Musical Semiotics in Growth

Edired by

Eero Tarasti

Assistant Editors

Paul ForsellRichard Littlefield

Indiana University PressInternational Semiotics Institutelmatra o Bloomington 1996

ACTA SEMIOTICA FENNICAIV

EditorEero Tarasti

Assistant Editor.sPaul Forsel l

Richard Litt lef ield

Editorial Board

Honorary Members:Juri Lotrnan t

Thomas A. Sebeok

Pertt i Ahonen Oscar ParlandHenry Broms Pekka PesonenJacques Fontani l le Veikko RantalaAndr6 Helbo Hattnu Ri ikonenMarja-Li isa Honkasalo Kar i Salosaar iAltt i Kuusarno Sinikka TuohimaaI lkka Ni in i luoto Vi lmos Voiet

Indiana University PressInternational Semiotics InstituteImatra . Bloominflton

rO Copyright 1996 by ' l 'he International Semiotics Institute & Contributors

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Printed by Gummerus Printing. . lyviiskyli i , Finland. 1996

Library of Congress Cataloging-in-Publication Data

tusical scmiotics in growth / edited by l iero -larasti ; assistant editors. Paul f;t 'rrsellchard I-itt lefield.

p. cnr. - (Acta semiotica Fennica, ISSN 1235-497X : 4)Includes bibl iographical references.ISBN 0-253-32949-3 (alk. paper). - ISIIN 0-253-21009-7 (pbk. ; alk. paper)l. Music-Semiotics. 2. Music-Philosophy ancl aesthetics. 3. Musical analysis.

' l 'arasti. I..ero. IL Forsell, Paul. IIL Litt lcfield. Richard. IV. Series.L384_5.M9755 1996| ' . I dc201345 01 00 99 e8 97 96

Contents

Forewords by Eero Tarasti

Philosophical approaches

Eero TarastiMusic history revisited (by a semiotician)

Raymond MonelleThe postmodern project in music theory

Cynthia M. GrundJeremy Bentham's theory of fictions: some reflectionson its implications for musical semiosis and ontology

Danuta MirkaSome semiotic problems of Krzysztof Penderecki'ssonoristic style .

Maciei JabtoiskiValues and their cognitlon in the semiotic theory ofCharles S. Peirce

Josd Luiz Martinez,Musical semiosis and the rasa theory

xi

3t

96-21230

MN

5l

13

83

99

vi Corttenls

Principles and concepts of music analysis

Affitnso PadillaVers une conccpt ion plural iste de l 'analyse musicale 129

Michele lgnelz,i and Paolo Ro.satoSenriot ic processes in music: Systemics and nrodel izat ionin paradigmat ic analysis

Thomas NolLMusicasasubjectof serniot icanalysis . . . . . . 163

Mdrta Grubdcz.Senriot ical terminology in musical analysis 195

Rtl thni ; l BrtrnnerMod6l isat ion ostensive- inf6rent iel le de I 'cuvre musicalemodernc: la r6sistance au langage et au texte . . 2lg

Ru.t'mond MonellaWhat isamusical text ' / .

. . . . .245

Semiot ics as ' (social psychology"

Jean-Marie .laconoQuclles perspectives sociologiques pour une s6miotiquedelamusique' l . . .

. . . . .263

O. Danilova and Ye. PokorskayaA nrodel of developnrent of the socio-cultural sphere . . 27j

I5r

Content,\ vii

.lurmiIa DoubravovaAnalysis and fantasy fronr the viewpoint of the interpersonalhypothesis of tnusical semantics: An attempt at analysis . . . . . 28-5

Electro-acoustics and computers

Marta Grabocz.Survie ori renouveau? Imagination structurelle dansla cr6aticln 6lectroacoustique r6cente . . . 295

Francesco Giomi and Marco LigabueA semiotic approach to computer assisted composition . . . . . . 321

Interrelat ionships of arts

Michael Spitz.erNarratives of self-consciousness in Proust and Beethoven ' . . . 329

Ennio SimeonSome Greimasian concepts as applied to the analysis off i lmrnusic """ 34'7

Sarah MeninSpatial soundings: Aalto and Sibelius - - 357

vii i Contents

Vocal music

Willem Marie Speelman'[he analysis of a holy song

Dindu L. GorleeOpera translation: Charles Peircc translating RichardWagner . . .407

Fubienne DesquilbeLes techniques de la narrat ion aux or igines de I 'opera:isotopies et strat6gies narratives dans /'Orfeo de ClaudioMonteverdi . Proiet d 'une approche interdiscipl inaire de lanaissance de I 'op6ra en I ta l ie 431

Patrick FarfantoliLa lecture du sens dans les cuvres polys6miotiques . . . . . 451

Anneli RemmeMusical s igns in DeathinVenice hy Benjamin Bri t ten . . . - . - 4 '73

(lrve [.i1tpusStructures and syrnhols in Tormis's music:An introduction to the Estonian Ballads .

Inga .lankauskienel'he role of text in meaning formation ' . 499

389

Conlents lx

Instrumental music

Isabelle ServantUn essai d'6tuile anthropologique du temps musical ' ' " " 5Zl

Christine EsclaPezLes ouatuors de Beethoven. un cas de l'expression temporelle 53'7

Ester SheinberRSigns. symbols, ancl expressive elements in the String

Quartets of Dmitri Shostakovitch

St,ellana BauerMoclal i t iesandintonat ioninmusicana|ysis:Someclbservatt t lnson the Fourth Symphony of Alfred Schnittke 585

Anne Sivnoia-GunaratnamAnalyzing Arabescata. Rautavaara's nrultiserial symphony'A semiotic interplay between the title and the musicalstructure ' 633

567

483

Values and their cognition in thesemiotic theory of Charles S. Peirce

M,qctnt Jtn ro Nsxt

Prel iminary remarks

Cornplying with the useful postulate of cohesion between the tit le of thepaper ancl its content, I wish to make some snrall supplenrentations inref'erence to this text. My objective is to show the possibil i t ies ofcarrying out such an interpretation ot'some threads in Peirce 's theory ofs igns that wi l l reveal the aesthet ic involvement o{ ' sorne semiot iccategor ies const i tut ing the stent of th is theory. The inquiry or iented inthis way. hased on the hypothesis ol 'the aesthetico-semiotic function o{'the interpretant category, wil l refer to the comparative materialconsist ing of solut ions arr ived at by John Dewey (1934, 1935) in hiswork dealing with axiological matters. At the same tinre, these solutionspresent at several poi l l ts an interest ing exanrple of the "generalphilosophic convergence" that can be shown in reference to twophilosophic systems that fundamentally differ in their assumptions.

Peirce's avoidance of direct refbrence to the category of "values"makes it diff icult to recognize the areas of his semiotic reflections that"suggest" the problenr of values. However, when we analyz,epenetrat ingly the group of quest ions associated with the phi losophicprcmise flndamental for the pragmatists and articulated as the thesisabout the uni ty of cogni t ion (" thought") and act ion, part icular ly thepractically-involved action, we fincl in consequence some threadsreveal ing the axiological d imension of the Peirce's phi losophic system.The statement about the axiological involvement of the philosophicthought of pragmatists does not seem to be very revealing, if we takeinto consideration that alnrost all protagonists of this onentation refer to

Maciej .lalt*tri,ski

thc conncct ions ol ' their v iews with the problcms t l f "values" ort l rcmsclvcs crcated sotne interesl ing cr lncept ions ol ' th is f ie ld

Pragnrat ists ' t tovum

'fhe esscnce of the phtlosclphic trt lvunl of the pragmatists l ies certainly inthc 1 'orrnulat ion of lhc assunrpt ion abttut the hasic role of the sphere ofact iou i r . r huntan l i fc . l t outstr ips al l other act iv i t ies, ancl fur thermore i tconst i tutcs the foundat i t tn of th is act iv i ty. l 'he discarding of thet lacl i t ional c l ic l totonty "act ion/cogni t ion" resolves i tscl f int

86 Maciei .labhtri.ski

rcference t

88 Mocit'i .lttlslrtri,skr

pernt i ts unoover ing

90 Mtu'iei ,lrrl'tfttri,skr

reflection). since at the moment when we realiz.e the fact that"somelhing" is " f i rst" , that "something" ceases being " f i rst" andl ' recornes "second". i .e. . "sourething" that has ct l t t te int t l existence in thep11rst rudimentary l irrnt itt ()Llr cttt.tsciousness. While Secondnessintrochrccs lhe elcntent o1' "cliscretencss" to our cclnsciousncss. ' l 'hirdness

ret-ers to relat ions charactcr ist ic of evetr ts, phenttmena, t lh. jccts.Theref i r re, Thirc lncss is a category of " law", "relat iv i ty" , " ru le".Ref'erring here to tltc earlicr mentioned exatnplc (adduced by Peirce) ofa musical work, we can state that in a direct , pre-ref lect ional percept ioni t appears as a category of [ ; i rstness. Then, af ter a def in i te existence ofthe part icular souttc l in " t inre atrd space". i t is seen as Secondness; whi lein the f rorn of an ident i f iablc structr l re of morpht l logical e lements i t is acategory of the Thirdness.

This rc l 'erence to the thcorv of "category", a l though carr ied out in arathcr superf ic ia l and abbrcviated f i l rm, faci l i tates and in some degree"softens" our passing into thc sphere of connect iotrs betweetr Peirce'sconception of aesthctics and his theory of signs. Defining the interpretantas thc: "proper cf l 'cct of thc nteaning" t t f t l tc s ign. Pcirce madc twosigni f icarr t t r iacl ic c l iv is iot ts of thc category of nteaning. devclopingpart icular ly the analysis of onc of them, namely. thc logical interpretant.Accorcl ing to the c lassi f icat ion bascd on the ontological categor ies. theinterpretant is dcf ined as the category of Thirdness. At the same t ime,we obtain three types of interpretants: the direct , the dynamic, and thel- inal interpr-etant. Ry means of the sccond of the proposed div is ions -crnot ioual , cnerget ic. and logical interpretat t lsr - a l rd i ts usabi l i ty forlur ther considerat ions, I shal l f i rcus my at tent ion on the direct anddyuaur ie intc lprctur l ts.

The first of the above-tnentiotred types of interpretant refers to thesign " i tscl f " ( rnediurn of t ransfer in the tcrminology of Bense) and isclelined as the ". . effect evoked by the sigtt without carrying out anyref lect ion on i l " (Bense 1980: 43). The sccond type, the dynamrcinterpretant, is " thc real c l ' f 'ect that the given sigt l cxerts" (Bttczynska197-5: 133). I t consists i r r thc "direct cf ' f 'ect factual ly excrted by thc s igt tor l i ts interprctcr" ( ih id.) . Ut i l iz i r rg again the c lassi f icat ion ofinterprclants on the basis of t lntological "categor ics", we f i l rd rnrct'erence t

92 Maciej .lubktilski

Norv. conting back to thc problent of thc relation betwecn bothtr iadic c l iv is ions ol ' intc lpretants. we not ice that the cmot ionali r t tcrpretanl has thc nrost "c l i rect" character ol a l l the interpretants. Thecxper iencc const i tut ing the cnerget ic interprctant "creates" also. besidesthe dircct onc, i ts dynant ic c l i rnension, whi le in the case of the logicali r r lcrpretanl we havc addi t ionl l ly to do with the th i rd, f inal d imension.

' fhe ccntral category ot 'cxper icnce obtains in th is ntoment a newnrcaning. On lhe onc hand, i t is the pr i r lary, i r rcduciblc ntodus of ourpcrccpt iorr of Ihe wor ld: ancl on the othcr hancl , f ronr thc sent iot ic pointol v iew. i t ' 'organizcs" thc contplex nctwork of the interdependentintcrpretants discovcred in the process of ' cogrr i t ive i r r terpretat ion. - lh isr l rc lcr ing prcscnted i r r thc fornr o1'a secluence of s ign-mecl iated acts ofexper ience leads therefore to the creat iotr o l ' a speci f rc hierarchy of"rncanings", start ing wi t l r thc emot ional , through the energet ic, andconcluding with the logical interpretant. Also the aesthet ic expel ienccpr()ves to have i ts local izat ion in th is semiot ico-cogrr i t ive cont inuum. Atthe stune tinre. it is

. iust the emotional interpretant that decidcs about thisplaccment. Such undcrstanding of the interpretant proposed by Perrce,whcre i t is ident i f icc l r r , i th the aesthct ic category of " feel ing" heingconst i tu l ive fbr emot ively undcrstood aesthet ic exper iencc, br ings theconce'pt ion ol ' t l re author of t l rc pragmatic pr inciple c loscr, at least in th ispoint . to a numbcr of theses advancccl by another representat ive ofAnrcr ican pragmatisrn. . lohn Dcwey.

'T 'he rer larks of Pcirce ntacle hoth in rc lat ion to aesthct ics as wel l asto cthics are l inr i tccl to t l rose occasions in which he discusses theircorrnect iorrs wi th logic. I lencc, and i t has to be openly admit ted, aconsiderahle part o l 'h is v icws relerr ing to aesthet ic problems arercvcalcd only through the comparison of these views with therundouhtedly "paral le l" sty le of th inking represented by the pragmaticconccpt ion of instrurnental values. I anr part icular ly interested in thoseconsiderat ions of Dcwey that deal wi th thc not ion ol- exper ience.i r rc lLrc l ing acsthet ic exper ience, as wcl l as those that poirr l to theinrportant role of the "emot ional d imension" of cxper ie l rce. According toI)cwe1' . thc enrot ional part . the const i tut ive "qual i ty" of exper icnce,decic lcs ahout i ts " . . fu l lness, uni ty, i l makes i t speci f ical ly conrplete"( I934: z l l ) .

Vrtlues and tlreir co.qttition in the semiotic theorv of C.,S.Peirca 93

This tbrmulat ion corrcspont ls completely to the main premisc ofPeirce's understanding of the function of the prereflcxive "entclt ionalcluality" (ernotional interpretant) that r"rnif ies and fornts thc nucleus of thecxper ience. Peirce wr i tcs: " . . . that qual i ty is the unmediated prescncein thc cxper ience'(1931 1935. vol . 2:199). This "qual i ty" . as wererrembcr, has a corresponding ontological category of Firstness.Cont inuing his considerat ions, Peirce stresses that f r i rstness has auniversal and hasic character and that i t def incs " the way of exist ing ini tsel f" (1931-193.5. vol . I : .531).

A fragnrent ol ' the views ref'erring to the relation of the universalcategory of Firstness and t l re crnot ive dimension of exper ience is mostl ' r 'ecluent ly quotecl by I )ewey in his analysis of Peircc 's ontologicalcategor ies. Dewey. in his rcf 'erences to the solut ions of Peircc tn th isfield, accentuates particularly strongly the convergences that can bcshown between his (Dewey's) conception of experience and the theory of"category" formulated by Peirce (Dewey 1935: 210).

The cardinal c lement of Dewey's aesthet ics is the category ol '"exper icnce" understood in solne spcci f ic way. This th inkerdist inguishes the exper ience const i tuted thanks to the "presencc" of the"directly given emotional qLrality" from the experience that he defines as" incomplete". " incoherent" , that is , as we nr ight guess, an exper iencedepr ivcd of th is uni fy ing "c1ualr ty" . The not ion of "present unmediatedqual i ty" in the sense of "given direct ly" connects the catcgory ol 'cxper ience with another central not ion in the phi losophical ret lect ion ofDewey. nanrely. the not ion of "context" or "s i tuat ion" (1934: 199). Ourexper iences. as noted by Dewey. never rc l t r to objects ()r eventsanalyzed in isolat ion, but are always wit l r in thc f l 'ames of some"contextual ent i rety". The context g ives preciscly the "s i tuat ion" wlrere.as Dewcy wri tes, i t is essent ia l that i t is " total ly inf i l t ratccl" by"qual i ty" , which in turn decides about i ts coherence or "contextualent i rety". The "presence" of thrs "qual i ty" is therefore a relevantcl ist inguishing factor def in ing the relat ion of exper ience ( in the f r rst ofthe ahove-ment ioned meanings) to the s i tuat ion. Therefore, thecxper ience is undcrstood as an "exper ience of s i tuat ion". I t happensthanks to tltc "qLrality" cornmon to hoth categuries, which pernrits one tocl ist inguish the part icular indiv idual "exper ience". def ined by the

94 Macie.j .ltrltfttri.ski

speci l ' ic organizal ion of e lements and relat iorrs creat ing a "contextualent i rcty" . I ' rom "exper ience in gencral" ( in the second sense ment ionedahove). This is the consequence of const i tut ive propert ies that in thecogni t ive act appear to us as "direct ly given" and independent of thediscourse. In th is way, aesthet ic exper icnce resolves i tsel f , in theunderstanding proposed hy Dewey, into the var iant of the dtrectcogni t ive act . ' [ 'h is monrent determines the f i rst contact point betweenPeirce's ancl Dcwey's conccpt ions of aesthet ic exper ience.

Conclusions

Fol lowing fronr the above renrarks. we can state that the "contextualent i rety" or "s i tuat ion" is exper ienccd. according to Dewey. as anundeniable rvhole. We perceive here a dist inct paral le l to the fbrmulat iono1'Peircc. wlrere cxper ience understood as a cogni t ive act is "part" of asenriosis and as such through interpretation it constitutes the interpretant(which is the resul t of exper ience regardless of what k ind of exper iencei t is) . Since thrs type of the discussed exper ience is ident i f ied wi th thecategory of l r i rstness. we st i l l rcntain in the sphere of interpretantsclassi f ied as " thc f l rst ones". In th is connect ion. on the one hand we dealwi th the emot ional interpretant contrasted with energet ic and logrcalones: on the other hand, rve havc the direct interpretant (next to thedynamic and the final one) appearing in turn as a constitutive co-rnemberof thc cmotional interpretant, as a consecutive co-menrber, next to thedynanric co-mernber of thc energetic interprctant, and as the constitutiveco-rnembcr. ncxt to thc dynar l ic and f inal ones, of thc logicallnterprctant.

Thc phascs of cxper icnce dist inguished hy Dewey, def ined asaesthct ic, pract ic:al . and intel lectual , br ing to nr ind the c lassi f icat ion anclart iculat ion of the interdcpendence of categor ics and interpretants. Theaesthctic phasc of experiencc corresponds to Peirce's category ofFirstncss; the pract ical phase indicatcs a def in i te act ion, and behavior isequivalcnt to the category of Secondness; and the intel lectual phasecorrcsponds to - fh i rdness (here. the analogy is nrore than obvious).Cont inuing our conrpar isou, we perceive that the aesthet ic dimension of

Vttlues and lheir cognition in the semiotir: theory of C.S.Peirce 9-5

Dewey's exper ience can he interpreted as Peirce's emot ionalin lcrprctant. the pract ical monrent of cxpcr ience as crrcrgct icinterprctant; and f inal ly the intel lectual rnoment is connectcd with thelogical interpretant. This "structural" correspondence of Dewey'saesthetics and Peirce's theory of interpretants detennines tlre first stageof the conrparison of both conceptions.

The second stage, discussed earlier, is dcfrned by the thesis of ahomogeneous treatrnent by both philosophers of the category of emotive,unmediated exper ience, which f rom the aesthet ic point of v iew is thernost desired monrent, generating further phases of experience that rnaybut do not have lo occur. According to Dewey, what is "direct incxperience" is revealed hy the fact that it is not vcrbalizable, it cannot bedetermined or defined, it can only he "shown". In Peirce's systern ofinterpretants, this situation corresponds to the function of a directinterpretant.

So. the aesthctic thread of Peirce's theory of interprctants relcrs in{ 'act to two prohlcrns. First ly, the aesthet ic cxpcr ience i r t i ts rnost purelbrnr takes place in the act of cogni t ion that const i tutes the emot ionalclirect interpretant. This conclusion is backed up by: (a) the primaryfunction of the direct interpretant connected with (b) the category of"feeling" (emotive moment). On the other hand, what is "aesthetic", thef i rst phase of exper ience. rrrganizes in some way the further stages ofexper ience, const i tut ing thereby the energet ic and logical interpretants.It is obvious, as follows from the remarks above, t lrat each of'these typesof experience have seniotic status, although they refcr to diff 'erentorganizat ional levels wi th in the universum of s igns.

The a-xio-teleological situation of the semasiological interpretation isalways determined by reference to the realized aim, that is, the"discovery" of the interpretant; yet each time it is determined by thetype o1' cxper ience. Due 1o subiect ive relat iv izat ion, the exper i r 'nccimparts to the interpretat ion a degenerated character s ince in i ts rcsul t" there appear" s ign-def in ing rneanings ancht ' r recl in extra-sign real i ty.

Concluding, onc must stress that as a resul t of the para aesthet ico-scmiotic view clf the creator of pragnratism there appears a clear, thoughmaybe not very attractive. picture of the discussecl problents. We obtaina concept ion wi t l r a dist inct ly enrot ive incl inat ion, accentuat ing

96 Maciej Jabloiski

aesthetically the fundarnental role of direct experience. yet according toPeirce's epistemological pansemiot ism, in order to become "f inal andval id" the exper ience must be mediatecl by a s igrr (cancel lat ion of thenx)ment of d i rcctness). This gives in ef t 'ect a c()ncept ion of cogni t ion asa continuum whose stages, inseparably co'nected with each other. create.n the one hand the "hor izontal" t l imension in compl iance with thesyncrgist ic nature of any cogni t ion: and on the other hand, they. form the"vert ical" d imension "createcl" by the over lapping but "hol ist ic, 'cognitive acts and their semantic "effects" (interpretants), having at theirtirundation the aesthetic cognition (emotional interpretant respectively)understood lrere as the nrost ruclimentary and prereflexive form ofcogn i t iorr-exper ience.

Note

L Buczynska re{ers to thernterpretant" ( 197 5. | 32\.

logical interprerant as the "intellectual

Values and tlteir cognition in the serniotic theory of C.S.peirce 97

Quine, W. V. (1986)._ "The place of pragmatic isrs in empir ic ism, ' [ inPolishl, Limits of science and other philosophic Essayi r, rrans. B.Stanosz. Warsaw: n.o.zeman, J. (1988). "Peirce's theory of sign". ,4 perfusiott of signs, Thomas

A. Sebeok (ed.). Bloomington, IN: Indiana L/niversity i jr.rr.

Refe rences

Bense. M. (1980). World as the prism of Silns l in polishl, rrans. .f .Garcwicz. WarsawBucz-yriska, H. (1970). Vttlue.s and Fac't; Considerations about pragma.ttsm

l in Pol ishl . Warsaw.- (1975). Sign, Meaning, Vcrlue l in polish]. Warsaw.- (198 l). "The notion of a degenerated sign" [in polish], studia semioryczn.e

t1. t2t-140.Dewey, John (1934). Art as Ex.pericrce. New york.(193-5). "Peirce's theory of qual i ty" , Journal of phi losophy.Greenlee. D. (1973). Peirce's Concept o. f Sign. The Hagr. , 'Mnuton.Ll i l l . W.t{ . (1930). Peirce's pragmatic Merhot l ( : phi losophy of Science).Murph1,. M. (1967). "Peirce", Tlrc Enct,r ' lopedia of phi to iophy, vol .6. p.

I ldwards (ed.) .76-77.Peirce, Charles S. (193 1-1935). Collected papers of Cltctrles S. pejrce. Vols

I 6. C. Harrshore ancl p. Weiss (eds.) . Cinrbr idge. MA: Harvardt ln iversi ty Press.

The international research project on Musical Signifi-cation, since its founding over ten years ago, hassought to win new scholars to musical semiotics. Tothat end, the Department of Musicology at HelsinkiUniversity has already organized five internationaldoctoral and postdoctoral seminars. They have be-come something of a tradition.

The anthology consists of papers presented in thethree first seminars covering areas from musicphilosophy and aesthetics to the analysis of vocal andinstrumental as well as electro-acoustic music,interrelationships of arts, music history, post-modernism, etc.The editor of the volume, Eero Tarasti, is Professor

and Chair of N4usicology at the Hels inki Universi tysince 1984 and Director of the International SemioticsInstitute at lmatra since 1988. This book, fourth in theseries Acta Semiotica Fennica, is the first to appear incooperation with the Indiana University Press.

Contr ibutors are. Svet lana Bauer, Raphael Brunner, OlgaDani lova, Fabienne Desqui lbe, Jarmila Doubravova, Christ ineEsclapez, Patr ick Farfantol i , Francesco Giomi, Dinda L. Gorl6e,frl1arta Grabocz, Cynthia M. Grund, Michele lgnelzi, MaciejJablor iski , Jean-JVlar ie Jacono, Inga Jankauskien6, MarcoLigabue, Urve Lippus, Jos6 Luiz Mart inez, Sarah Menin, DanutaMirka, Raymond Monel le, Thomas Nol l , Al fonso Padi l la, Ye.Pokorskaya, Annel i Remme, Paolo Rosato, lsabel le Servant,Ester Sheinberg, Ennio Simeon, Anne Sivuoja-Gunaratnam,Wil lem Marie Speelman, Michael Spitzer, Eero Tarast i

qi

(sEL

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c)OISSN 1235-497X ACTA SEMIOTICA FENNICA IV