Mony Almalech draws our attention on the semiotic differences between visual colors and the lingu... more Mony Almalech draws our attention on the semiotic differences between visual colors and the linguistic color terms. He recognized two forms of existence of the language of the colors – Verbalized and Visual (non-verbalized). The visual colors are percept by the ocular perception, i.e. all colors are percept simultaneously. The verbalized form is when we use the natural language to designate color. The verbalized Color language is subordinate to the linear or syntax order of the natural language. Almalech used the Test of Free Linguistic Associations (of Kent-Rossanof) to form the Bulgarian Norm of associations on colors (Apendix 1). The list of word-associations (Apendix 1) is taken as a dictionary of non-color meanings of colors. In his previous book in English – Balkan Folk Color Language – Almalech proves a list of universal and non-universal color meanings of Visual colors in folklore marriage and burial. He used the Prototype theory of Rosch and Lakoff to comment the Norm of associations and the list of visual color meanings. Almalech relates the verbalized associative non-color meanings of different words (basic color terms white, black, red, etc.; prototype terms light, darkness, sun, fire, blood, sky, sea, etc.; prototype rival terms linen, cherry, duckling, ruby, wine, sapphire etc.; terms for the basic features of the prototypes clean, pure, immaculate for light; hot, warm for fire; fresh for plants etc.) to the non-color meanings of the visual colors in folklore. He finds a small kern of mutual universal meanings which become a semiotic key for decoding the messages of advertisements. The colors and the signs of femininity are described by Almalech as independent sign systems in terms of the semiotic triangle of Frege. The previous researches of Almalech on colors gave him the possibility to trace semantic and semiotic links between the signs of femininity and the colors. The analysis of 44 advertisements (pictures in Appendix 2) is an application of his Color theory. Subjects: Advertisements, Semiotics, Cognitive Color Theories, Femininity, Psycholinguistics, Pragmatics, Anthropology, Relativity vs. Universality.
Fugue and chaos are used in their contemporary meaning. Elements of fugue, albeit a small number ... more Fugue and chaos are used in their contemporary meaning. Elements of fugue, albeit a small number of universals, will be demonstrated in the area of visual and verbal colors. Chaos dominates the internet, fashion and everyday life. The visual and verbal colors are differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.
All rights reserved. No part of this book may be reproduced in any form by any electronic or mech... more All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means without permission in writing by the publisher.
His scientific interests are in the field of the Bulgarian language, Theoretical Linguistics, Heb... more His scientific interests are in the field of the Bulgarian language, Theoretical Linguistics, Hebraic studies and Semiotics. He created the first Hebrew-Bulgarian Dictionary (2004; 2-d ed. 2011). His knowledge of Hebrew has allowed him to analyse the original text of the Bible in comparison with various translations, applying the tools of traditional and modern linguistics. The first volume of his Biblical Hermeneutic project, Color in the Torah, was published in 2006 and the second one appeared in 2010
The meanings of white, associative, ritual and mystical are synonymous at the point of 'clean', '... more The meanings of white, associative, ritual and mystical are synonymous at the point of 'clean', 'pure', 'immaculate'
Black is "a bright light in a dark day" White is the integration of all colors; White is pure and... more Black is "a bright light in a dark day" White is the integration of all colors; White is pure and unstained. Black and white are colors of God.
La rivista può essere acquistata nella sezione acquisti del sito www.aracneeditrice.it È vietata ... more La rivista può essere acquistata nella sezione acquisti del sito www.aracneeditrice.it È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata compresa la fotocopia, anche a uso interno o didattico, non autorizzata
As much as the apple has a wide spread usage in the advertisement industry it will be an object o... more As much as the apple has a wide spread usage in the advertisement industry it will be an object of our special attention here. Picture № 1 is an advertisement of the soap Safeguard in fragrance of green apple. It represents a naked woman surrounded by green apples. She has a white towel around her waist. For decoding the suggestions of the picture we should
Mony Almalech draws our attention on the semiotic differences between visual colors and the lingu... more Mony Almalech draws our attention on the semiotic differences between visual colors and the linguistic color terms. He recognized two forms of existence of the language of the colors – Verbalized and Visual (non-verbalized). The visual colors are percept by the ocular perception, i.e. all colors are percept simultaneously. The verbalized form is when we use the natural language to designate color. The verbalized Color language is subordinate to the linear or syntax order of the natural language. Almalech used the Test of Free Linguistic Associations (of Kent-Rossanof) to form the Bulgarian Norm of associations on colors (Apendix 1). The list of word-associations (Apendix 1) is taken as a dictionary of non-color meanings of colors. In his previous book in English – Balkan Folk Color Language – Almalech proves a list of universal and non-universal color meanings of Visual colors in folklore marriage and burial. He used the Prototype theory of Rosch and Lakoff to comment the Norm of associations and the list of visual color meanings. Almalech relates the verbalized associative non-color meanings of different words (basic color terms white, black, red, etc.; prototype terms light, darkness, sun, fire, blood, sky, sea, etc.; prototype rival terms linen, cherry, duckling, ruby, wine, sapphire etc.; terms for the basic features of the prototypes clean, pure, immaculate for light; hot, warm for fire; fresh for plants etc.) to the non-color meanings of the visual colors in folklore. He finds a small kern of mutual universal meanings which become a semiotic key for decoding the messages of advertisements. The colors and the signs of femininity are described by Almalech as independent sign systems in terms of the semiotic triangle of Frege. The previous researches of Almalech on colors gave him the possibility to trace semantic and semiotic links between the signs of femininity and the colors. The analysis of 44 advertisements (pictures in Appendix 2) is an application of his Color theory. Subjects: Advertisements, Semiotics, Cognitive Color Theories, Femininity, Psycholinguistics, Pragmatics, Anthropology, Relativity vs. Universality.
Fugue and chaos are used in their contemporary meaning. Elements of fugue, albeit a small number ... more Fugue and chaos are used in their contemporary meaning. Elements of fugue, albeit a small number of universals, will be demonstrated in the area of visual and verbal colors. Chaos dominates the internet, fashion and everyday life. The visual and verbal colors are differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.
All rights reserved. No part of this book may be reproduced in any form by any electronic or mech... more All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means without permission in writing by the publisher.
His scientific interests are in the field of the Bulgarian language, Theoretical Linguistics, Heb... more His scientific interests are in the field of the Bulgarian language, Theoretical Linguistics, Hebraic studies and Semiotics. He created the first Hebrew-Bulgarian Dictionary (2004; 2-d ed. 2011). His knowledge of Hebrew has allowed him to analyse the original text of the Bible in comparison with various translations, applying the tools of traditional and modern linguistics. The first volume of his Biblical Hermeneutic project, Color in the Torah, was published in 2006 and the second one appeared in 2010
The meanings of white, associative, ritual and mystical are synonymous at the point of 'clean', '... more The meanings of white, associative, ritual and mystical are synonymous at the point of 'clean', 'pure', 'immaculate'
Black is "a bright light in a dark day" White is the integration of all colors; White is pure and... more Black is "a bright light in a dark day" White is the integration of all colors; White is pure and unstained. Black and white are colors of God.
La rivista può essere acquistata nella sezione acquisti del sito www.aracneeditrice.it È vietata ... more La rivista può essere acquistata nella sezione acquisti del sito www.aracneeditrice.it È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata compresa la fotocopia, anche a uso interno o didattico, non autorizzata
As much as the apple has a wide spread usage in the advertisement industry it will be an object o... more As much as the apple has a wide spread usage in the advertisement industry it will be an object of our special attention here. Picture № 1 is an advertisement of the soap Safeguard in fragrance of green apple. It represents a naked woman surrounded by green apples. She has a white towel around her waist. For decoding the suggestions of the picture we should
Advertisements: Signs of femininity and their corresponding color meanings. Sofia: Prof. Marin Drinov Academic Publishing House , 2011
Mony Almalech draws our attention to the semiotic differences between visual colors and linguis... more Mony Almalech draws our attention to the semiotic differences between visual colors and linguistic color terms. He recognized two forms of the language of colors – Verbalized and Visual (non-verbalized). The visual colors are percept by the ocular perception, i.e. all colors are percept simultaneously. The verbalized form is when we use the natural language to designate color. The verbalized Color language is subordinate to the linear or syntax order of the natural language. Almalech used the Test of Free Linguistic Associations (of Kent-Rossanof) to form the Bulgarian Norm of associations on colors. The list of word-associations (Appendix 1) is taken as a dictionary of non-color meanings of colors. The author uses the Prototype theory of Rosch and Lakoff to comment on the Norm of associations and the list of visual color meanings published at Balkan Folk Color Language (1996). Almalech relates the verbal associative meanings of four types of words: basic color terms, prototype terms (light, darkness, fire, blood, sky, sea, all plants, the sun at noon); rival terms to prototypes (linen, cherry, duckling, ruby, wine, sapphire, etc.), terms for the basic features of the prototypes (clean, pure, for light; hot, warm for fire; fresh for plants, etc.) to the non-color meanings of the visual colors in folklore. The author finds a small kern of mutual universal meanings, which becomes a semiotic key for decoding the messages of advertisements. The colors and the signs of femininity are described by Almalech as independent sign systems in terms of the semiotic triangle. The previous researches of Almalech on the colors provide him the possibility to trace semantic and semiotic correspondence between the signs of femininity and the colors. The analysis of 44 advertisements (pictures in Appendix 2) is an application of his method.
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Papers by Mony Almalech
Almalech relates the verbal associative meanings of four types of words: basic color terms, prototype terms (light, darkness, fire, blood, sky, sea, all plants, the sun at noon); rival terms to prototypes (linen, cherry, duckling, ruby, wine, sapphire, etc.), terms for the basic features of the prototypes (clean, pure, for light; hot, warm for fire; fresh for plants, etc.) to the non-color meanings of the visual colors in folklore. The author finds a small kern of mutual universal meanings, which becomes a semiotic key for decoding the messages of advertisements.
The colors and the signs of femininity are described by Almalech as independent sign systems in terms of the semiotic triangle. The previous researches of Almalech on the colors provide him the possibility to trace semantic and semiotic correspondence between the signs of femininity and the colors. The analysis of 44 advertisements (pictures in Appendix 2) is an application of his method.