{"id":10167,"date":"2026-02-16T08:00:00","date_gmt":"2026-02-16T08:00:00","guid":{"rendered":"https:\/\/www.raziemah.com\/blog\/?p=10167"},"modified":"2025-10-12T13:57:43","modified_gmt":"2025-10-12T13:57:43","slug":"looking-at-peeter-torops-article-2017-semiotics-of-cultural-history-part-4-of-11","status":"publish","type":"post","link":"https:\/\/www.raziemah.com\/blog\/?p=10167","title":{"rendered":"Looking at Peeter Torop’s Article (2017) “Semiotics of Cultural History”\u00a0\u00a0(Part 4 of 11)"},"content":{"rendered":"\n

0996 Let me offer a simplification.<\/p>\n\n\n\n

Here is a picture of the resolution of history substantiating culture<\/em> and culture entangling semiotics<\/em> as a century-long chronotope.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

0997 The story starts with the Russian Revolution<\/em> at the end of the first World War<\/em>.<\/p>\n\n\n\n

Saussure’s thing<\/em> is a viable alternate to Marx’s thing<\/em> soon after the end of the second World War<\/em>.<\/p>\n\n\n\n

The first manifestation of the Tartu-Moscow School<\/em> becomes a star in the constellation of Russian Theory<\/em> during the third World War<\/em>.  The fundament interscope is constructed.<\/p>\n\n\n\n

The production of the derivative interscope and the formulation of Lotman’s thing occurs in the waning years of the third<\/em> and the early years of the fourth Battle Among The Enlightenment Gods<\/em>.<\/p>\n\n\n\n

0998 Here is a date for orientation.<\/p>\n\n\n\n

In 1973, Juri Lotman and others publish Theses on the Semiotic Study of Culture (as Applied to Slavic Texts)<\/em>.<\/p>\n\n\n\n

The literary text<\/em> is incorporated into a science-oriented model<\/em>.<\/p>\n\n\n\n

0999 To start, Saussure’s dyadic actuality2a<\/sub> is placed in the proper normal context3a<\/sub> and potential1a<\/sub>.<\/p>\n\n\n\n

Here is a picture.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

1000 Many features of Formalism may be repurposed to explain how spoken words as things2a<\/sub><\/em> emerge from (and situate) the potential of<\/em> ‘signified [and] signifier’<\/em>1a<\/sub> within the normal context of Saussure’s semiology3a<\/sub><\/em>.<\/p>\n\n\n\n

1001 In short, the content-level<\/em> encompasses topics familiar to linguists and scholars in rhetoric<\/em>.<\/p>\n\n\n\n

1002 Next, Saussure’s thing on the content level<\/em> is situated by a literature-loving thing on the situation level<\/em>.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

1003 Culture enters the picture here as the milieu in which language2bm<\/sub> substantiates a work of art2bf<\/sub><\/em>.<\/p>\n\n\n\n

Culture also enters the picture in the guise of influence3b(1b))<\/sub>,<\/em> corresponding to the normal contexts3<\/sub> and potentials1<\/sub> of both the contenta<\/sub> and situationb<\/sub> levels<\/em>.  Here, artistic expressions<\/em> are situated by genre, style and so forth.<\/p>\n\n\n\n

1004 For example, from the situation-level point of view, the parole2af<\/sub> of dance consists of movements that constitute artistic expression2af<\/sub>.   A dancer trips over something on the floor.  That is not part of the parole2af<\/sub> of the dance3a<\/sub>, because it2am<\/sub> has no corresponding langue2am<\/sub>.<\/p>\n\n\n\n

During a performance2bf<\/sub>, dancers adhere to certain laws of choreography1b<\/sub> that vary according to the dance genre3b<\/sub>.  Tap dancers make lots of noise.  Ballet dancers do not.<\/p>\n\n\n\n

1005 Each language2a<\/sub> must be performed2bm<\/sub>.<\/p>\n\n\n\n

1006 The language2a<\/sub> supporting the performance2bm<\/sub> is universal.<\/p>\n\n\n\n

For example, a dance where the dancers merely wriggle in place<\/em> looks like the visual equivalent of babbling<\/em>.  Similarly, a dance where the dancers merely perform acrobatic feats<\/em> does not demonstrate… well… artistic effort<\/em>.  Also, a dancer wrapped up in linen as to appear as a round ball<\/em> can only be said to be on a roll<\/em>.  So, there must be something universal to the language2a<\/sub><\/em> that corresponds to what the author calls<\/em> “subtextual meaning”.<\/p>\n\n\n\n

1007 The performance2bm<\/sub> should be intelligible.  For dance, the coordination of bodies moving in unison<\/em> offers a feeling of intelligibility<\/em>.  Often, cinematic approaches to dance<\/em> cut away before movements are complete, often in unintelligible manners<\/em>.  Also, dance<\/em> is rarely composed for cinema,<\/em> even though cinema offers unique points of view, unavailable to stage.<\/p>\n\n\n\n

1008 So, what am I saying?<\/p>\n\n\n\n

What am I asking?<\/p>\n\n\n\n

Will a model2c<\/sub> put all this into perspective?<\/p>\n\n\n\n

Does a model2c<\/sub><\/em> bring the intelligibility of the performance of a particular work2b<\/sub><\/em> into relation with the universality of the “words” of its language2a<\/sub>?<\/em><\/p>\n\n\n\n

Well, a model2c<\/sub><\/em> can do this, only when the model2c<\/sub> is not mathematical or mechanical.<\/p>\n\n\n\n

1009 What if the perspective-level follows the appearance of the empirio-schematic judgment, <\/em>where the normal context of a disciplinary language3c<\/sub><\/em> brings the actuality of a mathematical and mechanical model2c<\/sub><\/em> into relation with the potential of ‘observations and measurements of phenomena’1c<\/sub>?<\/em><\/p>\n\n\n\n

1010 Here is a picture for how that perspective-level category-based nested form<\/em> may appear.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

1012 The normal context of a language that allows formal and final causes3c<\/sub><\/em> brings the actuality of a semiological2a<\/sub>structuralist2b<\/sub> model2c<\/sub><\/em> into relation with the possibilities inherent in the observations and measurements of artistic phenomena1c<\/sub>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

0996 Let me offer a simplification. Here is a picture of the resolution of history substantiating culture and culture entangling semiotics as a century-long chronotope. 0997 The story starts with the Russian Revolution at the end of the first World War. Saussure’s thing is a viable alternate to Marx’s thing soon after the end of the second World War. The first manifestation of the Tartu-Moscow School becomes a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[418],"tags":[],"class_list":["post-10167","post","type-post","status-publish","format-standard","hentry","category-article-review"],"yoast_head":"\nLooking at Peeter Torop's Article (2017) "Semiotics of Cultural History"\u00a0\u00a0(Part 4 of 11) - An Archaeology of the Fall<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.raziemah.com\/blog\/?p=10167\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Looking at Peeter Torop's Article (2017) "Semiotics of Cultural History"\u00a0\u00a0(Part 4 of 11) - An Archaeology of the Fall\" \/>\n<meta property=\"og:description\" content=\"0996 Let me offer a simplification. 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