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302<br />

INDEX<br />

objectivity xv, 43, 52, 61, 63–5, 70,<br />

72, 75, 80, 97, 99, 108, 114, 125,<br />

129, 142, 144–5, 150, 152, 160,<br />

163–4, 212, 218–19, 221<br />

Ogden, Charles K. 73<br />

Olson, David 75, 178<br />

onomatopoeia 26<br />

ontology 27–8, 53, 65, 99, 129, 197,<br />

244, 249<br />

open and closed signs and texts 49,<br />

79, 138, 158, 255<br />

oppositional code and reading (Hall)<br />

150, 195–6, 255<br />

oppositions, semantic see analogue<br />

oppositions, binary oppositions<br />

orders of signification 139–40,<br />

143–4<br />

organizational <strong>semiotics</strong> 239<br />

Orwell, George 95<br />

Osgood, Charles E. 142, 253<br />

overcoding 170, 245, 256<br />

Panofsky, Erwin 138<br />

Paoletti, Jo B. xviii, 156<br />

paradigm 83–91, 94–5, 98–9, 103,<br />

116–17, 137, 141, 147, 165, 205,<br />

231, 243–6, 252, 256, 258<br />

Paris school 118, 229, 232, 234<br />

Parkin, Frank 194<br />

parole see langue<br />

Peircean model of the sign 29–35,<br />

36–45, 59, 140, 182, 183, 207,<br />

212, 228, 230, 231, 233, 259,<br />

260<br />

parsimony, ontological 149<br />

Peirce, Charles Sanders xiv–vi, 2–4,<br />

13–14, 29–45, 46, 49, 52, 59, 60,<br />

61, 63, 66, 80, 131, 140, 162,<br />

165, 181–3, 186, 207, 211–13,<br />

220, 225, 228, 230–3, 235, 240,<br />

244, 251, 255, 257–60, 263–4<br />

perceptual codes 66, 113, 150–2,<br />

155, 164, 177<br />

performance, <strong>semiotics</strong> of see<br />

theatre, drama and performance<br />

Persil 105<br />

Phaedrus (Plato) 208<br />

phatic function of signs 184, 194,<br />

250<br />

phenomenological approaches 197,<br />

223<br />

phonocentrism 16, 53, 100, 110,<br />

252, 254, 257<br />

‘photographic message’ (Barthes)<br />

138, 162–4<br />

photography 6, 37–8, 43–4, 55, 57,<br />

66–7, 73, 77, 86, 88, 110, 114,<br />

131, 133, 138, 141, 150, 161–4,<br />

165, 172, 188, 192–3, 196,<br />

203–4, 213, 223–4, 239, 248,<br />

255, 263<br />

Piaget, Jean 74, 164<br />

pictorial <strong>semiotics</strong> see visual<br />

art<br />

pink and blue xviii, 156–7<br />

Pioneer 10 xviii, 175–9<br />

planes: of content and expression<br />

(Hjelmslev) 19, 56–7, 144,<br />

228–9; of paradigm and syntagm<br />

(Jakobson) 84, 246, 258; of<br />

signifier (or sound) and signified<br />

(or thought) (Saussure) 18–19,<br />

24–5, 56<br />

Plato 23, 33, 36, 54, 208, 261<br />

poetic or aesthetic function 150,<br />

184–5, 250, 258<br />

Pollio, Howard 127<br />

polysemy 108, 138, 188<br />

polyvocality 191<br />

positioning of the subject 88, 115,<br />

139, 155, 175, 186–91, 194–6,<br />

198, 208, 232, 250–1, 254–5,<br />

262<br />

Postman, Leo J. 90<br />

postmodernism 10, 50, 54, 78,<br />

80–1, 135, 258, 261

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