Analysis of information sources in references of the Wikipedia article "Signified and signifier" in English language version.
A lyrical poem, for instance, is a vast metaphor possessing a single signified; to sum it up means to reveal the signified, an operation so drastic that it causes the identity of the poem to evaporate[.]
The face signifies by refusing to signify. ... [Deleuze's] Bergsonianism...predicated on the idea of the surface—the plane and the point—as opposed to the form—the shape and its interior. ... The passage from Victorian horror vacui to the present is that passage, the passage from potentiality to instantaneity. If in the former blankness was not a sign, but rather the place for the sign, in the latter it has become signally characteristic of the surface of all the signs which exclude it with recognizability and narrative...[l]ying outside of art it would have to be art's subject.
A lyrical poem, for instance, is a vast metaphor possessing a single signified; to sum it up means to reveal the signified, an operation so drastic that it causes the identity of the poem to evaporate[.]
The connection between 'place' and 'metaphor' is evident. Paul Ricœur remarks that 'as figure, metaphor constitutes a displacement and an extension of the meaning of words; its explanation is grounded in the theory of substitution ' (The Rule of Metaphor 3; italics added).
The semiotic black hole is...the destruction of the whole sign...that radically transforms the socius, possessing a gravitational pull that has the power to massively reshape and remotivate ... the semiotic black hole...[leaves] little or no trace of its influence. ... a collision of a fatal event and a perfect object[.] ... Temporality is constant motion; to mark a point in time is to freeze only that moment, to celebrate impression and deny expression.
The face signifies by refusing to signify. ... [Deleuze's] Bergsonianism...predicated on the idea of the surface—the plane and the point—as opposed to the form—the shape and its interior. ... The passage from Victorian horror vacui to the present is that passage, the passage from potentiality to instantaneity. If in the former blankness was not a sign, but rather the place for the sign, in the latter it has become signally characteristic of the surface of all the signs which exclude it with recognizability and narrative...[l]ying outside of art it would have to be art's subject.
The face signifies by refusing to signify. ... [Deleuze's] Bergsonianism...predicated on the idea of the surface—the plane and the point—as opposed to the form—the shape and its interior. ... The passage from Victorian horror vacui to the present is that passage, the passage from potentiality to instantaneity. If in the former blankness was not a sign, but rather the place for the sign, in the latter it has become signally characteristic of the surface of all the signs which exclude it with recognizability and narrative...[l]ying outside of art it would have to be art's subject.
The semiotic black hole is...the destruction of the whole sign...that radically transforms the socius, possessing a gravitational pull that has the power to massively reshape and remotivate ... the semiotic black hole...[leaves] little or no trace of its influence. ... a collision of a fatal event and a perfect object[.] ... Temporality is constant motion; to mark a point in time is to freeze only that moment, to celebrate impression and deny expression.
