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<H1><SPAN lang=EN-US>From Sign to Signing</SPAN></H1>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><SPAN lang=EN-US
style="FONT-SIZE: 13pt; COLOR: black; FONT-FAMILY: QuadraatSans\,Bold">Iconicity
in language and literature<o:p></o:p></SPAN></B></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><SPAN lang=EN-US
style="FONT-SIZE: 13pt; COLOR: black; FONT-FAMILY: QuadraatSans\,Regular">Volume
3<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><SPAN lang=EN-US
style="COLOR: black; FONT-FAMILY: Quadraat\,Bold; mso-bidi-font-size: 12.0pt">Wolfgang
G. Müller and Olga Fischer<o:p></o:p></SPAN></B></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><SPAN lang=EN-US
style="FONT-SIZE: 10.5pt; COLOR: black; FONT-FAMILY: Quadraat\,Bold">Friedrich-Schiller-Universität
Jena / University of Amsterdam<o:p></o:p></SPAN></B></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular">This
volume, a sequel to </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic">Form Miming
Meaning </SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular">(1999) and
</SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic">The
Motivated Sign </SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular">(2001),
offers a selection of papers given at the Third International Symposium on
Iconicity in Language and Literature (Jena 2001). The studies collected here
present a number of new departures. Special consideration is given to the way
non-linguistic visual and auditory signs (such as gestures and bird sounds) are
represented in language, and more specifically in 'signed' language, and how
such signs influence semantic conceptualization. Other studies examine more
closely how visual signs and representations of time and space are incorporated
or reflected in literary language, in fiction as well as (experimental) poetry.
A further new approach concerns intermedial iconicity, which emerges in art when
its medium is changed or another medium is imitated. A more abstract,
diagrammatic type of iconicity is again investigated, with reference to both
language and literature: some essays focus on the device of reduplication,
isomorphic tendencies in word formation and on creative iconic patterns in
syntax, while others explore numerical design in Dante and geometrical
patterning in Dylan Thomas. A number of theoretically-oriented papers pursue
post- Peircean approaches, such as the application of reader-response theory and
of systems theory to iconicity.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><SPAN lang=EN-US
style="FONT-SIZE: 8pt; COLOR: black; FONT-FAMILY: Quadraat\,Bold"> <o:p></o:p></SPAN></B></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><SPAN lang=EN-US
style="FONT-SIZE: 8pt; COLOR: black; FONT-FAMILY: Quadraat\,Bold">2003. Hb xiv,
441 pp. 90 272 2593 1 EUR 130.00 1 58811 288 8 USD
130.00<o:p></o:p></SPAN></B></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt"> <o:p></o:p></SPAN></I></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Preface
and acknowledgments</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
</SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">List
of contributors</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">Olga
Fischer and Wolfgang G. Müller: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Introduction:
>>From Signing back to Signs</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Part
I</SPAN></I></B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">:
Auditory and visual signs and signing</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Klaudia Grote and Erika Linz: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">The
influence of sign language iconicity on semantic
conceptualization</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
William J. Herlofsky: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">What
You See Is What You Get: Iconicity and metaphor in the visual language of
written and signed poetry: A cognitive poetic approach</SPAN></I><SPAN
lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Axel Hübler: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Spatial
iconicity in two English verb classes</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Keiko Masuda: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">What
imitates birdcalls? Two experiments on birdcalls and their linguistic
representations</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Part
II</SPAN></I></B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">:
Visual iconicity and iconic mapping</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
John J. White: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Perspective
in experimental shaped poetry: A semiotic approach</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Julian Moyle: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Where
reading peters out: Iconic images in the entropic text</SPAN></I><SPAN
lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Andreas Ohme: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Iconic
repre-sentation of space and time in Vladimir Sorokin's novel The Queue
(Ochered')</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Matthias Bauer:</SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">"Vision
and Prayer": Dylan Thomas and the Power of X</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Christina Ljungberg: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Diagrams
in narrative: Visual strategies in contemporary fiction</SPAN></I><SPAN
lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Part
III</SPAN></I></B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">:
Structural iconicity</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
C. Jac Conradie: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">The
iconicity of Afrikaans reduplication</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Volker Harm: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Diagrammatic
iconicity in the lexicon: Base and derivation in the history of German verbal
word-formation</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Beate Hampe and Doris Schönefeld: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Creative
syntax: Iconic principles within the symbolic</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Günter Rohdenburg: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Aspects
of grammatical iconicity in English</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Wilhelm Pötters: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Beatrice:
or The geometry of love</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Masako K. Hiraga: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">How
metaphor and iconicity are entwined in poetry: A case in Haiku</SPAN></I><SPAN
lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Part
IV</SPAN></I></B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">:
Intermedial iconicity</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Werner Wolf: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Intermedial
iconicity in fiction: Tema con variazioni</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Elzbieta Tabakowska: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Iconicity
and literary translation</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Part
V</SPAN></I></B><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">:<o:p></o:p></SPAN></I></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">New
applications of sign theory</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Jorgen Dines Johansen: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Iconizing
literature</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
Piotr Sadowski: </SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">From
signal to symbol: Towards a systems typology of linguistic signs</SPAN></I><SPAN
lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
<o:p></o:p></SPAN></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Author
index</SPAN></I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Regular; mso-bidi-font-size: 8.0pt">;
</SPAN><I><SPAN lang=EN-US
style="FONT-SIZE: 9pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic; mso-bidi-font-size: 8.0pt">Subject
index<o:p></o:p></SPAN></I></P>
<P class=MsoNormal style="mso-layout-grid-align: none"><SPAN lang=EN-US
style="FONT-SIZE: 1pt; COLOR: black; FONT-FAMILY: Invisible-regular">[ e n d o f
t i t l e ]</SPAN><SPAN lang=EN-US
style="FONT-SIZE: 10pt; COLOR: black; FONT-FAMILY: Quadraat\,Italic"><o:p></o:p></SPAN></P>
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