole and is the center of an organized heterogeneity. (shrink)

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...) Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)

In his speech Academician Fedorov expressed the opinion that the political and ideological meaning of the problem of interaction between man and nature is fundamental for our conference.

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 481-509.

Kedrov has reminded us that the development of knowledge proceeds from appearance to essence. That was also true of the development of notions about space and time. Leibniz, for example, defined space as the order of things existing at the same time. However, that definition is rather superficial, and it is only the development of physics, specifically relativity theory, which made it possible to penetrate more deeply into the nature of space and time and to ascribe a precise and mathematically (...) expressible notion to the well-known judgment to the effect that space and time are forms of the existence of matter. (shrink)

t. 1. Rasshiri︠a︡i︠u︡shchai︠a︡si︠a︡ vselennai︠a︡ absoli︠u︡ta -- t. 2. Kosmo-antropo-sot︠s︡io-prirodogenez cheloveka -- t. 3. Antropologicheskai︠a︡ istoriosofii︠a︡.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 557-599.

The article deals with the human, aesthetic and spiritual problems of Russian symbolism in connection with development of a creative heritage of F. Dostoevsky. In the article N. Berdjaev’s point of view on development of humanism of the Renaissance type in Russia of the late 19th and early 20th centuries is given and a problem of the person in F. Dostoevsky’s prose is appointed. The author discusses a question on a degree and character of influence of problems of the person (...) and features of a genre of the novel of Dostoevsky’s type on the formation of Russian symbolism. A. Volynsky, leading Russian symbolists, Viach. Ivanov, A. Belyj, D. Merezhkovsky have arranged mysticism, subjectivity and tragic element concerning to art and proclaimed art as the aesthetic and religious act. In Dostoevsky’s art Russian symbolists recognized their own important theme: the understanding of the world and the person in terms of a tragical category and revealing the dramatic position of the person facing unspirital and meaningless practice of modern society as the main thing in the literature. The author is arrived at a conclusion that Russian symbolists have connected Dostoevsky’s art with the newest tendencies in Russian art and culture of beginning of 20th century and have created the original tragical and symbolic concept of Dostoevsky’s creative works. (shrink)