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The label `semiotic grammar' captures a fundamental property of the grammars of human languages: not only is language a semiotic system in the familiar Saussurean sense, but its organizing system, its grammar, is also a semiotic system. This proposition, explicated in detail by William McGregor in ...

The label `semiotic grammar' captures a fundamental property of the grammars of human languages: not only is language a semiotic system in the familiar Saussurean sense, but its organizing system, its grammar, is also a semiotic system. This proposition, explicated in detail by William McGregor in this book, constitutes a new theory of grammar. Semiotic Grammar is `functional' rather than `formal' in its intellectual origins, approaches, and methods. It demonstrates, however, that neither a purely functional nor a purely formal account of language is adequate, given the centrality of the sign as the fundamental unit of grammatical analysis. The author distinguishes four types of grammatical signs: experiential, logical, interpersonal, and textural. The signifiers of these signs are syntagmatic relationships of the following types, respectively: constituency, dependency, conjugational (scopal) and linking (indexical, connective). McGregor illustrates and exemplifies the theory with data from a variety of languages including English, Acehnese, Polish, Finnish, Japanese, Chinese, and Mohawk; and from his pioneering research on Gooniyandi and Nyulnyul, two languages of the Kimberleys region of Western Australia.

In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. He examines and develops the work of "cognitive film semiotics," a neglected branch of film theory that combines the insights of cognitive science ...

In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. He examines and develops the work of "cognitive film semiotics," a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics. Presenting a survey of cognitive film semiotics, this study also reevaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward "post-theory" in film studies.

Introducing Social Semiotics is a lively look at the ways in which different aspects of modern society combine to create meaning. These 'semiotic resources' surrounding us include obvious modes of communication such as language, gesture, images and music, but also less obvious ones such as food ...

Introducing Social Semiotics is a lively look at the ways in which different aspects of modern society combine to create meaning. These 'semiotic resources' surrounding us include obvious modes of communication such as language, gesture, images and music, but also less obvious ones such as food, dress and everyday objects, all of which carry cultural value and significance. Introducing Social Semiotics uses a wide variety of texts including photographs, adverts, magazine pages and film stills to explain how meaning is created through complex semiotic interactions. Practical exercises and examples as wide ranging as furniture arrangements in public places, advertising jingles, photojournalism and the rhythm of a rapper's speech provide readers with the knowledge and skills they need to be able to analyse and also produce successful multimodal texts and designs.The book traces the development of semiotic resources through particular channels such as the history of the Press and advertising; and explores how and why these resources change over time, for reasons such as advancing technology.Featuring a full glossary of terms, exercises, discussion points and suggestions for further reading, Introducing Social Semiotics makes concrete the complexities of meaning making and is essential reading for anyone interested in how communication works.