| 1. | " The basis of Hammett's unsettling power lies in
the fact that he records a historical process of uncoupling, the
unzipping of the relation between outer signs and inner meanings,
between words and deeds--in short, between the signifier and the
signified."
| Source: | MALMGREN, CARL D. "The Crime of the Sign: Dashiell Hammett's Detective Fiction" Twentieth Century Literature 45.3 Sept. 22 1999: 371
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| 2. | " As the founding Grand Master of
the African Lodge, Hall signified on conventional Freemasonry by
transforming the signs, symbols, and secretive practices of the Masonic
temple into a template for race consciousness."
| Source: | Brooks, Joanna. "Prince Hall, Freemasonry, and Genealogy" African American Review 34.2 June 22 2000: 197
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| 3. | " Maya thought operates from the perspective that
there is a symbiotic relationship between the graphic image of the sign
and the semantic expression of the signifier."
| Source: | Rogachevsky, Jorge. "At the Edge of the World: Caves and Late Classic Maya WorldView" Philosophy East and West 49.3 July 1 1999: 388
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| 4. | "... the sight of their visual
evidence of the Sign to its mutation into the site of the Signifier, in
this case Archangel Gabriel Revealing the Word of God."
| Source: | DABASHI, HAMID. "In the Absence of the Face" Social Research 67.1 Mar. 22 2000: 127
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| 5. | " He does not weight words with ideology, seeming rather to
respect language as a medium that shapes human emotion, allowing the
signifier as such to prevail over allegorical meaning."
| Source: | . "GERMAN" World Literature Today 2.4 Sept. 22 1998: 821-822
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| 6. | " The natural capacity for speech requires convention, the
"voluntary imposition" of words that serve as signs of our
ideas, for it to be of any utility."
| Source: | SCOTT, JOHN T. "The Sovereignless State and Locke's Language of Obligation" American Political Science Review 94.3 Sept. 1 2000: 547
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| 7. | " What is amazing is Saadia's
distinction between [CHARACTERS NOT REPRODUCIBLE IN ASCII]alamat,
"signs," and [CHARACTERS NOT REPRODUCIBLE IN
ASCII]asya[CHARACTERS NOT REPRODUCIBLE IN ASCII], "things,
objects," which recalls F. de Saussure's "signifiant,
signifie." Saadia also distinguishes between kalam
"language"..."
| Source: | SABAR, YONA. "The Dawn of Hebrew Linguistics: The Book of Elegance of theLanguage of the Hebrews" Journal of the American Oriental Society 119.3 July 1 1999: 516
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| 8. | " This deconstructive elusiveness of language directly refutes the
Saussurean concept of signification, in which a signifier (a name) and a
signified (a thing being named) join to produce a sign."
| Source: | BAKER, CHARLES. ""It's the Same Me, Isn't It?": The Language Question and Brian Friel's Translations" Midwest Quarterly 41.3 Mar. 22 2000: 264
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| 9. | " Culler argues that puns work
"to reveal the structures of language, motivating linguistic signs,
allowing signifiers to affect meaning by generating new connections--in
short,..."
| Source: | Robertson, Sarah. "Dislocations: retracing the erased in Jayne Anne Phillips's Shelter" Mississippi Quarterly 57.2 Mar. 22 2004: 289-312
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| 10. | " Levinas's answer
takes us to the heart of the crisis of meaning engaged by Derrida:
"[against] verbal signs which the signified no longer succeeds in
dominating, since it would only be its illusion..."
| Source: | New, Melvyn. "Introduction: Something New Under the Sun" Eighteenth Century: Theory and Interpretation 40.3 Sept. 22 1999: 187-196
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| 11. | "
Now rainbow decals and equal signs are wink, wink, nudge, nudge
brands meant to signify a gay identity."
| Source: | Clinton, Kate. "Tastefully Gay" Progressive 64.9 Sept. 1 2000: 14
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| 12. | " As words are
signifiers of thoughts and thoughts can be internal visual images of
things, then words as sound and visual signifier were thought to bear an
inherent relationship to the ideas and images they evoked."
| Source: | Mickel, Emanuel J. "Majewski, Henry F. Transposing Art into Texts in French Romantic Literature" Nineteenth-Century French Studies 33.1-2 Sept. 22 2004: 183-187
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| 13. | " While this certainly connects to the
linguistic aspect of semiotics in terms of how signifiers are given
meaning both through their conceptual signifiers and their ambiguous
relationships to referents beyond the sign (if..."
| Source: | BURKE, KEN,CAVALLARI, H. MARIO. "INTEGRATING THEORIES OF CINEMA AND COMMUNICATION" International Journal of Instructional Media 27.1 Jan. 1 2000: 83
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| 14. | "
Nauman uses a very familiar medium, the neon sign, to communicate a
complex thought."
| Source: | . "The Power of Words" Scholastic Art 29.6 Apr. 1 1999: 2-3
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| 15. | " The visual signs of young innocence - invented and refined by
painters - were now rendered invisible by a medium convincing enough to
make the cleverest technical devices seem natural."
| Source: | Tucker, Nicholas. "Pictures of Innocence: The History and Crisis of Ideal Childhood" New Statesman (1996) v127.n4397 Aug. 7 1998: 47-48
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| 16. | "
Word Order
In sign, the children produced mean proportionate frequencies of
.27 in conventional word order (SD = .10, range =."
| Source: | Grove, Nicola,Dockrell, Julie. "Multisign Combinations by Children With Intellectual Impairments: An Analysis of Language Skills" Journal of Speech, Language, and Hearing Research 43.2 Apr. 1 2000: 309
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| 17. | " Gilbert & George's refusal to take time out to be
anything other than living sculptures and Abramovic/Ulay's third
source of energy were strategic means of shedding the traditional signs
of unwanted artistic personality--the conventional studio-based artistic
identity increasingly under question in the 1970s."
| Source: | Green, Charles. "Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramovic/Ulay" Art Journal 59.2 June 22 2000: 37
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| 18. | " As Saussure writes, "the
statement that everything in language is negative is true only if the
signified and the signifier are considered separately; when we consider
the sign in its totality, we..."
| Source: | ZOU, LIN. "Radical Criticism and the Myth of the Split Self" Criticism 42.1 Jan. 1 2000: 7
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| 19. | "... long regarded Joseph as a
prefiguration of Jesus.) A sign is only a sign if you see that it is,
and know what it signifies."
| Source: | Dean, Paul. "The Bible and Its Rewritings" New Criterion 18.5 Jan. 1 2000: 74
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| 20. | "
Lacan argues that the different levels of the human psyche and
therefore human experience are structured like a language--that is, in
chains of signs (signifiers) and the ideas, images, or effects toward
which those signs point (signifieds)."
| Source: | Martin, Roberta C. "How Came I Thus? : Adam and Eve In the Mirror of the Other" College Literature 27.2 Mar. 22 2000: 57
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| 21. | " In Empire of Signs, for example, Roland Barthes, in
what seems to be a veiled discussion of signifiers and signifieds,
describes the "precious paradox" of Tokyo, a city which
possesses a center, "but this center is empty:"
..."
| Source: | Byrne, K.B. Conal. "OPEN-ENDED: THE CAPTIVE'S TALES OF DON QUIJOTE" Romanic Review 90.1 Jan. 1 1999: 115
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| 22. | " Like
"today's writing," writing the Laws of Love constitutes
"an interplay of signs arranged less according to its signified
content than according to the very nature of the signifier:" [98]
the pliable nature of the parchment..."
| Source: | MEDING, TWYLA. "Pastoral Palimpsest: Writing the Laws of Love in L'Astree" Renaissance Quarterly 52.4 Dec. 22 1999: 1087
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| 23. | "... our world (110-17, 130), seemingly without
realizing that story and discourse are the inseparable parts of a sign
which, like the verbal sign created by the union of signifier and
signified, may or may not refer to objects or events in our world."
| Source: | Kafalenos, Emma. "The Distinction of Fiction" Style 33.4 Dec. 22 1999: 658
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| 24. | "... that "The principal target of this fiction is precisely
the sign "Indian," with its predetermined and well-worn path
between signifier and signified" (Other Destinies: Understanding
the American Indian Novel 235, 231)."
| Source: | Helstern, Linda Lizut. ""Bad Breath": Gerald Vizenor's Lacanian fable" Studies in Short Fiction 36.4 Sept. 22 1999: 351-362
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| 25. | " Signifier and signified collapse in the Sign of
the Rocket, but the Rocket is more than a sign--it is also the concrete
manifestation and symbol of the perverse power of science and
technology."
| Source: | Lynd, Margaret. "Science, narrative, and agency in Gravity's Rainbow" CRITIQUE: Studies in Contemporary Fiction 46.1 Sept. 22 2004: 63-81
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