Social distance and the multimodal construction of the Other in sectarian song

This paper introduces the concept of “tonal gravity” through a multimodal analysis of a YouTube video to demonstrate how multimodality is key to the construction of “Rule Britannia” as a sectarian song. The analysis focuses upon the multimodal semiotics of social distance which has been a key concept in sociological and anthropological traditions in recent times. This concept offers a means to understand the social semiotic relationship between Self and Other in multimodal discourse. Following previous work in social semiotics and music studies which examine how visual composition, music and the voice have constructed social distance or expressions of intimacy, I introduce the concept of tonal gravity which extends the metaphors of semiotic space in previous work in the musical mode, to account for a fuller understanding of how music helps narrate the multimodal Self and Other. This is introduced via a close multimodal analysis of “Rule Britannia” as a Rangers Football fan video which is only transformed into a sectarian text through multimodal collocation where different semiotic resources in various modes act in combination to produce a dominant Self actively prejudiced against a low Other.     

The critical problem of cynical irony meaning what you say and ideologies of class and gender

ABSTRACT

Critical theorists such as Slavoj ?i?ek have for some years discussed the ideological significance of cynical or “blank” irony in fairly general terms. Less attention has been paid to the practical implications of such irony for critical semiotic analysis. With this in mind, this paper discusses the problems that sexist and “classist” jokes – specifically jokes about “chavs” – pose for the critical analyst. On the one hand, they seem to be saying deeply ideological things. On the other, their ironic nature means that they evade the claim that they are really saying, asserting, meaning anything. Theirs is a kind of blank irony which can be identified in all kinds of contemporary semiotic practice and is therefore an important phenomenon for critical analysts to get to grips with. The paper attempts to get to grips with it by outlining some semiotic clues to blank irony, and, more importantly, by suggesting some ways in which we might try to bring a critical perspective to bear in cases of cynical irony.     

Untimely ripped

In this essay, through an examination of its cultural situation, narrative style, and cinematic structure, I hope to explain the controversy that surrounded Roman Polanski's 1971 film version of Macbeth. With both complex cinematic semiology and poignant sociohistorical mediation, Macbeth brings to a critical juncture the philosophies of the 1960s’ peace‐love—revolution hippies, Vietnam war protestors and civil rights activists, the reified mainstream American populace, and the ruling conservatives, as well as society's preoccupation with aestheticisation. Specifically, I argue that Macbeth manifests what Gilles Deleuze calls the “crystal‐image,”; and, by extension, realises Antonin Artaud's “Theater of Cruelty,”; and, in effect, constitutes a terrorist intervention into a discursive cultural and ideological struggle. Ultimately, I argue that Macbeth itself, in totality, is a “crystalline narration”; that is shot through with various allusions to actual and virtual circumstances particular to the cultural environments from which it initially emerged in Renaissance England and then re‐emerged in the US of 1971. In the first of what is a three‐part analysis, I compare these cultural environments. The second section explicates Deleuze's theories on cinema and discusses them in conjunction with an analysis of the film's Theater of Cruelty. Finally, I contemplate the film ‘s sociopolitical implications.     

Her “vocal authority”: the semiotic and cultural soundscape of Chinese female rock singers’ voices in the late 1990s

This paper explores the vocal authority of Chinese female rock singers’ voices as semiotic and cultural rebellion against male-dominated rock aesthetics and the accepted sounds of women’s singing in popular music. The first of the paper’s two sections challenges the gendered stereotypes associated with female singers, and argues for the artistic significance embedded in the voice to set the exploration of subversive femininities, and, more importantly, to unveil the polysomic cultural and social making process of a distinctive personal voice. The second and longest section of the paper first creates theoretical dialogues regarding Potter, De Certeau, Shepherd and Barthes’ theories of voice and culture, and then presents the case analysis of three prominent Chinese female rocker singers, Zhang Qianqian, Wu Hongfei and Kang Mao. The analysis discusses distinctive “feminine noise” by excavating the cultural and institutional forces embedded in the vocal styles of these singers. The semiotic features of grain, timbre, articulation and volume in the voice demonstrate how the complex acoustic soundscape of “feminine noises” reveals the regional, ethnic, class and sexual formation of female musicians’ gender identity.     

A rhetoric of style: Eleanor Rigby and the reordering of popular music

In this paper, we present a synthesis of Kenneth Burke’s rhetoric of identification and Jay Lemke’s social semiotics to frame Eleanor Rigby by the Beatles as a unique point in the phylogenesis of recorded popular music. We emphasise the social semiotic functioning of string arrangements as styles, with style also being understood in the manner of Burke, and style names and definitions being drawn from a corpus analysis of string arrangements for popular music. We argue that, through a rhetoric of style, Eleanor Rigby made canonical claims against rock's cultural counterpart, classical music. We demonstrate the working of the rhetoric and its political implications in the context of the counter-cultural forces active during the mid-1960s.     

From book to stage to screen: semiotic transformations of Gothic horror genre conventions

ABSTRACT

This paper adopts a multimodal social semiotic approach for exploring the semiotic changes involved in the transformation of a novel into stage and screen productions. It examines how semiotic resources are deployed in each medium through elements of mise-en-scène, such as speech, music, sound, lighting, props, staging, and cinematographic techniques, and the viewing perspectives that are thus established for audiences. The genre of Gothic horror is selected for this purpose, given how this form of performance has transfixed audiences for centuries and has been adapted for both the stage and the screen. In order to demonstrate how each performance medium has produced its own unique set of foregrounding devices to enthral and captivate audiences, a comparative analysis of excerpts from the novel The Woman in Black by Susan Hill, a videotaped theatrical performance, and the 1989 British television film of the same name is undertaken. The paper discusses the implications of the multimodal semiotic approach for developing a better understanding of the semiotic transformations that horror genre conventions undergo in different media and the viewership positions that are thus re-drawn for audiences. The paper concludes with a view of multimodal recontextualisation processes which form the underlying basis of human sociocultural life.     

Hollywood and the Spectacle of Terrorism

As terrorist actions, both state and non-state, have spread in both frequency and destructive power since the 1960s, the topic has become an enduring source of narratives, fantasies, and myths that have contributed to Hollywood filmmaking with its familiar emphasis on international intrigue, exotic settings, graphic violence, and the demonization of foreign threats. Images of political violence have a strong appeal in the US, where the gun culture, civic violence, crime sprees, and a thriving war economy permeate the landscape. The al Qaeda attacks of 9/11 heightened public fascination with terrorism, fueled by mounting fear and paranoia, and this was destined to inspire a new cycle of films in which on-screen terrorism dramatizes elements of real-life threats that now include possible weapons of mass destruction. The “war on terror,” driven as much by US strategy to reconfigure the Middle East as by the events of 9/11, serves as the perfect backdrop for film industry productions of violent high-tech spectacles, now a major staple of media culture. For cinema as for politics, the “Middle East” now exists as a mystical category largely outside of time and space, a ready source of dark fears and threats. At the same time, corporate-driven globalization, viewed as a cultural as well as economic and political process, feeds into modern terrorism as political violence (including militarism) sharpens its capacity to attack, disrupt, and surprise—the same features now so integral to the Hollywood film industry. We see jihadic terrorism as not only a virulent form of blowback against US imperial power but as possibly the darkest side of neo-liberal globalization.     

Embodiment and meaning: moving beyond linguistic imperialism in social semiotics

Social semiotic approaches to multimodality have tended to take language as the model for other modalities even when their professed aim is to move away from it. This kind of “linguistic imperialism” causes problems for theorising the relationship between the two basic semiotic planes of expression and interpretation in different modalities, and how the affordances of the expression plane relate to the meanings of the interpretation plane in each case, as well as in understanding the particular role of language in multimodal texts. The current paper brings together insights from semiotics, sociology of music and philosophy of language, as well as critiques of social semiotic approaches, in order to argue that the missing element in accounts of semiotic systems like language and music is the fundamental role played by embodiment in both these systems.     

Advertising and the conquest of culture

Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the production of content is even more entwined with advertising than ever before. The first part of this article describes this shift with particular attention paid to the production of advertising music, which increasingly employs well-known rock, hip-hop, and other popular musicians. The analytical portion of this article draws on the studies of Richard A. Peterson and others on the rise of the socially elite “omnivore” consumer of cultural products to argue that advertising has played a crucial role in this shift, emphasizing the cool and the trendy. Last, the article updates Pierre Bourdieu's influential notion of cultural capital, for, if social elites are more omnivorous in their tastes, then cultural capital today must increasingly be associated with knowledge of the trendy, not only the fine arts.     

Social media as semiotic technology and social practice: the case of ResearchGate’s design and its potential to transform social practice

ABSTRACT

This article addresses the need for critical approaches to social media by bridging the focus on language and other semiotic resources that characterises discourse studies with the broader perspective on social media as social, cultural, economic and technological constructs that dominates media and cultural studies. Specifically, we propose a model for analysing how social media as semiotic technologies, that is, technologies designed to enable and constrain meaning-making, may transform social practices. By incorporating Van Leeuwen’s [2008. Discourse and Practice: New Tools for Critical Analysis. London: Oxford University Press] framework for the critical analysis of discourse and social practice, the model extends the social semiotic approach developed in recent critical multimodal studies of software such as PowerPoint to social media, which function primarily to provide platforms for and commodify social practices, rather than to offer rich arrays of semiotic resources for creating multimodal texts and artefacts. Using the academic social network site ResearchGate and the practice of research peer review, we illustrate the model’s capacity to account for the ways the design of social media platforms – through the semiotic resources they make available and the ways these are presented – enables and constrains their users’ ability to perform key social practices and has the potential to transform these practices.     

The Limits of Administration: A Response to Christopher Hood

The development of states coincides with the continuous (re)definition of administrative limits, according to Kutsal Yesilkagit, in this response to Christopher Hood. Hood’s thought‐provoking essay suggests putting the concept of administrative limits to greater use as an analytical concept and explores the idea of administrative limits from three basic ways of thinking: cybernetics, economics and cultural theory. This author critically analyzes one of Hood’s main conclusions—that different types of administrative limits may exist, and that “what kinds of limits we find where is likely to remain a central and contested issue in administrative analysis.”     

“They might read a fly speck”: musical literacy as a discursive resource in Louis Armstrong's autobiographies

Jazz has been described as a music in which the “oral” element plays a crucial role, in opposition to Western “classical” music, seen as a chiefly “written” tradition. Although such an image is frequently advocated by critics and musicians themselves, it is also true that it can generate ambivalence and negative outputs, such as the persistent myth of “primitivism” and “naivety,” often associated with jazz music. Building on Social Semiotics and Critical Discourse Analysis, this study aims at analyzing how the representations of “orality” and “literacy,” that emerge in some autobiographical narratives by Louis Armstrong, are generated, and how they can work as semiotic and discursive resources. It argues that the different depictions of musicians, and the attitude displayed toward musical literacy, are sensitive to the historical, societal, and political context in which texts have been produced and published, as well as to the narrator's willingness and ability to resist or subvert dominant discourses. Moreover, the characterization of a musician (or a category of musicians) as able or unable to access musical literacy can also serve local purposes, such as expressing the narrator's stance toward narrative characters.     

Marx,Engels, and Ecology*

The following is a brief survey of Marx and Engels’ views on ecology, from the viewpoint of their relevance for 21th-century ecosocialism. While there are some serious limitations in the way both consider the “development of productive forces,” there are powerful insights in their discussion of the destructive consequences of capitalist expansion for the environment—an expansion that generates a disastrous metabolic rift in the exchanges between human societies and nature. Some ecological Marxists distinguish between “first stage ecosocialists”—who believe that Marx analyses on ecological issues are too incomplete and dated to be of real relevance today—and “second stage ecosocialists,” who emphasize the contemporary methodological significance of Marx’s ecological critique of capitalism. This paper tries to argue for a third position (which probably could be accepted by several people of the two groups above): Marx and Engels’ discussion on ecological issues is incomplete and dated but despite these shortcomings it does have real relevance and methodological significance today.     

David Eden,Autonomy: Capitalism,Class and Politics

The urban street is a significant canvas within the material cartography of the nation-state's spatial frontier. Between March and May of 2010, the United Front for Democracy against Dictatorship, also known as the “Red Shirts,” painted Bangkok red as one of the most cohesive assemblage of street protests in Thai political history. Each protestor donated ten cubic centimeters of blood to be poured at several sites, including the Government House of Thailand, the ruling Democrat Party headquarters, and the Prime Minister's residence. Other vials were used to paint murals along the walls of the Old City. The intensified aesthetic presence of Thailand's rural voting majority challenged a historic marginality in the Thai polity, and was one of many semiotic tactics that foreshadowed the violence of the eventual military intervention under the name “Operation Reclaim Space.” The city itself was projected as a wounded body, while the Red Shirts—as Thongchai Winichakul [“The ‘Germs’: The Reds' Infection of the Thai Political Body,” New Mandala, May 3, 2010, available online at < http://asiapacific.anu.edu.au/newmandala/2010/05/03/thongchai-winichakul-on-the-red-germs/#more-9382>] so observed at the time—were heavily objectified as germs invading the sanitary walls of the city. This approach to protest in Bangkok treats the development of the contemporary polis as an urban physiology, simultaneously driven by an intensification of presence and the “good health” prerogatives of acceptable citizenship in the global city.     

Habermas and the Holy Grail of reason: The Philosophical Discourse of Modernity between theatre and theory

A critical discourse analysis of The Philosophical Discourse of Modernity demonstrates that Habermas's discourse on modernity is theoretische Fiktion (a term Freud used to describe a given theory for which no evidence can be found and no arguments validated). Theatrical narrative strategies from drama are identified that not only organise the logic of the text, but also position readers. The choice of mise en scene—the Oedipal cross‐roads where older and younger protagonists meet in conflict—is seen to position readers as mere spectators. The choice of the narrative trope of the romance of lost opportunity (the road open but not taken) is not merely illustrative, but necessary for the claim that Habermas has redeemed the enlightenment project.

The paper critiques Habermas's theorising on discourse ethics because it distinguishes categories of discourse into scientific/analytical, moral/interpretive and aesthetic/expressive, which operate in three different spheres of value. In particular, it challenges the notion of an “inner logics” for what, in Habermas's stable of discourses, he labels the scientific/analytical. Readers of The Philosophical Discourse of Modernity, the paper demonstrates, are not so much pulled along by the force of the better argument, but seduced by that unbridled beast: the aesthetic/expressive.     

From gold to futurity: a semiotic overview on trust,legal tender and fiat money

ABSTRACT

In the first part of the paper, I am summarizing the most relevant findings of the semiotic study of the money sign. It starts with a tripartition of the major types, namely commodity money, representative money, and fiat money. I then use this approach in order to position the most important contributions of other authors from semiotics and surrounding disciplines. In the second part, I develop a semiotic reading of the notion of legal tender where the latter is seen as a semiotic mechanism that provides particular conditions for the formation of the value of money. I combine a historical review with stress on important theoretic reflections during the development and implementation of pure legal tender money. The last part is dedicated to a proposal for a semiotic model of the fiat money sign. The model is developed and implemented as a reflection on some critical readings of the world financial crisis from 2008 to 2009, where the “semiotization of money” was used for explication. My model is based on one of the most insightful definitions of money, which sees them as “trust inscribed”.     

Semiotising the student perception of learning outcomes in British higher education

This article presents a semiotic analysis of the student perception of learning outcomes in British higher education. It centres on three annotated images in Frank Furedi’s article “The Unhappiness Principles”, published in Times Higher Education in 2012. Drawing upon Peircean semiosis and iconicity, it provides a rhetoric-infused interpretation of the word–image complementarity exhibited in student participants’ written commentaries on the three images. This leads to a dialectical view of formative and summative assessment, in which process and product create each other through the same continuum of learning and teaching. In highlighting intellectualism as central to the ethnography of university life, this article argues that learner autonomy and the potential for transformation is deemed essential to the student experience in higher education.     

Correction sequences and semiotic resources in ensemble music workshops: the case of Conduction®

The paper examines the phenomenon of correction of musical action by analysing ensemble music workshops devoted to Conduction®, a way of making music together on the basis of a codified gestural lexicon addressed by a conductor to instrumentalists. In particular, it focuses on correction sequences initiated by the conductor and related to the musical material to be played and discusses the techniques used by the conductor to construct and sequentially organize correction, showing how these are accomplished through the interplay and mutual contextualization of talk and further audible and visible semiotic resources. Based on the fine-grained analysis of two correction sequences, the study stresses the role of multimodality for investigating music and pedagogy from an interactional perspective, while highlighting the peculiarities of Conduction as performative and educational practice.     

The Path of Culture

Abstract

From the late seventeenth century on the idea of culture underwent a gradual transformation. Originally this concept referred essentially to the “refined” way of life of the ruling social elite (which certainly included among others also such activities as listening and making music, reading works of literature, commissioning works of fine art). Popular culture, on the other hand, refers to the usually collective practices of groups of rural and urban workers taking the form of performance. They were not only excluded from refined culture, but it was regarded as completely unsuitable for them, potentially creating dangerous social aspirations. It is with the great social transformation from feudal to bourgeois society that the idea of refined culture was replaced by that of “high culture” encompassing both the arts and the sciences: works claiming universal human significance. This “high culture” for a considerable time coexisted with the remnants of popular culture. It has been only due to the great technical advances that its true opposite, “mass culture” emerged, at the turn to twentieth century, claiming an empirical universality: being understandable and truly interesting to everyone. In economic respect, there is a competitive relation between high and mass culture. However, it is argued that there can be no cultural competition between them. For they posit differing and potentially co-existing receptive attitudes. The characterisation of this difference and the discussion of the seeming exceptions to the so-articulated conceptual scheme occupies the concluding part of this essay.