Translation of "Bedeutungsträger" in English

We illustrate how a signifier is the bearer of a special power.

Moreover, the excerpt illustrates the parallelism of subjectivizing signifiers or categories.

The words are first only letter sequences and then get a meaning.

In Sahmarani’s series, painting is restored as the vessel best equipped to carry meaning.

It is set "free" to express new contents, it becomes a vehicle for constructing civil and national identities.

Cultural institutions are bearers of meaning which help us respond to social changes.

Brigitte Kowanz has worked with the medium of light, bearing information and generating meaning.

Dings works with the most varied materials, which he also integrates as a carrier of meaning into his works.

It is not an outward form wrapped around the object that matters to us, but form in the sense of inbuilt capacity and potential vehicle of significance.

In his collaboration with artists such as Jannis Kounellis, Richard Serra, Karel Appel, Christian Boltanski, dancer Min Tanaka, and the composer and director Heiner Goebbels, Kalman's light, however, becomes an acting subject, an independent carrier of meaning that structures the space and avoids having a purely atmospheric effect.

In order to turn a museum into a gym, it is necessary to alter those "bearers of significance" (Bedeutungsträger) that delimit the extent of actions within the museum space in such a way that the audience is tempted to do gym exercises in it.

The applied stripes in the primary colours of red, blue and yellow not only refer to the home country of the artist but also reflect on the development and relevance of flags as signifier of a certain nation or cultural affiliation.

The diversity of the signifiers is a necessity in order to break through the thinking in and as differences, which is at the bottom off inclusion, too.

Our example demonstrates that seals are not simply a means of authentication, but also must be understood as potential 'carriers of meaning' or 'signs of authority' and as a means of self-presentation.

In the end, what is left is an energy-laden and captivating contrast of various artistic stances that all have one thing in common: the conscious handling of color, which as material, medium, and carrier of meaning above all turns itself into a theme.

Corporate Architecture – Architecture as a key factor and symbol of the Corporate Identity (CI), helps realizing identification with values and build/conformation.

Taking the Conceptual Art of the 1960s as starting point, this artistic attitude is not focused on the finished work alone, but also on the process by which it is created, which also carries meaning.

Letters and numbers, some barely legible, take over the page, the canvas, even a wall, replacing their primary function to communicate meaning with the aesthetic of a purely visual language.

So, if the mode of address is outward into the viewer’s space, and if the collision of the picture surface and sculpted elements represents a contact between discrete contradictory worlds, and if the discrete elements of which the characters are constructed convey their literal or primary identity (as fan blade, shell, driftwood etc.) with as much force as their secondary or signifying identity (as airplane wing, human thorax, beard-hair etc.) then the traditional linear narrative is at the very least seriously undermined by these other more assertive carriers of meaning.

There is no way to refer to a transcendental signified because there can be no signifier attached.

The artist frequently uses the symbolic as a vehicle of meaning, revealing, beneath the surface of its formal appearance, her engagement with more profound political, religious, and social issues.

It might be that this is conditioned by the broad similarities and dissimilarities, the dissimilar similarities of Danish and German culture: it is not primarily what can be experienced that is altered by the diversity of languages, since signifiers are molded in the same way. Rather, what is altered is how experience can be made.

The poetry was thereby freed from paper as a medium and the writing is perceived as a semantic symbol and ornament in the three dimensional space.

It is apparent that the locution above cannot refer to its signified, because the latter is supposed to be unknown to the reader.