Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder
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Georgij Yu. Somov
Abstract
Being the object of semiotic studies, metonymy demands investigation in the non-verbal domain, i.e., visual sign systems. When analyzing the metonymies of visual artworks, they prove to have different sources: verbal and visual sources refer to codes, languages, contexts, and sign forms of a work (denotations, connotations, and organizing sign structures). Different particular metonymies promote incarnation of a general metonymy of work. In the work structure (or coding), particular metonymies are joined and organized on the basis of this general metonymy. The metonymies interrelated in a complex way on the basis of general metonymy are revealed in the course of semiotic analysis of the paintings by Bruegel the Elder. The sign structures of his works underlie the philosophic generalizations of the great painter and philosopher.
© 2009 by Walter de Gruyter GmbH & Co. KG, D-10785 Berlin
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- The biosemiosis of prescriptive information
- Kitsch, irony, and consumerism: A semiotic analysis of Diesel advertising 2000–2008
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- Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder
- Comments concerning the artist in a Peircean perspective
- Seven short comments on pragmatic semeiotic and branding
