Joseph Courtés's scientific contributions

Publications (10)

Article
Traducción de: Sémiotique: dictionnaire raisonné de la théorie du langage Reimpresión en 1990 Incluye bibliografía e índice

Citations

... To be revealed to the observer, this system requires "an examination of the semiotic processthat is of the 'visual texts'by which it realizes itself" (Ibid., 637). To make sense of such processes, Greimas developed the so-called semiotic square (Greimas and Courtés 1976;Greimas and Rastier 1968), a tool through which we can formalize the relations between signs. Here, so-called disjunction, conjunction and complementarity allow for reconstructing the narrative that is embedded in a given image. ...
... In Sulkunen and Törrönen's model (1997a) pragmatic modalities belong to the level of utterance, that is the level of the story or statements, which is distinguished from the level of enunciation referring to the acts of language use and stances adopted in relation to statements (Greimas, Courtés & Rengstorf, 1989; c.f. Sulkunen & Törrönen, 1997b). 50 In my analysis, however, I did not directly follow these distinctions. ...
... Language is both an object of philosophy and linguistics, and so is a metalanguage. In linguistics, many scholars such as Louis Hjelmslev (1961), Algirdas Judien Greimas (1982), Roman Jacobson (1960) and many others believe that metalanguage is an important concept in linguistic research. Louis Hjelmslev (1961) sought to build an ideal meta-semiology which object would be signs in semiotics. ...
... 2. The "senses of space" (the meanings that can be attributed to a particular spatial configuration) are always produced and then interpreted by a "subjectivity". Space can be considered as a "constructed object" that acquires meaning only from the point of view of a "subject" that produces and consumes it (Greimas 1976;Greimas, Courtés 1979;Hammad 2006). Since the point is to imagine a spatial configuration capable of communicating across centuries, it is important to emphasize that both subjects involved (the producer of the message and its interpreter) have a relationship to the spatial message that is both "pre-personal" insofar as it depends on the way our bodily schemas are involved in our experience of space (which is also a perceptual, proprioceptive, motor, and psychophysical one), 5 and "supra-individual," insofar as it involves social and cultural codes about spatiality. ...
... The topic was brilliantly and minutely analysed in the dissertation thesis by Tyler Bennett (2021a). As Bennett points out, we can find such reversed order in the works by Greimas and Courtés (1982) under the term 'reciprocal presupposition' . Bennett uses the term retroactivity. ...
... Alta El antecedente es directamente accesible en la memoria Morfosintáctica (Cornish, 1986) Anáfora con proforma o sustituto (Mederos, 1988) Gramatical (Greimas & Courtés, 1990) Pedro miró su reloj. ...
... La dimensión narrativa audiovisual corresponde al componente cinemático comúnmente relevante de los juegos digitales, pero continúan abiertas las posibilidades de estudio a partir de la experiencia ludo-narrativa y fundamentalmente del valor configurador del tiempo en su relato. Es así que, como los estudios tradicionales pueden abordarse a través de herramientas metodológicas bien conocidas, como la semiótica narrativa (e. g. Courtés et al., 1980) , la semiótica cinematográfica (e. g. Casetti & Di Chio, 1991) y los enfoques narratológicos de los estudios cinematográficos (e. g. ...
... En cuanto a la calificación de canción popular como discurso, se debe partir del hecho de que para la semiótica el mundo natural es «un conjunto de cualidades sensibles, dotado de una cierta organización, y que es además el enunciado de la estructura profunda del universo construido por el sujeto humano y descifrable por él» (Greimas, A. J., Courtës, J., 1993). ...