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Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder

Somov, Georgij Y.-U.

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      <creatorName>Somov, Georgij Y.-U.</creatorName>
      <givenName>Georgij Y.-U.</givenName>
    <title>Metonymy and its manifestation in visual artworks: Case study of late paintings by Bruegel the Elder</title>
    <date dateType="Issued">2009-01-01</date>
  <resourceType resourceTypeGeneral="JournalArticle"/>
    <alternateIdentifier alternateIdentifierType="url"></alternateIdentifier>
    <relatedIdentifier relatedIdentifierType="DOI" relationType="IsIdenticalTo">10.1515/semi.2009.037</relatedIdentifier>
    <rights rightsURI="">Creative Commons Attribution Share Alike 4.0 International</rights>
    <rights rightsURI="info:eu-repo/semantics/openAccess">Open Access</rights>
    <description descriptionType="Abstract">Being the object of semiotic studies, metonymy demands investigation in the
non-verbal domain, i.e., visual sign systems. When analyzing the metonymies of visual artworks, they prove to have different sources: verbal and visual sources refer to codes, languages, contexts, and sign forms of a work (denotations, connotations, and organizing sign structures). Different particular metonymies promote incarnation of a general metonymy of work. In the work structure (or coding), particular metonymies are joined and organized on the basis of this general metonymy. The metonymies interrelated in a complex way on the basis of general metonymy are revealed in the course of semiotic analysis of the paintings by Bruegel the Elder. The sign structures of his works underlie the philosophic generalizations of the
great painter and philosopher.

Keywords: semiotics; metonymy; connotation; organizing form; structures; sign systems; metaphor; Bruegel the Elder.</description>
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