3. Sign Systems and Iconicity

3 Sign Systems & Iconicity w3.0 Introducing Semiotics wSemiotics (from Greek semeîon ‘sign’) wStudy of signs: the study of signs and symbols of all kinds, what they mean, and how they relate to the things or ideas they refer to. wSign: thing representing something else: something that indicates or expresses the existence of something else not immediately apparent. wLanguage is a system of communication. wlanguage is a system of signs that expresses ideas. wLinguistic sign: the combination of a form and a meaning. w[ ‘hand’ – ‘  ’] wSemiotics: human and non-human communicative behavior wFORM and MEANING

3.1 Saussure’s Theory w3.1. Saussure’s Theory of (Linguistic) Signs wA two-part sign system. wthe signifier (fr. signifiant) wthe signified (fr. signifié) wThe signified: MEANING wThe signifier: FORM wintimately linked and each triggers the other.

3.1 Saussure’s Theory wMEANING = “concept”; FORM = “sound image”. wPsychological! wTwo fundamental characteristics of linguistic sign wPrinciple I: the sign is arbitrary w“The link between signal and signification is arbitrary. Since we are treating a sign as the combination in which a signifier is associated with a signified, we can express this more simply as: the linguistic sign is arbitrary.”

3.1 Saussure’s Theory wIn the typical instance in a language, the connection between form and meaning is arbitrary. wArbitrariness -- the meaning is not in any way predictable from the form, nor is the form dictated by the meaning. wNonarbitrariness – icons w‘big’ – ‘da’ – ‘dai’ w[li:] means ‘bed’ in French (‘lit’), ‘meadow’ in English (‘lea’), and ‘ 李, 梨, 利, 力, 裡 …’ in Mandarin. wthe organizing principle for the whole of linguistics wThe consequences are innumerable.

3.1 Saussure’s Theory wThe signifier is unmotivated. wPrinciple II: linear character of the signifier w“The linguistic signifier, being auditory in nature, has a temporal aspect, and hence certain temporal characteristics: (a) it occupies a certain temporal space, and (b) this space is measured in just one dimension: it is a line.” w“It is a fundamental principle and its consequences are incalculable. … The whole mechanism of linguistic structure depends upon it.” (Saussure p. 170)

3.2 Peirce’s Theory w3.2. Peirce: Threefold of Signs wA triadic sign model. wPeirce’s sign model: a ‘triple connection of sign, thing signified, cognition produced in the mind.’ w(a) the representamen (sign vehicle) wthe form which the sign takes w(b) the interpretant (sense) wthe sense made of the sign w(c) the object (referent) wto which the sign refers wSigns only exist in the mind of the interpreter. ‘Nothing is a sign unless it is interpreted as a sign.’

3.2 Peirce’s Theory wSemiosis ( 指號過程 ): the interaction of A, B, and C; the process in which the sign has a cognitive effect on its interpreter. wEx. (1) the traffic light sign for ‘stop’ wA. a red light facing the traffic at an intersection; wB. the idea that a red light indicates that vehicles must stop; wC. vehicles halting wEx. (2) TREE -- A. [tri:] B. the idea of ‘tree’ C.

3.2 Peirce’s Theory w“threefold of signs according to the relation between the signal carrying the sign and the object.” wThree different types of signs: symbols, indices and icons wThree Types of Signs wAn indexical sign, or index, points to something in its immediate vicinity. wthe etymology of the Latin word index ‘pointing finger.’ wEx. a signpost for traffic  wraising one’s eyebrows wa knock on a door wa smoke from a window

3.2 Peirce’s Theory wAn iconic sign, or icon, (from Greek eikon ‘replica’) provides a visual, auditory or any other perceptual image of the thing it stands for. wAn iconic sign is similar to the thing it represents.. wSome road signs wA symbolic sign, or symbol, does not have a natural link between the form and the thing represented, but only has a conventional link. wSome traffic signs wGreek word symbolon ‘a token of recognition’

3.2 Peirce’s Theory wThree Subtypes of Icons: wimages, diagrams, metaphors w1. Image – wachieves similarity by partaking of some of the simple quality of its object (e.g., a portrait or a photograph.) wVisual image (e.g. a portrait) wAuditory image (e.g. an onomatopoeia) wOlfactory image (e.g. perfume) wGustatory image (e.g. flavor extracts for cooking purpose) w2. Diagram – wexhibits a structure analogous to the structure of its object (e.g. maps and floor plans).

Fields of Specialization in Humanities Humanities LiteratureLinguistics History & Anthropology History of Pre-modern China History of Modern China Cultural Anthropology & Social History Philosophy & Religion

3.2 Peirce’s Theory wa greater degree of abstraction. wThe interpretation of a diagram is rule-governed. wMetaphor – wrepresents a parallelism in something else. w“A metaphor states that something is equivalent to another thing which is not usually associated with it. (Two unlike notions are implicitly related, to suggest an identity between them.)” w“Friendship is a sheltering tree. (John Milton)” w“A woman without a man is a fish without a bicycle. (an anonymous feminist)”

3.2 Peirce’s Theory wTable I: Main Characteristics of the Subtypes of Icons SubtypesImageDiagramMetaphor How similarity is achieved Partakes of some of the simple qualities of its object Exhibits the abstract structure of its object Presents a parallelism in something else Similarity inQualityStructureAssociation Signifier – signified relationship Immediate mimicryStructural or relational analogy Representational parallelism Degree of iconicity Degree of abstraction High Low Medium Low High

3.2 Peirce’s Theory wComparing the Three Types of Signs: wa hierarchy of abstraction w index < icon < symbol wa hierarchy of conventionality: windex < icon < symbol w Sign wIndex Icon Symbol w Image Diagram Metaphor w  degree of abstraction w  degree of conventionality

3.2 Peirce’s Theory wTable II: Links in the three types of signs IndexIconSymbol Link form & meaning Link form & meaning Link form & meaning Based on contiguity based on similarity based on convention