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Semasiography

Semasiography is a system of graphic communication that employs visible symbols, such as pictographs or ideographs, to convey meaning directly without relying on the phonetic representation of spoken language.^[1] Coined by linguist Ignace J. Gelb in his 1952 work A Study of Writing, the term derives from the Greek words semasia (meaning) and graphe (writing), emphasizing its role in expressing ideas or concepts independently of any specific linguistic form.^[1] Unlike glottographic writing systems, which encode elements of speech such as words or sounds, semasiography functions as a non-linguistic "graphic language" that allows for multiple verbal interpretations across different tongues.^[2]^[1] Gelb classified semasiography as a precursor or "forerunner" to true writing, dividing it into two primary types: descriptive-representational devices, which depict scenes or events through illustrative pictures (e.g., a drawing of a battle to record historical occurrences), and identifying-mnemonic devices, which serve as memory aids or identifiers (e.g., symbols denoting quantities like "five sheep" or personal emblems such as a panther on a shield to signify ownership).^[1] Historical examples include primitive picture writings from Indo-European, Semitic, and Amerindian cultures, as well as Dakota winter counts—pictorial calendars marking annual events, such as 30 parallel lines representing deaths by Crow warriors in 1800–1801—and Ojibwa song notations using symbols like a medicine lodge to evoke the Great Spirit.^[1] These systems highlight semasiography's mnemonic function, enabling intercommunication through visual marks that record events, quantities, or abstract notions without phonetic precision.^[1] In modern contexts, semasiographic principles extend beyond primitive artifacts to include notations like mathematical symbols, musical scores, and international road signs, where shapes and icons (e.g., a triangular warning versus a circular prohibition) transmit information universally without language ties.^[2] Efforts to develop comprehensive semasiographic systems, such as Otto Neurath's Isotype in the 1930s—a pictorial language for statistical and informational graphics—demonstrate its potential for broad accessibility, though such systems often lack the expressive depth of spoken languages.^[2] Archaeological evidence suggests semasiography predates glottographic writing by millennia, representing an early evolutionary stage in human graphic expression that laid the groundwork for more structured scripts.^[2]^[1]

Overview

Definition

Semasiography, derived from the Greek terms sēmasía ("signification" or "meaning") and graphḗ ("writing" or "drawing"), literally refers to "writing with signs" that convey meaning directly.^[1] At its core, semasiography is a system of graphic communication that employs symbols, known as semasiographs, to represent ideas, concepts, or information independently of any specific spoken or phonetic language structure. These symbols function as icons, pictograms, or abstract marks that stand for meanings without phonetic value, allowing for the direct expression of notions loosely connected to speech rather than exact linguistic forms.^[1] In contrast to glottography, which records speech sounds, semasiography operates as an autonomous visual medium.^[2] The primary purpose of semasiography is to facilitate universal or cross-linguistic communication by bypassing the constraints of spoken languages, enabling the recording or transmission of information through shared visual conventions that prioritize semantic content over auditory representation. Semasiographs serve as the basic units in this system, ranging from representational images that evoke broad concepts (such as a sun symbol denoting "day" or "brightness") to more abstract notations that aid memory or documentation without requiring verbal articulation.^[1] The concept of semasiography was formalized in modern linguistics by Ignace J. Gelb in his seminal 1952 work A Study of Writing, where he introduced the term to describe pre-linguistic notation systems as precursors to full writing. It has since been further developed and popularized in contemporary scholarship, notably by Barry B. Powell in his 2009 book Writing: Theory and History of the Technology of Civilization, which emphasizes its role in the evolution of human symbolic communication.^[1]^[3]

Distinction from Glottography

Glottography refers to writing systems that use visible marks to represent elements of a specific spoken language, such as phonemes, morphemes, or words, through phonetic, syllabic, or logographic means that are inherently tied to the phonological or lexical structure of that language.^[2] In contrast, semasiography constitutes an independent graphic system that conveys meaning directly through symbols without any necessary connection to spoken language elements, enabling the transmission of ideas via visual representation alone, independent of pronunciation or linguistic mediation.^[2] This binary opposition highlights semasiography's autonomy from speech, where symbols map straightforwardly to concepts, whereas glottography demands interpretation through the specific grammar and sounds of its associated language, rendering it language-specific and culturally bound.^[4] The distinction carries significant implications for communication: semasiographic systems promote multilingual accessibility by transcending linguistic barriers, allowing diverse users to interpret symbols based on shared conceptual understanding rather than verbal articulation.^[2] Glottographic systems, however, often reinforce cultural and linguistic boundaries, as their efficacy relies on familiarity with the underlying spoken language, which can limit cross-cultural transmission.^[2] This opposition underscores semasiography's role as a more universal mode of notation, potentially serving as a precursor to more complex linguistic representations. The binary classification of semasiography and glottography was introduced in modern linguistic theory by Geoffrey Sampson to categorize the evolution of writing systems, positioning semasiography as an early stage that predates the development of full glottographic scripts around 3200 BCE in Mesopotamia and Egypt.^[2]^[5] Sampson's framework, detailed in his 1987 work Writing Systems, emphasizes how glottographic innovation marked a shift toward language-tied notation for administrative and narrative purposes in those ancient civilizations.^[2] Debates persist regarding the "purity" of such systems, as some historical scripts exhibit hybrid traits; for instance, early Chinese characters incorporate both semantic (semasiographic) and phonetic (glottographic) components, challenging strict categorizations.^[2] Nonetheless, pure semasiography is defined by its complete avoidance of phonetic elements, maintaining a direct link between symbol and signified idea without linguistic intermediaries.^[2] This nuance informs ongoing scholarly discussions on the continuum between the two modes in writing evolution.^[2]

Historical Development

Ancient Precursors

The earliest precursors to semasiographic systems can be traced to Paleolithic cave art, where rudimentary markings served as visual representations of ideas, animals, and events without phonetic elements. For instance, paintings in caves like Lascaux in France, dated to approximately 17,000 BCE, include abstract signs such as dots, lines, and Y-shapes alongside animal depictions, which some researchers interpret as proto-writing conveying information about seasonal cycles or hunting sequences.^[6] These markings evolved during the Neolithic period into more systematic symbols, such as the Vinča symbols from the Balkans (circa 5300–4500 BCE), inscribed on pottery and figurines, likely used for tallying goods or denoting ownership in early agricultural communities.^[7] Key prehistoric examples include the Jiahu symbols from Henan Province, China, dating to around 6600 BCE, which consist of incised marks on tortoise shells and pottery, potentially representing notations for rituals, counts, or simple concepts in a pre-literate society.^[8] Similarly, the Dispilio tablet from northern Greece, carbon-dated to approximately 5200 BCE, features linear pictographic marks on wood, suggesting an early form of symbolic recording possibly linked to administrative or mnemonic functions in a lakeside settlement.^[9] These semasiographic precursors primarily recorded concrete ideas, such as quantities of goods or notable events, lacking grammatical structure or syntax, and functioned as memory aids or tools for basic administration in pre-literate societies.^[10] In the Near East, archaeological evidence from around 8000 BCE includes small clay tokens and seal impressions, which were used to track economic transactions like livestock or grain storage, serving as tangible counters that prefigured more complex notations.^[11] These artifacts demonstrate how semasiography emerged from practical needs in early sedentary communities. Despite their sophistication, these systems did not constitute full writing due to the absence of syntactic rules for combining signs into sentences, yet they laid essential foundations for the development of later ideographic and logographic scripts.^[10]

Evolution into Writing Systems

The evolution of semasiographic systems into glottographic writing began around 3500–3200 BCE in Mesopotamia, where proto-cuneiform pictograms on clay tablets initially represented concrete objects and quantities for administrative purposes, such as accounting livestock and goods, without direct ties to spoken language.^[1] In parallel, proto-hieroglyphic signs in Egypt emerged circa 3200 BCE, depicting scenes and symbols on artifacts like the Narmer Palette, functioning primarily as mnemonic aids for events and possessions rather than linguistic encoding.^[1] These early systems transitioned through the addition of phonetic elements, creating mixed logo-syllabic structures that allowed for more precise recording of names, verbs, and abstract concepts.^[1] A pivotal mechanism in this shift was the rebus principle, by which iconic symbols were repurposed for their phonetic values; for instance, in proto-cuneiform, a sign for "arrow" (ti) was extended to represent the homophonous word "life" (also ti), enabling the notation of spoken elements beyond visual depictions.^[1] Phonetic complements further facilitated this blending, as seen in Sumerian examples where syllabic indicators like "za" clarified ambiguous logograms, such as an animal head sign denoting "aza" (to know).^[1] Similarly, Egyptian hieroglyphs employed uniliteral signs and group writing to approximate pronunciation, transforming pure pictograms into a hybrid system where determinatives provided semantic context alongside sound-based notation.^[1] This integration marked the onset of glottography, where writing began to mirror linguistic structures more closely. In other regions, the transition retained stronger semasiographic elements. Mesoamerican scripts, originating with Olmec symbols around 900 BCE,^[12] evolved into the Mayan glyphs by the 3rd century BCE, preserving iconic representations of deities, numerals, and concepts within a predominantly logographic framework that incorporated syllabic phonetics only partially. The Indus Valley signs, dating to circa 2600 BCE, remain undeciphered and debated among scholars as potentially primarily semasiographic, functioning as non-linguistic symbols for trade, rituals, or administration rather than a full phonetic script. Scholars view semasiography as a near-universal initial stage in writing invention, facilitating basic record-keeping in complex societies before the demands of legal, historical, and literary texts necessitated phonetic encoding.^[13] By around 2000 BCE, glottographic systems dominated in Mesopotamia and Egypt, with cuneiform and hieroglyphs fully integrating syllabic and alphabetic principles, though semasiographic residues endured in logograms such as Egyptian numerals, which directly conveyed numerical values independent of spoken words.^[1] This evolution underscores writing's adaptation from visual mnemonics, akin to earlier precursors like Vinča symbols around 5300–4500 BCE, to language-tied communication.^[13]

Characteristics

Key Features

Semasiographic systems represent meaning through visible symbols that directly convey ideas or concepts, independent of any specific spoken language or phonetic structure. These systems employ pictographic or ideographic signs that capture notions loosely connected to speech, such as a symbol resembling an object or action to denote it or related attributes, enabling intuitive decoding without the need for learned linguistic conventions.^[1] This iconicity allows for a direct mapping between the sign and its referent, often through simplified, stylized forms that omit extraneous details while preserving essential features for recognition.^[1] A core attribute of semasiography is its universality, as it operates outside the constraints of particular languages, facilitating communication across cultural and linguistic boundaries through shared visual conventions. Unlike glottographic systems, which tie symbols to spoken sounds, semasiographic ones lack inherent grammar but may employ spatial arrangements or juxtapositions of signs to imply relationships between concepts.^[1]^[14] This non-linguistic foundation promotes broad accessibility, though interpretation often remains context-dependent on cultural familiarity with the symbols. Semasiographic systems exhibit simplicity in their foundational structure, beginning with concrete, recognizable pictograms that can abstract into ideograms for broader conceptual representation, without reliance on a fixed alphabet or phonetic inventory. Symbols are combinable to form more complex expressions, allowing scalability from basic notations to elaborate arrays that encode multifaceted ideas.^[1] Functionally, these systems prioritize information storage and retrieval, such as in lists, diagrams, or maps, serving primarily as mnemonic aids to recall events, quantities, or patterns rather than enabling full narrative discourse.^[1] Despite these strengths, semasiographic systems face inherent constraints in expressiveness, particularly for abstract, nuanced, or contextually variable ideas, which require supplementation through additional signs or external knowledge to achieve precision. Their non-phonetic nature limits them to direct conceptual representation, often restricting full comprehension to the creator or a shared cultural group, and hindering scalability for extensive vocabularies without evolving toward phonetic elements.^[1]

Levels of Abstraction

Semasiographic systems exhibit a spectrum of abstraction levels, ranging from direct visual representations to highly conventionalized symbols, allowing them to convey meaning independently of spoken language. At the pictorial level, symbols closely resemble the objects or actions they depict, serving as immediate visual cues in early non-phonetic notations. For instance, ancient Uruk-period seals from Mesopotamia (ca. 3200 BCE) used naturalistic drawings of animals, boats, and humans to record administrative or ritual information, maintaining high iconicity without phonetic encoding.^[15] This mimetic approach, rooted in imitation of reality, facilitated basic communication in prehistoric and proto-writing contexts, such as Naqada I-II rock drawings in Egypt (ca. 3750–3320 BCE) depicting similar concrete scenes.^[15] Progressing to the ideographic level, symbols lose some literal resemblance and instead represent broader ideas or concepts, enhancing expressive capacity while remaining semasiographic. Egyptian tomb tags from Tomb U-j (ca. 3320 BCE) illustrate this with signs like an elephant on a mountain denoting "Elephantine," evoking the location's conceptual essence rather than a precise image.^[15] This stage introduces efficiency by allowing one symbol to encompass non-tangible ideas, as seen in proto-cuneiform signs from Uruk IV (ca. 3200 BCE) that combined elements for composite meanings.^[15] The symbolic level marks full abstraction, where signs become arbitrary conventions detached from visual origins yet retain meaning through agreed-upon usage, optimizing complex notations. Mathematical symbols exemplify this: the plus sign (+) evolved from Latin abbreviations for "et" (and), now universally denoting addition without resemblance to summation. Road signs further demonstrate progression, with early 20th-century icons like literal deer silhouettes abstracting into stylized warnings for wildlife hazards, prioritizing clarity over exact likeness.^[16] In numerals, this hierarchy is evident as tally marks—simple strokes for counting—evolved into abstract Hindu-Arabic digits (e.g., "1" from a single stroke to positional symbols like "10"), enabling scalable representation of quantities. This progression from mimesis (imitation) to conventionalism, as theorized in semiotic analyses of writing evolution, underscores semasiography's developmental flexibility, permitting adaptation from concrete depictions to efficient, abstract systems while preserving universality as a core feature.^[17] Early pictorial forms simplify into ideograms for ideas, then conventionalize into symbols, reducing cognitive load in diverse applications like administration or mathematics.^[15]

Examples

Historical Examples

One of the earliest known semasiographic systems emerged in Mesopotamia around 3400 BCE with proto-cuneiform, which utilized small clay tokens and their impressions to record accounting information for goods such as livestock and grain. These tokens were purely iconic, representing quantities and types of commodities through geometric shapes like spheres, cones, and cylinders without any phonetic components, serving administrative functions in early urban economies. Impressions of these tokens on clay envelopes evolved into two-dimensional signs on tablets, maintaining a focus on semantic representation for economic transactions.^[18]^[19] In Mesoamerica, the Mixtec codices from the 11th to 16th centuries CE exemplify semasiographic manuscripts painted on deerskin in a fold-book format, documenting genealogies, historical events, and political alliances through standardized pictographic symbols. These symbols depicted persons, places, and actions—such as a ruler's accession or marriage—via conventional icons like glyphs for specific individuals or motifs for warfare, allowing narrative sequences readable by initiated audiences without reliance on spoken language elements. Produced by Mixtec scribes in regions like Oaxaca, Mexico, these codices preserved cultural memory across polities, emphasizing visual storytelling over phonetic transcription.^[20]^[21] Pre-Columbian Aztec codices, dating to the 14th and 15th centuries CE, incorporated semasiographic elements in pictorial narratives for calendars, tribute records, and historical annals, featuring day signs from the 260-day tonalamatl cycle alongside icons for events like conquests or offerings. These manuscripts, often on amatl paper, used standardized symbols—such as footprints for journeys or bound captives for tribute—to convey administrative and ritual information, with minimal phonetic supplementation in some cases to denote names or places. Surviving examples like the Codex Mendoza illustrate how these systems supported imperial governance by visually enumerating provincial obligations and temporal structures.^[22]^[23] The Nsibidi script, originating in southeastern Nigeria around the 5th century CE among Ekpe secret societies, employed geometric and figural marks as a semasiographic system for conveying social messages, proverbs, and ritual instructions. Symbols such as interlocking lines for unity or stylized human figures for authority were incised on skin, calabashes, or walls, functioning as an esoteric code accessible primarily to initiates for purposes like dispute resolution or society lore, independent of phonetic ties to local languages. Archaeological evidence from Calabar region artifacts confirms its use in Ekpe contexts for secretive communication across Efik, Ibibio, and Igbo communities.^[24]^[25] The Indus Valley script, inscribed on seals from approximately 2600 to 1900 BCE, remains undeciphered and is debated among scholars as potentially semasiographic, with over 400 pictographic signs possibly denoting trade goods, rituals, or administrative concepts rather than phonetic values. Found on steatite seals at sites like Harappa and Mohenjo-Daro, these motifs—often animals like unicorns or composite figures alongside short sign strings—likely served non-linguistic functions in commerce or ceremonial validation, as their brevity and context suggest symbolic rather than verbal encoding. The absence of bilingual texts fuels ongoing discussions about its logo-semasiographic nature in supporting the civilization's urban networks.^[26]^[27]

Modern Examples

One prominent modern semasiographic system is Blissymbols, an iconic language developed by Charles K. Bliss in 1949 and first published in his book Semantography-Blissymbolics.^[28] Designed for non-verbal communication to bridge language barriers, it consists of over 100 basic symbols that can be combined to represent complex concepts, such as combining a person figure with a house to denote "family."^[29] Blissymbols gained practical application in augmentative and alternative communication (AAC) tools starting in the 1970s, particularly for individuals with disabilities like cerebral palsy, enabling them to express ideas independently of spoken language. International road signs, standardized under the Vienna Convention on Road Signs and Signals adopted in 1968, exemplify semasiography in global infrastructure for traffic safety.^[30] The convention promotes abstract, universal icons—such as a curved arrow indicating a road bend or a pedestrian figure for a crosswalk—replacing text to ensure comprehension across linguistic boundaries and reduce accidents in diverse regions. These symbols operate at varying levels of abstraction, from pictorial representations to more schematic forms, and have been ratified by over 70 countries to harmonize signage worldwide.^[30] Emojis emerged in the late 1990s as digital pictograms on Japanese mobile devices, with the first major set of 176 symbols created by Shigetaka Kurita for NTT Docomo's i-mode service in 1999 to convey emotions and concepts in text messaging.^[31] Standardized through the Unicode Consortium starting in 2010, emojis have evolved into a vast repertoire of over 3,600 characters by 2024, allowing users to form complex sequences for nuanced expression, such as combining a heart and camera to signify "love photography," independent of natural language syntax.^[32] This system facilitates intuitive, cross-cultural digital communication in texting and social media.^[33] Mathematical notation serves as a longstanding yet enduringly modern semasiographic system, with its core principles of direct idea representation solidified since the 16th century through symbols like π for the mathematical constant pi or ∫ for integration, which convey abstract concepts without reliance on any specific spoken language.^[2] These notations enable precise, universal communication of mathematical ideas across disciplines, as seen in equations that transcend linguistic barriers in global scientific collaboration.^[34] Computer icons, introduced in the graphical user interface (GUI) era at Xerox PARC in the early 1980s, represent actions and objects through intuitive symbols to enhance user interaction.^[35] Pioneered in systems like the Xerox Star (1981), icons such as a folder for file organization or a trash bin for deletion allow non-verbal navigation of digital environments, reducing cognitive load and promoting accessibility in software like early Macintosh and Windows interfaces.^[36] This approach has become foundational to modern computing, enabling billions of users to perform tasks via visual semasiography.^[35]

Theoretical Implications

In Linguistics

In linguistic theory, semasiography represents a foundational stage in the classification of writing systems, where graphic signs convey meanings or concepts directly rather than sounds or spoken words. Ignace J. Gelb, in his seminal 1952 work A Study of Writing, positioned semasiography as the initial "forerunner" phase preceding phonographic stages, such as word-syllabic and alphabetic systems, emphasizing its role in early symbolic representation independent of language.^[1] This framework contrasts with John DeFrancis's 1989 argument in Visible Speech that all true writing systems are inherently phonetic, tied to spoken language, thereby challenging the viability of purely semasiographic systems as full writing.^[37] Gelb's model thus highlights semasiography's distinction from glottography, the latter being writing that encodes linguistic units like phonemes or morphemes. Semasiography informs evolutionary linguistics by supporting the hypothesis that writing emerged from practical economic imperatives, such as accounting and record-keeping, rather than as a direct transcription of speech. Archaeological evidence from Mesopotamian sites around 3500 BCE shows proto-cuneiform tablets used for tallying goods, evolving from clay tokens that functioned semasiographically to denote quantities and commodities without phonetic ties.^[38] This perspective contributes to ongoing debates on proto-writing, positing semasiographic systems as precursors that facilitated administrative complexity before linguistic encoding developed, as explored in analyses of writing's gradual abstraction from iconic to symbolic forms. The concept extends to cross-disciplinary impacts in linguistics, particularly in studies of language acquisition, where visual symbols serve as tools for pre-linguistic cognition. Research indicates that young children initially use drawings and icons to represent ideas, mirroring semasiographic principles and aiding the transition to phonetic literacy by building conceptual mapping skills independent of verbal output.^[39] This aligns with evolutionary models suggesting semasiographic cognition as a bridge between non-linguistic communication and full language systems. Contemporary linguistic research on digital semasiography, such as emojis and AI-generated icons, tests assumptions of linguistic universality by examining how non-phonetic visuals convey meaning across cultures. For instance, emoji systems operate semasiographically, combining icons to express ideas without fixed syntax, yet critiques highlight their limitations in encoding complex semantics or grammatical relations, restricting them to supplementary roles in digital discourse.^[40] Key scholars like Maggie Tallerman, in her 2017 analysis of evolutionary complexity, integrate semasiography into broader discussions of cognitive prerequisites for language, emphasizing its role in social cognition hierarchies.^[34]

In Semiotics

In semiotics, semasiography aligns closely with Charles Sanders Peirce's triadic classification of signs into icons, indices, and symbols, where semasiographic elements function primarily as icons due to their resemblance to the concepts or objects they denote, such as pictorial representations of ideas that mimic visual or perceptual qualities.^[41] However, these systems can extend to indices by pointing to relational dynamics, like directional arrows indicating movement, or to symbols through conventional combinations that represent abstract notions without direct resemblance.^[41] This versatility positions semasiography as a foundational mode in Peirce's broader semiotic framework, emphasizing interpretants that bridge sensory experience and conceptual understanding in visual notation.^[41] Semasiography's independence from spoken language expands Ferdinand de Saussure's dyadic model of the sign—comprising a signifier (form) and signified (concept)—beyond arbitrary linguistic pairings into non-verbal domains, where signs convey "pure" meaning through direct, often iconic linkages rather than phonetic mediation.^[42] As Roy Harris articulates, semasiographic systems operate as autonomous graphic expressions of ideas, unmoored from glottographic constraints that tie writing to speech sounds, thus enabling signification via visual patterns and spatial arrangements.^[43] This decoupling challenges Saussure's prioritization of oral language as the primary semiotic system, highlighting writing's potential as an originary mode of communication.^[42] In visual semiotics, semasiography informs the analysis of non-linguistic symbols in advertisements, art, and media, where icons and composites directly encode ideologies, as Roland Barthes demonstrates in his examination of mythic structures that naturalize cultural narratives through everyday images. For instance, product logos or infographics function semasiographically to bypass verbal discourse, conveying persuasive meanings via iconic resemblance and indexical associations that embed societal values. Barthes' framework thus reveals how such systems perpetuate "second-order" signs, transforming historical contingencies into seemingly universal truths. Philosophically, semasiography interrogates the language-dependence of human cognition posited in Noam Chomsky's generative grammar, which emphasizes innate linguistic structures as central to thought, by demonstrating viable non-verbal pathways for meaning-making that support cross-cultural comprehension. It bolsters arguments for universal semiotics in globalized contexts, where icon-based systems facilitate communication transcending linguistic barriers, as seen in international signage standards.^[43] Modern extensions of semasiography include emoji as a dynamic semiotic system that blends Peircean icons (e.g., pictorial faces denoting emotions) with symbolic conventions, challenging traditional linguistics by evolving into a hybrid mode of digital expression independent of alphabetic scripts.^[44] Similarly, systems like Blissymbols exemplify potential universal auxiliary languages, using composable ideograms to enable idea-based communication for diverse users, including those with speech impairments, thereby realizing semasiography's promise for inclusive, non-arbitrary signification.^[45]

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In stockJohn DeFrancis, a noted specialist in the Chinese language, shows that writing can be based only upon a sound system and not upon any other linguistic level.
[37]
The Origins of Writing - The Metropolitan Museum of Art
Only a few examples of its use exist in the earliest stages of cuneiform from between 3200 and 3000 B.C. The consistent use of this type of phonetic writing ...Missing: glottographic | Show results with:glottographic
[38]
[PDF] Emojis: A Grapholinguistic Approach
Nov 24, 2019 · While glottography can be read, i.e., decoded directly, semasiography can only be inter preted but never read since no specific linguistic units ...Missing: semasiographic | Show results with:semasiographic
[39]
Peirce's Theory of Signs - Stanford Encyclopedia of Philosophy
Oct 13, 2006 · Peirce's early examples of icons are portraits and noted similarities between the letters p and b (W2. 53–4).Basic Sign Structure · Peirce's Early Account: 1867–8. · The Final Account: 1906–10Missing: semasiography | Show results with:semasiography
[40]
Semiotics for Beginners: Signs - cs.Princeton
Symbolism reflects only one form of relationship between signifiers and their signifieds. Whilst Saussure did not offer a typology of signs, Charles Peirce was ...Missing: semasiography | Show results with:semasiography
[41]
[PDF] Archaeology of Semiotic Behaviour: The Prehistory of Scripts
The rationale that is offered for the invention of writing systems is that these devices were created in Egypt and Mesopotamia around 5000 years ago in order to ...
[42]
(PDF) The Semiotic Perspectives of Peirce and Saussure: A Brief ...
Aug 8, 2025 · The primary purpose of this paper is to make a comparative analysis between two leading scholars' perspectives on semiotic theory, namely Charles Sanders ...Missing: semasiography | Show results with:semasiography
[43]
[PDF] Introduction to the Semiotics of Emoji and Digital Stickers - media/rep
native approach by conceptualizing emoji (or, rather, communication through emoji) with recourse to Charles Sanders Peirce's semiotics. Introducing a novel.
[44]
[PDF] The Iconicity and Learnability of Blissymbols - DiVA portal
Jun 16, 2014 · In the present study the authors strive to describe the learnability of the Blissymbol system in a non-western culture using a semiotic ...