A Connotative Turn for Pictorial Semiotics: The Cultural Semiotics of Goran Sonesson
| dc.contributor.advisor | Hunter, Eva | |
| dc.contributor.author | Paulsen, Amanda | |
| dc.date.accessioned | 2022-10-14T07:57:28Z | |
| dc.date.accessioned | 2024-10-30T08:52:12Z | |
| dc.date.available | 2022-10-14T07:57:28Z | |
| dc.date.available | 2024-10-30T08:52:12Z | |
| dc.date.issued | 2000 | |
| dc.description | Magister Artium - MA | en_US |
| dc.description.abstract | Goran Sonesson provides a departure point from the work of Roland Barthes in the pictorial semiotic studies. He questions the theoretical and methodological assumptions underlying the Barthesian model. We compare Sonesson's model to results gathered from the iconic analysis of a selected photograph taken from a women's magazine (see Figure 1 above), and conclude that there is little to suggest an analysis of a pictures iconic content will convey its intended message. However, there is some indication that when the conventions or codes operating within a culture are known, the mechanisms responsible for the production of meaning in the visual medium become more The art historian Erwin Panofsky (1892-1968) was a pioneer and leading exponent of iconographical studies. According to Panofsky, iconography is "that branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to their form" (Panofsky 1978: 51). An important distinction made by Panofsky is that between iconography as the study of subject matter and iconology as the study of meaning. Using the example of "doffing one's hat", Panofsky shows that two meanings can be appended to this common gesture. While the act of raising one's hat indicates a polite gesture, it originated from the practice of medieval knights where the removal of one's helmet indicated peaceful intent. Panofsky goes on to say: "To understand (the significance) of the gentleman's actions I must not only be familiar with the practical world of object and events, but also with the more-than-practical world of customs and cultural traditions peculiar to a certain civilisation." (ibid.: 51-3).transparent. | en_US |
| dc.identifier.uri | https://hdl.handle.net/10566/16452 | |
| dc.language.iso | en | en_US |
| dc.publisher | University of the Western Cape | en_US |
| dc.rights.holder | University of the Western Cape | en_US |
| dc.subject | Pictorial Semiotics | en_US |
| dc.subject | Roland Barthes | en_US |
| dc.subject | Goran Sonesson | en_US |
| dc.subject | Iconicity | en_US |
| dc.subject | Convention | en_US |
| dc.subject | Ecological Semiotics | en_US |
| dc.subject | Cultural Semiotics | en_US |
| dc.subject | Tartu School | en_US |
| dc.subject | New Zealand Woman's Weekly | en_US |
| dc.subject | Iconic Analysis | en_US |
| dc.subject | Plastic Analysis | en_US |
| dc.title | A Connotative Turn for Pictorial Semiotics: The Cultural Semiotics of Goran Sonesson | en_US |