DOI: 10.

2298/GEI111110002B
: 008:004.738.1]:316.773.2; 776:316.773.2
ID: 190801932
16. 9. 2011.

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xeliot@gmail.com

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mr.pantovic@gmail.com

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Barthes, Roland. The Rhetoric of the Image. http://98.131.80.43/home/wp-

content/uploads/2011/06/barthes_rhetoricofimage.pdf.

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 . . , . ,
E, . 1995. . : .
E, Umberto. 2004. Kod. Beograd: Narodna knjigaAlfa.
Lucie-Smith, Edward. 1995.The Thames and Hudson Dictionary of Art Terms.
London: Thames & Hudson.
Morris, Charles. 1938. Foundations of the Theory of Signs. International Ency-
clopedia of Unified Science, vol. I, t. II. Chicago: University of Chicago
Press. http://www.scribd.com/doc/51866596/Morris-1938-Foundations-of-
Theory-of-Signs.
, . 2004. . : .
Peirce, Charles Sanders. 1868. On a New List of Categories. Proceedings of the
American Academy of Arts and Sciences 7,
http://www.peirce.org/writings.html.
Peirce, Charles Sanders. 1992. The essential Peirce: selected philosophical writ-
ings. Vol. 1 (ed. Nathan Houser, Christian J. W. Kloesel). Bloomington:
Indiana University Press.
: 2001. . (. M.
To, ). : Zepter Book World.
Shanon, Claude, Weaver,Warren. 1949. The Mathematical Theory of Communication.
Urbana: The University of Illinois Press.
Skinner, S. J. Marketing, 1990. Boston: Houghton Miffling Company.
Foster, Hal. 2006. Dizajn i zloin - i druge polemike. Zagreb: VBZ.
Chevalier, J., Gheerbrant, A. 1983. Rjenik simbola. Zagreb: Nakladni zavod Matice
hrvatske.

63
 LX (1)

Ivana S. Bai,
Branislav Pantovi

Logo and Semiosis

(From an Icon Sign to the Serbian Culture Symbol)

A logo is most commonly observed as an Key words:

emblem with intent to be widely recognised as a
permanent symbol, or an icon, additionally permitting design, logo, code,
correlative meanings within a designative context. In the comunication, semiol-
particular example of the Glossary of Serbian culture logo ogy, serbian culture
the opportunities of elements of design (coded iconic
message, non-coded iconic message and linguistic message) have been analysed
with intention to ascertain communication with future users of the Index conveying
the desired message not only about specificities of Serbian culture but also its
complexity and unifying nature with the global culture. A logo is observed as a
multi-parametric code transcending form a concept of artistic design to a rhetoric
figure in context of presentation and promotion of Serbian culture. While the art of
designing, as a discipline, has the objective of artistic modulation, as well as an
aesthetic effect, it also, in this case, represents the form of the governmental
strategy in communication with others and formation of the cultural identity of its
citizens.

64