Acta Semiotica Estica is an annually published peer-reviewed Estonian-language journal of semiotics based in Tartu, that has been published since 2001. This article gives a brief overview of the history and development of the journal.

Review of Principia Semiotica: Aux sources du sens by Group μ. Brussels: Les impressions nouvelles, 2015, 581 pp.

This paper strives to pursue two goals at the same time: how can one get to know in depth the intellectual life of the USSR in the 1930s–1950s; and, what can the virulent anti-Saussurean criticism in Russia at that time tell us about the specificity of the Marxist-Leninist theory of signs? We propose the following angle of attack: the recurring theme of this criticism, namely that Saussure’s Cours presents a “theory of hieroglyphics”, therefore a type of “bourgeois idealist” theory that Lenin assailed in his 1909 book Materialism and Empiriocriticism about Ernst Mach. Yet thinking about hieroglyphics is based on much older controversies, dating back to the 17th century and concerning the deciphering of Egyptian writing. The issue which arises here is semiotic in nature: it is the scalar opposition between transparency and opacity of the sign that is at stake. Does the sign hide or reveal? The Soviet discourse on language and signs in the 1930s–1950s seems to be based on an interrogation of the sign/referent, language/ thought, form/content relationship. A part of the history of semiotics can thus be discovered from the critique of the “hieroglyphic theory”, a little-known episode in a debate on the interpretation of Saussurism.

Magazines, leaflets, weblogs, and a variety of other media incessantly spread messages advising us on how to achieve or maintain our health or well-being. In such messages, the iconic representation of the face is predominant, and reveals an interesting phenomenon: the “face of health” seems to be unattainable as such, and is generally represented in a differential way, that is to say, by making reference to its opposite – the “face of illness”, or at least of malaise. In fact, the face is crucial in the medical domain: since ancient times, face observation has played an essential role in diagnostic practices, both in Western medicine (which resorts to the concept of facies, intended as the distinctive facial expression or appearance associated with a specific medical condition, for the description of pathological states) and Eastern preventive and healing techniques (within which the so-called Mian Xiang, or ‘face reading’, is fundamental, and connects the medical sphere with other aspects such as personality, talents, and dispositions). Drawing on the semiotic analysis of relevant case studies extending from classical iconography to present-day digital mediascapes, this paper investigates the representation of the face of health (and illness) across time and space, specifically focusing on the analogies and differences between the Western and the Eastern semiosphere. To this purpose, it relies on both literature concerning the representation and understanding of the face and studies on medical sign systems and discourses.

Today’s pornography constitutes a semiotic laboratory capable of meticulously describing some characteristics of the cultures from which it comes and for which it is intended. In it, the role of the face is preeminent and assumes relevance both from a diegetic and a formal point of view. A face which makes itself a sign and is articulated in a dialectic between the syntagmatic and the paradigmatic axis, finding expression as an aspectual device, establishing a peculiar semiotic procedure of absentia in praesentia, and highlighting an eminently enunciative dimension of the textual genre. Thus a facial semiotics of pornography becomes to all effects a cultural semiotics, which through the exploration of a transversal genre – both in its mainstream and more niche actualizations – produces significant results in defining how cultures of the face, including extrapornographic ones, delineate themselves. The aim of this article is to verify this peculiar facial semiotics through a case history that stretches from traditional to contemporary pornography, also analysing the “facial pornography” website beautifulagony.com and the visual works of some contemporary artists.

Jaan Kaplinski (1941–2021), Estonian poet, essayist and public intellectual, sadly passed away earlier this year. To commemorate him, we publish some excerpts from a conversation with him that was recorded in 2018 and in which, among other topics, we also talked about Kaplinski’s relationship with semiotics and his personal contacts with eminent scholars of the Tartu-Moscow School.

As a result of technological innovations and new cultural practices, the contemporary mediasphere is increasingly populated by digital(ized) faces. The phenomenon is not limited to human faces, but includes a vast universe of fictional animated faces, variously called ‘characters’, ‘mascots’ or ‘kyara’. In Japan, while certainly not new, kyara have been spreading thanks to globalization, digitalization and media-mix strategies. Through the connection between visual design, fictional narratives and socio-cultural consumption, kyara can be considered semiotic figures of in-betweenness, key symbolic mediators in the Japanese mediascape. Their anthropomorphic face design mediates the cultural boundaries between the human and the non-human, the animate and the inanimate, nature and culture. Furthermore, their post-modern narratives mix inspiration from the past and the present, from myths to science fiction. Lastly, they involve an encyclopedic reworking between fiction and reality, mythical references and secularization, between the domains of seriousness and playful make-believe. The article aims to explore the semiotic dimensions of kyara in contemporary Japan, with emphasis on their logic of representation and cultural outcomes. These will be investigated through the analysis of the Pokémon franchise, which will make it possible to describe the emergence of new semiotic patterns of ‘playful visual animism’ in the process of media facialization of everyday life.

After the cultural explosion of Web 2.0, digital culture reveals an apparently semiotic paradox associated with the incredibly widespread use of images of faces, while at the same time the reason to trust in the authenticity of these faces is constantly declining. This is because graphic technology has made the sophisticated manipulation of images both possible and easy. After a review of the existing semiotic models and considerations of trust, I am proposing a new approach which emphasizes the value-generating properties of trust by analogy with the money sign, seen as “trust inscribed”. Research from the neurosciences supports the hypothesis that the trustworthiness of the face is judged pre-reflexively and primordially. This, therefore, means that a trustworthy face is a premise for more successful communication than an untrustworthy one, notwithstanding the object of discussion and the cultural context. An example concerning social media influencers serves to show that in the internet-dominated globalizing culture, trustworthy faces are a multipurpose communicative asset that makes a difference.

This article analyses the sign systems or semiotic models that make up the meaning of a double face or mask drawing in the pre-Columbian rock art of Colombia, also discussing two human figures with depicted faces associated with the main picture. The sample of rock art was detected on the walls of the Chicamocha Canyon at the Mirador de Bárcenas site in the Santander Department in Northeast Colombia. Its origin is attributed to the Guane chiefdom. We hold as a central argument that this face and its gestures were part of a sign system or visual semiosphere that spread along the banks of the Chicamocha Canyon. However, the image shared some semiotic models and visual communication strategies with societies that inhabited areas in central Colombia located hundreds of kilometers away from the site studied. We support this claim because the forms, the use of the space in the images, and the gestures of a hieratic character appear both in the faces of the petroglyphs of the Huila Department as well as in some pre-Hispanic gold masks from the Cundinamarca region.
 The images of the rock art faces were analysed using a visual semiotic model based on the suggestions of the Mu group and analyses by Félix Thürleman and Jean Marie Floch. The analysis was complemented by Jacques Fontanille’s proposal for the levels of semiotic relevance, with Juri Lotman’s concept of the semiosphere employed as a key concept.

Every now and then when watching a movie, we come across faces in which we recognize a significant value, because they represent some important cultural models we use to assign meaning to our experience of the world. By way of example, I will discuss the faces of the protagonists of two recent films, Abdellatif Kechiche’s La vie d’Adèle. Chapitres 1 & 2 (2013; English title Blue Is the Warmest Colour) and Léonor Sérraille’s Jeune femme (2017), comparing them with the faces of the protagonists of some older movies, such as Andrew Adamson and Vicky Jenson’s Shrek (2001) and James Cameron’s Avatar (2009). I will argue that the way in which the faces are portrayed is similar to the narrative structure of the stories of the characters they belong to, and that the signs and narrative structures used to construct the discourses about the world in those films are at the same time similar to those of two important cultural models of what it means to be young men and women in our times. As these cultural models are different, yet interconnected, I will argue that the most meaningful faces in cinema change due to the transformation of the cultural models they derive from and that a sociosemiotic method based on a structuralist vision of culture can help identify the most culturally significant symbolic faces on screen, and elsewhere.