This thesis provides a comparative analysis of late-twelfth and early-thirteenth century Tristan verse narratives from the French- and German-speaking worlds, in order to gain a more nuanced picture of how these specific writers reflect contemporary debates on interpretation and fictionality in their own works. While there is a vast body of critical literature on these texts, and a large amount of this scholarship examines the way that interpretation functions in these works, critics have so far not adequately considered how the Tristan texts from this period as a body engage with contemporary medieval debates on the relationship between truth, lies and fiction, particularly in relation to fiction as a new category for vernacular literary culture. Therefore, this thesis analyses how literary practice during this period is reflected in these texts, particularly regarding truth, lies, interpretation and authority. The first part of the thesis thoroughly studies the use of verbal and visual signs in the texts, focusing on the way that characters both construct and interpret those signs. The second part of the thesis examines storytelling in these texts. This focuses firstly on the narrators’ interjections into their works, discussing for example their relationship to their sources. Secondly, this analyses how the characters within the texts tell stories to each other, particularly those relating to their own pasts. Together, these two parts argue that interpretation and authority are key concerns for the writers of these texts. In conclusion, this thesis proposes that the writers of the Tristan verse narratives are participating in a dialogue about literary practice, interpretation and authority as they attempt to engage with the new narrative mode of literary vernacular romance.

Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3

Thesis (Ph. D.)--Ohio State University, 1984. / Includes bibliographical references (leaves 179-184). Available online via OhioLINK's ETD Center.

Thesis (M.S.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains viii, 68 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 61-62).

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This thesis investigates the relationship between communication and place, and the informational environment it forms. The thesis takes as its object of analysis signage, and examines signage as an implaced medium of communication. / In this work communication, including its practices and technologies, is treated as a dynamic ritual formed by the marking, naming, connecting, and interpreting the environment in the process of wayfinding. Such an approach underscores the inherent duality of communication: its manifestations framed by transmission and ritual; its boundedness by both space and time; and its expression in both mobile and fixed (implaced) media. The thesis thus shifts the disciplinary discourse from the usual text- and language-based focus to a more comprehensive focus that encompasses architectural and infrastructural environments and the grounding action of physical presences. Through its focus on the navigational aspects of communication, and framing by such concepts as wayfinding and signposting, the thesis shows how we can reconfigure the notion of the visual to include the embodied, experiential, and implaced. This in turn can help us gain a new perspective on the changing nature of text, image, representation, information and reality. / The thesis argues that as the themes of orientation, navigation, and interface grow alongside the new communication technologies, they make it important to attend to the original mediating role of the built environment and the navigational dimensions of place. It is here, within our foundational spatial orientation and wayfinding, that we turn for the metaphors, conceptual structures, and grounding as we chart our ways through the emerging informational environments. / In examining signage as a system of interfaces used in negotiating informational environments, as way-markers in a process of wayfinding, the thesis demonstrates the ways in which the concepts of wayfinding and navigation have become consequential to communication scholarship. It proposes that fruitful cues for the theorising and understanding of emerging informational realms can be drawn from the communicative dimensions of the most familiar immersive environments and their related practices: the physical spaces and built environments that we inhabit and negotiate daily.

In this paper, the summarized definitions, the history of PSA in both China and abroad as well as related-Chinese background are presented so as to lay a background foundation for the research. The theories of signs and communication in semiotics, as well as the reception theories by Stuart Hall build the theoretical base for the research. Two pieces of Chinese Public Service Advertisements of the most two common categories in the field are analysed through semiotics methods, so as to reach one of the aims of the research, namely the understandings of how signs are used in the creation of these PSA, and what the interpretations of the signs are as well as how they come into being. Another aim of the research is to understand the reception of one of the two PSA among the ordinary Chinese people. The method of focus group interview is used to reach this aim. It has been found out that signs on PSA are created with certain meanings, and the interpretations of the signs can vary depending on the translator's life background. It has also been found out that the PSA can be received differently by people with different background, and that the general group of Chinese people have different readings of government-related PSA, and accepting such PSA is not a common thing, despite the fact that China is a very nationalistic country

Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3