INTRODUCTION

Semiotics is the study of signs, their forms of expression and contents. Sign is the one that just states that signs in the non-metaphorical sense are phenomena produced intentionally by humans and taken by humans to show the intention of the producer, and its content. This paper will In this paper, we will discuss about Models of the Sign and Signs and Things. Anything can be a sign as long as someone interprets it as signifying somethingreferring to or standing for something other than itself. We interpret things as signs largely unconsiously by relating them to familiar systems of conventions. It is this meaningful use of signs which is at the heart of the concerns of semiotics. We wrote this paper in process to learn about Semiotics. We hope this paper can add reader information. We also hope reader can understand about Models of the Sign and Signs and Things with read this paper.

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things

CHAPTER I MODELS OF THE SIGN

Modes Not Types It is easy to slip into referring to Peirces three forms as types of signs, but there are not necessarily mutually exclusive : a sign can be an icon, a symbol and an index, or any combination. Peirce was fully aware of this : for instance, he insisted that it would be difficult if not impossible to instance an absolutely pure index, or to find any any sign absolutely devoid of the indexical quality. We have already noted that he did not regard a portrait as a pure icon and he would no doubt have agreed that there are no pure symbols either. A map is indexical in pointing to the locations of things, iconic in representing the directional relations and distances between landmarks, and symbolic in using conventional symbols the significance of which must be learned. Film and television use all three modes ; icon (sound and image), symbol (speech and writing) and index (as the effect of what is filmed); at first sight the iconic mode seems dominant, but some filmic signs are fairly arbitrary, such as dissolves which signify that a scene from someones memory is to follow.

Changing Relations Despite his emphasis on studying the language-state synchronically (as if it were frozen at one moment in time) rather than diachronically (studying its evolution), Saussure was well aware that the relationship between the signified and the signifier in language was subject to change over time. However, this was not the focus of his concern. Critics of structuralist approaches emphasize that the relation between signifier and signified is subject to dynamic change: any fixing of the chain of signifiers is seen as both temporary and socially determined.

Digital and Analogue A distinction is sometimes made between digital and analogical signs. Indeed, Anthony Wilden, a Canadian communication theorist, declares that no two catagories and no two kinds of experience are more fundamental in human life and thought than continuity and discontinuity. While we experience time as a continuum, we may represent it in either analogue or digital form. A watch with an analogue display (with hour, minute, and second hands) has the advantage of precision, so that we can easily see exactly what time it is now. Even an analogue dispaly is now simulated on some digital watches.
Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things 2

Types and Tokens The Italian semiotician Umberto Eco offers another distinction between sign vehicles; this relates to the concept of tokens and types which derives from Peirce. In relation to words in a spoken utterance or written text, a count of the tokens would be a count of the total number of words used (regardless of type), while a count of the types would be a count of the different words used, ignoring repetitions. In the language of semantics, tokens instantiate (are instances of) their type. Hjelmslevs framework Louis Hjelmslev used the terms 'expression' and 'content' to refer to the signifier and signified respectively (Hjelmslev 1961, 47ff). The distinction between signifier and signified has sometimes been equated to the familiar dualism of 'form and content'. Within such a framework the signifier is seen as the form of the sign and the signified as the content. However, the metaphor of form as a 'container' is problematic, tending to support the equation of content with meaning, implying that meaning can be 'extracted' without an active process of interpretation and that form is not in itself meaningful (Chandler 1995 104-6).

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things

CHAPTER II SIGNS AND THINGS

Naming Things To semioticians, a defining feature of signs is that they are treated by their users as standing for or representing other things. Jonathan Swifts satirical account of the fictional academicians of Lagado outlined their proposal to abolish words altogether, and to carry around bundles of objects whenever they wanted to communicate. this highlights problems with the simplistic notion of signs being direct subtitutes for physical things in the world around us. The academicians adopted the philosophichal stance of naive realism in assuming that words simply mirror objects in an external world. They believed that words are only names for things, a stance involving the assumption that things necessarily exist independently of language prior to them being labelled with words. According to this position (which accords with a still widespread popular misconception of language) there is a ono-toone corespondence between word and referent ( sometimes called languageworld isomorphism) and language is simply a nomenclature an item-by-item naming of things in the world. As Saussure put it, this is the superficial view taken by the general public.

Referentiality Saussures model of the sign involves no direct reference to reality outside the sign. This was not a denial of extralinguistic reality as such but a refliction of his understanding of his own role as a linguist. Sausurre accepted that in most scientific disciplines the objects of study were given in advance and existed independently of the observers point of view.

Modality From the perspective of social semiotics the original Saussurean model is understandably problematic. Whatever our philosophical positions, in our daily behaviour we routinely act on the basis that some representations of reality are more reliable than others. And we do so in part with reference to cues within texts which semioticians (following linguists) call modality markers. Such cues refer to what are variously described as the plausibility, realibility, credibility, truth, accurancy or facility of txts within a given genre as representations of some recognizable reality.

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things

The words is not the thing The Belgian surrealist Rene Magritte painted La Trahison des Images in 1936. That it has becoma one of Magrittes most famous and widely reproduced works suggest the enduring fascination of its theme. At first glance, its subject is banal. We are offered a realistic depiction of an object which we easily recognize : a smokers pipe (in side-on view). However, the painting also includes the text Ceci nst pas une pipe ( This is not a pipe). The inclusion of text within the painting is remarkable enough, but the wording gives us cause to pause. If this were part of language lesson or childrens reading book, we might expect to see the word this is a pipe. To depict a pipe and then provide a label which insists that this is not pipe initially seems perverse. It is purely irrational or is there something which we can learn from this apparent paradox? What could it mean? As our minds struggle to find a stable, meaningful interpretation we may not be too happy that there is no single, correct answer to this question, although those of us who are relatively tolerant of ambiguity may accept that it offers a great deal of food for thought about levels of reality.

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things

CONCLUSION

There are three modes ; icon (sound and image), symbol (speech and writing) and index (as the effect of what is filmed); at first sight the iconic mode seems dominant, but some filmic signs are fairly arbitrary, such as dissolves which signify that a scene from someones memory is to follow. Critics of structuralist approaches emphasize that the relation between signifier and signified is subject to dynamic change: any fixing of the chain of signifiers is seen as both temporary and socially determined. In relation to words in a spoken utterance or written text, a count of the tokens would be a count of the total number of words used (regardless of type), while a count of the types would be a count of the different words used, ignoring repetitions. In the language of semantics, tokens instantiate (are instances of) their type.

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things

REFERENCES

Chandler, D. 2002. Models of signs & Signs and Things Brandt, Per Aage.2004. What is Semiotics?

Chandler, D. introduction to semiotics (p2-3). Adapted by Tatiana Avreinova.

Yolla Yunicha Bakti and Lara Fedora | Modes of the sign & Signs and Things