{"id":10194,"date":"2026-02-10T08:00:00","date_gmt":"2026-02-10T08:00:00","guid":{"rendered":"https:\/\/www.raziemah.com\/blog\/?p=10194"},"modified":"2025-10-12T14:10:41","modified_gmt":"2025-10-12T14:10:41","slug":"looking-at-peeter-torops-article-2017-semiotics-of-cultural-history-part-9-of-11","status":"publish","type":"post","link":"https:\/\/www.raziemah.com\/blog\/?p=10194","title":{"rendered":"Looking at Peeter Torop&#8217;s Article (2017) &#8220;Semiotics of Cultural History&#8221;\u00a0\u00a0(Part 9 of 11)"},"content":{"rendered":"\n<p>1070 Torop continues to recount the lessons that come from Bakhtin&#8217;s notes.<\/p>\n\n\n\n<p>The next section is titled, &#8220;Semiotics of culture and chronotopicality&#8221;.<\/p>\n\n\n\n<p>Not only does a chronotopical analysis distinguish three levels in every text, but, for literature, the three levels display narratives and performances.<\/p>\n\n\n\n<p>Is this where semiotics enters into the picture?<\/p>\n\n\n\n<p>1071 The author offers another table correlating&nbsp;<em>levels of the text<\/em>&nbsp;and&nbsp;<em>the sphere of semiotization<\/em>.<\/p>\n\n\n\n<p>Here is a picture.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide28-3.png\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide28-3.png\" alt=\"\" class=\"wp-image-10195\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide28-3.png 600w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide28-3-300x200.png 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\n\n<p>1072 The same principles apply as before.<\/p>\n\n\n\n<p>Chronoscopy goes with Peirce&#8217;s category of thirdness.<\/p>\n\n\n\n<p>Narrative and performance associates to secondness.<\/p>\n\n\n\n<p>The world belongs to firstness.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide29-3.png\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide29-3.png\" alt=\"\" class=\"wp-image-10196\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide29-3.png 600w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide29-3-300x200.png 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\n\n<p>1073 Similar to before, the above figure looks like a semiological<sub>3a<\/sub>&nbsp;model<sub>2c<\/sub>.<\/p>\n\n\n\n<p>On the content level, a topographical homophonic normal context<sub>3a<\/sub>&nbsp;brings the actuality of story and events<sub>2a<\/sub>&nbsp;into relation with the potential of &#8216;an intertextual storyworld&#8217;<sub>1a<\/sub>.<\/p>\n\n\n\n<p>On the situation level, a psychological polyphonic normal context<sub>3b<\/sub>&nbsp;brings the actualities of narration and performance<sub>2b<\/sub>&nbsp;into relation with the potential of &#8216;a multimodal, innerworld with self and others&#8217;<sub>1b<\/sub>.<\/p>\n\n\n\n<p>On the perspective level, a metaphysical heterophonic normal context<sub>3c<\/sub>&nbsp;brings the actualities of verbal and pictorial descriptions<sub>2c<\/sub>&nbsp;into relation with the potential of &#8216;cohesive principles establishing a conceptual world&#8217;<sub>1c<\/sub>.<\/p>\n\n\n\n<p>1074 Now I ask, &#8220;Do these arguments add up to a semiological<sub>3a<\/sub>&nbsp;structuralist<sub>3b<\/sub>&nbsp;model<sub>2c<\/sub>?&#8221;<\/p>\n\n\n\n<p>1075 By the time that the author finishes this section, he has intimated that&nbsp;<em>Bakhtin&#8217;s article and scribbles on the chronotope<\/em>&nbsp;offers&nbsp;<em>a semiological structuralist model<\/em>&nbsp;composed of&nbsp;<em>interscopes,<\/em>&nbsp;rather than&nbsp;<em>category-based nested forms<\/em>.<\/p>\n\n\n\n<p>Here are&nbsp;<em>the virtual nested forms in the category of thirdness<\/em>&nbsp;for each interscope.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide30-2.png\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide30-2.png\" alt=\"\" class=\"wp-image-10197\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide30-2.png 600w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2025\/10\/Slide30-2-300x200.png 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>1070 Torop continues to recount the lessons that come from Bakhtin&#8217;s notes. The next section is titled, &#8220;Semiotics of culture and chronotopicality&#8221;. Not only does a chronotopical analysis distinguish three levels in every text, but, for literature, the three levels display narratives and performances. Is this where semiotics enters into the picture? 1071 The author [&hellip;]<\/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-10194","post","type-post","status-publish","format-standard","hentry","category-article-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Looking at Peeter Torop&#039;s Article (2017) &quot;Semiotics of Cultural History&quot;\u00a0\u00a0(Part 9 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=10194\" \/>\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&#039;s Article (2017) &quot;Semiotics of Cultural History&quot;\u00a0\u00a0(Part 9 of 11) - An Archaeology of the Fall\" \/>\n<meta property=\"og:description\" content=\"1070 Torop continues to recount the lessons that come from Bakhtin&#8217;s notes. 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