Semiotics of the Image: A Study of the Form of Meaning in Media Spectacles - Tapa dura

Acerca del autor

Hu Yirong is a professor at the College of Literature and Journalism, Sichuan University, and a director of the Institute of Semiotics and Media Studies (ISMS). He serves as the executive vice president of the Chinese Association for Semiotics and Cultural Communication and as editor-in-chief of the journal Signs & Media, the Chinese Semiotics Series, and the Communication Semiotics Translation Series. His main academic interests are in semiotics, cross-cultural communication, and brand strategy. He has been a visiting researcher at the Department of Language and Literature, Lund University, Sweden. Additionally, he helped to organize and chaired a roundtable at the 15th World Congress of Semiotics. He has published eight monographs, including Media Semiotics, Cultural Communication Semiotics, and a Dictionary of Semiotics and Media Studies, and has authored over 60 research papers in the field.

De la contraportada

This book provides a groundbreaking exploration of image semiotics. Going far beyond traditional analyses of static visual texts, it includes dynamic imagery, literary iconography, and psychological images, offering a holistic view of how semiotics permeates various forms of media and cultural expression.

The book integrates various case studies on Chinese culture, providing scholars outside China a unique lens through which to understand Chinese cultural thinking through semiotics. This approach not only enriches the academic discussion but also enhances cross-cultural understanding. In addition, the book collects and synthesizes significant achievements in semiotics, incorporating traditional visual theory research from the Panofsky and Warburg schools. This synthesis forms a comprehensive "semiotics of images," providing an interdisciplinary analytical framework for contemporary "media spectacles." The book employs multiple methodologies to dissect the visual image spectacles constructed by modern media signs, culminating in a macro-level understanding of cultural spectacles. Furthermore, it situates the comparison between Chinese and Western civilizations within a broad context of cultural philosophy and history, enriching the discourse on cultural differences and similarities.