Issue 7 (1) 2016


This  journal welcomes papers with general semiotic methodology and subject matter, as well as ones with special themes. Current themes include media and video, religion, memory and performance and visual arts.  As well as peer-reviewed papers, less formal works, commentaries and work in progress are welcome from international scholars and writers. This journal has online and print versions – special themes will be subject of separate print editions. Papers on the history of semiotics ideas and their philosophical consequences are welcome, as well as selection and application of ideas in case studies of direct relevance to manifold dimensions of our contemporary world.



Editorial - Passings by Geoffrey Sykes

Fortuitous meetings with three scholars provide the basis for an unusual reflection at the time of their passing. The meeting with Solomon Marcus occurred in Calea Victoria, Bucharest Romania, and a main elegant thoroughfare, lined with embassies, main hotels, galleries, fashion shops, restaurants and museums. Visitors can be surprised by the urban buildings – much of it coming from Parisian inspired construction early in the twentieth century. Yet my meeting with Marcus was surprising in a quite unexpected way.

Creative Arts and Scientific Research under the same Umbrella by Solomon Marcus

The emergence of signs, the development of sign processes need attention in all directions, they are not the exclusive privilege of arts and humanities. We will try to bridge this gap. Indeed, there is a gap between the internal life of science, the very nature of scientific creativity, on the one hand, and the dry way science is exposed at all levels, from general school till university, with accent on procedure and operations, rather than on ideas and imagination.

Conflict, Image, Narrative: Hollywood in the Middle East by Daniel Binns

While the war cinema of the late 1980s onwards is typified by a return to the group ensemble and the intimate framing of subjects reminiscent of Vietnam war film, it is also characterised by a disjointed, concatenated, ‘machine-gun’ editing syntax inspired by news footage and videogames.