We are happy to introduce the new, 12th number of Hortus Semioticus edited by Hongjin Song, Eleni Alexandri, and Andrew Mark Creighton.
The current issue of Hortus Semioticus travels through various topics in semiotics by presenting student works from the discipline. As a general issue, there are no specific topics here. Yet, the following illustrates the author’s concerns regarding the world that semiotics promises to us.
The first article, “Semiotic Perception of Cuteness in Grogu” by Juan Sebastián Zamudio González, concerns the filmic representation of cuteness in the case of Grogu, or “Baby Yoda”, in “The Mandalorian” (2019) series, from the perspective of Konrad Lorenz’s idea of Kindchenschema. The second text, Sebastián Nabón Hernández’s article “Covert Intermediality between Poetry and Music:…il remoto silenzio (2002) for Violoncello Solo by Graciela Paraskevaídis” focuses on the intricate relationship between music and poetry in the case of Graciela Paraskevaidís’ Violoncello solo Il Remoto Silenzio. “Functioning of Intersemiotic Translation Operations on the Theoretical Representation of a Black Hole to the Cinematographic Presentation” by Joaquin Mendoza Pérez is the third piece in this issue. The article investigates an interesting topic for contemporary times, using black holes to demonstrate the interplay between science and art, where neither can fully detail our reality. The final article, “Intertextuality in Multimodal Advertising Discourse as an Object of Cultural Semiotics: A Case Study of IKEA’s “Let’s Relax” Advertisement” by Nora Lapinskaitė, is a case study on how advertisements convey their message to audiences. The text is exemplified via IKEA’s commercial “Let’s Relax” (2016) and demonstrates the multilayered and rich meanings imbued into contemporary commercials.
Apart from the four articles, this issue also features an interview between Siiri Tarrikas and Evripides Zantides (In both English and Estonian). In the interview, Zantides shares his experiences of discovering semiotics in the course of studying graphic communication while also discussing the application of semiotics in practice. The second interview, which was held between Eero Tarasti and Sebastián Nabón, focuses on Tarasti’s academic tracks of being a semiotician and further addresses how musical semiotics differentiates itself from musicology.
The articles and interviews in this issue adopt an interdisciplinary approach, offering valuable perspectives on the complexities of semiotics and future studies. With optimism and enthusiasm, it is hoped that these contributions will inspire new ways of thinking and examining this multifaceted and fascinating subject.
This issue was edited by Hongjin Song, Eleni Alexandri, and Andrew Mark Creighton with the assistance of Katre Pärn and Nelly Mäekivi. The Hortus Semioticus editorial board consists of Andrew Mark Creighton, Eleni Alexandri, Katre Pärn, Nelly Mäekivi, Hongjin Song, Siiri Tarrikas, Andrea Barone Renolfi, Ingrid Udeküll, Tshinar-Kristi Shahmardan, and Sebastián Nabón.
Special thanks go to the reviewers and language editors, whose hard work has been fundamental to this issue’s success. Many thanks to Ott Puumeister, Silver Rattasepp, Mark Mets, James Augustus Bacigalupi IV, Nordic Association for Semiotic Studies, and Cyprus Semiotics Circle.
Special thanks to Andreas Panayi for the cover art of this issue.