In focusing on “semiosis,” or sign process, the journal Signs and Society was established to advance through multidisciplinary research the theoretical work of Peirce, the founder of “semiotics,” and Saussure, the founder of “semiology.” This essay provides a brief “representation” of the history of the collaborative relationship between the Semiosis Research Center at Hankuk University of Foreign Studies and the Department of Anthropology at Brandeis University, a relationship that is itself a kind of “symbol” entextualized in the pages of Signs and Society.

This article focuses on strategies of discourse processing for the relay of Vedic truth-statements (mahāvākyas) in the context of globalization and secular modernity. Of primary interest is situational representation of communicative events and educational reforms surrounding the transmission of brahmajñāna, that is, knowledge (jñāna) of nondual reality (brahman). Culminating at the end of the Vedas, Upaniṣads codify contextual properties of teacher-student successions (guru-śiṣya-paramparās) structuring the transmission of brahmajñāna. Despite ongoing interest in Advaita Vedānta, there is still a need to conceptualize the teaching tradition (sampradāya) as a matter for empirical observation and thereby to propose a set of cognitive hypotheses that make it possible to account for the referential basis of discourse production and situation models representing Upaniṣads as a verbal means of knowledge (śabda-pramāṇa). Consequently, genre expectations in the Advaita sampradāya provide the starting point for further inquiry into variant discourses of Vedānta.

The knife, a synecdoche of slaughtering, is an important culinary tool that is charged with the power of religious speech acts and that has a significant semiotic function in Christian-Muslim encounters in Ethiopia. The slaughtering rituals not only transform the neutral natural animal into a sacred cultural food but also invest the meat with an intense aura of disgust among followers of the other faith. The slaughtering narratives continue to manifest themselves in other public signs, namely, in the Cross and the Crescent, on butcheries, and restaurants, for example. These two universal signs are the corollaries of an anterior sign, in other words, the knife that, in the discursive realm of food and religious identity in Ethiopia, implicates the different slaughtering rituals of Orthodox Christians and Muslims.

Like Peirce, recognized as the “father-founder” of modern semiotics, Welby too, although just recently (despite her influence on important contemporary scholars), is acclaimed as the “mother-founder,” thus entering the pantheon of the “fathers” of language and sign sciences. These great figures share a common approach to sign and language as exponents of what today is recognized as the major tradition in semiotic studies, “interpretation semiotics.” Meaning, understanding, signs, signifiers, utterers, and listeners are described as evolving in live communication, as part of signifying processes in becoming. Signs develop in ongoing interpretive/ translative processes with other signs, signifiers, and signifying processes. Signs are interrelated with values, consequently sense and significance emerge as major investigation areas for studies on meaning. Moreover, both Welby and Peirce evidence the public, social, and intersubjective dimensions of signifying and understanding, and hence also the importance of intercorporeality, dialogism, otherness, ambiguity for healthy communication, and interpersonal relations.

This article explores the conditions, possibilities, and meanings of the concept “winners’ generation” in Estonian art in the 1990s. Some of the artists who were labeled by this name had their triumph in the freedom to express ideas that did not serve the dominant discourse, that is, discourse that captured only the interests of those who became successful during the period of change while shutting down realities not in line with their newly constructed norms and values. The ideological transition from socialist to capitalist ways of life in the course of the dissolution of the Soviet Union in 1991 was an opportunity for these artists to become successful via visualizing failure, thus bringing out, but also questioning, the variations within the “victorious” discourse.

The multimodal video meme of the ice-bucket challenge raises a “bucketful” of questions for media and cultural studies. This article focuses narrowly on unearthing who speaks in this message and what is ultimately communicated. By unpeeling the multiple layers of message structuration with view to discerning the formal structure of the concerned multimodal message, the analysis proceeds with an exploration of the function of the message in the context of a cultural predicament where networking and connectivity constitute overarching cultural values. The argumentative thrust deploys against the background of the assumption that the ice-bucket challenge constitutes a meme as minimal unit of cultural reproduction that functions on both ontic and ontological levels. The offered analysis aims at demonstrating that the enunciator of this unit is the meme itself that summons hosts or enunciatees to legitimate the prereflective memetic mode of cultural reproduction and propagation as overarching mode of communication.

This essay is about the relation between meaning and materiality. It offers careful and coherent, albeit noncanonical, readings of particular themes in Aristotle, Marx, Heidegger, and Peirce. And it does this in order to draw together some classic understandings of value: use value, in particular, but also exchange value, truth value, and moral value (and much else besides). Originating as a series of lecture notes offered to students interested in theoretical archeology, it culminates in a theory of embedded interpretants (as opposed to enminded, embodied, or entextualized interpretants), with an emphasis on semiotic grounds (as opposed to semiotic processes). It is meant to offer a relatively accessible summary, synthesis, and extension of four seemingly disparate, and often quite difficult, theorists.