TEXT TO IMAGES: THE AESTHETICS OF PICTORIAL SIGNS, CASE STUDY OF GUERNICA

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MAHMOUDI FATANEH

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Journal: HONAR-HA-YE-ZIBA Year:2008 | Volume:- | Issue:32 Page(s): 93-100

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Title

TEXT TO IMAGES: THE AESTHETICS OF PICTORIAL SIGNS, CASE STUDY OF GUERNICA

Author(s)

MAHMOUDI FATANEH | Issue Writer Certificate

Keywords

CODINGQ2

CONNOTATIONQ3

ICONICITYQ3

METAPHORSQ2

PICTORIAL TEXTQ3

Abstract

A text is the set of lexical or visual signs that act as cues to guide a reader's mental deCODING and meaning-making operations. The term "text" has evoked various meanings according to particular disciplinary perspectives. In cognitive psychology, it has been represented as the sum total of the author's propositions; in semiotics, as the set of lexical, or visual, signs that act as cues to guide the reader's mental deCODING operations. This article explores how the meaning-expressive potential of the lexical and pictorial forms of signification are defined on multiple levels. Semiotics provides a theoretical and methodological framework for isolating and explaining the levels of meaning, both of language as text and the image as PICTORIAL TEXT. The object, sign production, and sign perception (interpreter) constitutes the basic unit of a semiotic communication model which clearly operationalizes the exchange and CODING of information transactionally. In order to account for resemblance beyond visual representation, ICONICITY, or the extent to which a sign vehicle is similar to its denotatum, or referent, is a criterion for examination. A portrait of a person is to a considerable extent iconic, but it is not completely so since the painted canvas does not have the texture of the skin, or the capacities for speech and motion, which the person portrayed has. The motion picture is more iconic, but again not completely so. A semiotic rendering of pictorial aesthetics: Picasso's Guernica, we look at Pablo Picasso's Guernica, a masterwork on the Spanish civil war and arguably the last great political work of art produced in the twentieth century, we can address the questions and principles raised above regarding the semiotic analysis of PICTORIAL TEXTs. Just as lexical text is constituted of the sum of individual features that work to create meaning as a whole, the visual or PICTORIAL TEXT of Guernica is comprised of readily identifiable elements that create a meaningful integrated form of expression. Consequently, the relationships between the manifest properties of the colors, figure, and forms, comprising the visual text and disclosed at a point of ocular centration during the act of viewing, may also be analyzed syntactically and semantically. Guernica is an idiosyncratic portrayal of Picasso's disgust at the bombing of the town. It is also an invective against war. The ideological expression of this dissent is put forward thematically in the painting through the visual details that articulate a code of symbolic associations bringing together thought and action. It works on multiple levels of representation toward a disturbing depiction of the horrors of war. The painting reveals the continuity and discontinuity of life as it is permanently changed and interrupted by terrorist intervention. The overall presentation of images that comprise the painting, is quite dynamic. This article highlights some philosophical and theoretical implications of semiotics, language, meaning-making, and PICTORIAL TEXT with a view towards the development of a viable semiotic methodology for analyzing PICTORIAL TEXT. Pablo Picasso's Guernica is used as an example of how signification works on multiple levels.

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APA: Copy

MAHMOUDI, FATANEH. (2008). TEXT TO IMAGES: THE AESTHETICS OF PICTORIAL SIGNS, CASE STUDY OF GUERNICA. HONAR-HA-YE-ZIBA, -(32), 93-100. SID. https://sid.ir/paper/5700/en

Vancouver: Copy

MAHMOUDI FATANEH. TEXT TO IMAGES: THE AESTHETICS OF PICTORIAL SIGNS, CASE STUDY OF GUERNICA. HONAR-HA-YE-ZIBA[Internet]. 2008;-(32):93-100. Available from: https://sid.ir/paper/5700/en

IEEE: Copy

FATANEH MAHMOUDI, “TEXT TO IMAGES: THE AESTHETICS OF PICTORIAL SIGNS, CASE STUDY OF GUERNICA,” HONAR-HA-YE-ZIBA, vol. -, no. 32, pp. 93–100, 2008, [Online]. Available: https://sid.ir/paper/5700/en

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