This journal is currently undergoing updating. Please excuse any misformatted pages or papers.

This journal welcomes papers with general semiotic methodology and subject matter, as well as ones with special themes. It is well read, international, peer-reviewed and published in Australia. This journal has biannual online editions as well as occasional print and special themed versions.


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.

However, in the collective imaginary, the stranger is more than an accumulation of ethnic characteristics. This is what also concerns us further, as well as the recurrence – not without explanation – of a gnostic scenario in some modern representations of history and of individual or collective exile experience.

The Maternal Gift of Language by Susan Petrilli

Throughout her writings Genevieve Vaughan addresses important issues in the theory of language and communication, to the ultimate end of affecting social praxis for radical social change. Her hypothesis is that mothering/being-mothered forms a non-essentialist but fundamental core process that has been neglected by the Western view of the world.

Silence as Negation: The Strategy and Beyond by Roumen Dimitrov

Silence is neither separate from nor the opposite of communication. The inclusion of silence on a par with speech and non-verbal means is a vital element of any communication strategy. The more indirect communication is, the more silent it becomes at any additional “joint” and “fold”. Strategic communication is essentially indirect. It instrumentalizes obvious (visual and vocal) semiotic means to convey not (always) obvious meanings (goals, feelings, values, attitudes, actions).

Regarding Semiotic Analyses by James Moylan

This paper describes, appreciates, and integrates the observations of several neo-Marxist structural theoreticians. Concepts proposed and utilised by Saussure, Barthes, and Bourdieu are considered with a particular focus on defining and describing a cohesive ‘semiotic epistemology’.

Pragma-stylistic Analysis of Selected Nigeria Electronic Advanced Fee Fraud Texts by Titilope Oluwaseun Alake

Electronic mails are used to exchange electronic texts among people. Cybercriminals exploit these electronic mails to defraud people. Computational methods such as spam filtering have failed to users from the escapade due to text manipulation and variation. This problem is more pronounced in cases of Nigerian Electronic Fraud popularly referred to as Nigeria Electronic Advanced Fee Fraud targeted at defrauding people of their assets. Hence, the need to understanding the implicit meanings of Nigeria Electronic Advanced Fee Fraud texts becomes significant and urgent.

Semiotic Analysis of a Film: October 1 by Damilare Oyeyebi

On October 1, 2014, the October 1 film written by Tunde Babalola and directed by Kunle Afolayan was premiered in various cinemas around the nation. The film October 1 is an exceptional work of cinematographic expertise and creativity that is unlikely to be found among typical (conventional) Nollywood cineastes.