Announcements
Current CFPs
CFP: NONSENSE IN LANGUAGE AND THOUGHT
What are the sources of nonsense? Are some parts of philosophical and non-philosophical discourse nonsense? What is the relation between nonsense and figurative speech? Is it at all possible to be wrong whether our own thoughts are meaningful? We hope that the special issue of Studia Semiotyczne will further strengthen and deepen the scholarly interest in nonsense.
Deadline for submissions: the 31st of July 2026
Details: http://studiasemiotyczne.pts.edu.pl/index.php/Studiasemiotyczne/nonsense
CFP: TRANSLATION—SEMIOTICS—MUSIC
The field of translation and music has been attracting increased attention recently: this is evident in numerous monographs, research papers, and conferences focused on the complex relationship between words and sounds. Against this backdrop, we would like to bring the two fields together through semiotics-based research on musical texts, believing that this perspective has the potential to create resonance for general translation studies.
Deadline for submissions:
the 30th of September 2026
Details: https://studiasemiotyczne.pts.edu.pl/index.php/Studiasemiotyczne/announcement/view/8
Current Issue
I would like to present to the reader a unique volume, one born from a passion for knowledge, an attempt at understanding music in its deepest essence, and the question of whether this art can transmit meaning. This passion has led researchers to semiotics, structuralism, and trends in the global humanities that have uncovered those elements that constitute a work, that allow for communication in a nonverbal language—what can be encoded and what can be decoded, what has changed over the centuries, and what has remained constant. This has given rise to three closely related trends that have been developing for over 50 years: musical semiotics, musical signification (meaning), and musical narratology—all inspired by linguistics and literary studies, all adapting tools from these disciplines, all proposing a new perspective on music that was impossible for the tools typical of musicology or music theory, and which have thus allowed for a completely different understanding of music [...].