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Sagremor: Quarter Argent (2/3)

Published by Carlos da Fonte, em 09.07.12
Sagremor - Attributed Arms

We will proceed with the characterization of Sagremor's arms at this third semantic level. After establishing the Hungarian coordinates of the referent's metonymy, it would be natural to follow the same principles, obeying the restrict typology defined in the almost two thousand heraldic traces already studied. For Sagremor we've found the metonymization of its referent into a territory at the first semantic level, into a gentilic at the second and finally into a hydronym hereunder.


Continuing with the Latin verbalization, this time we are before the majestic river of Budapest, our denominant is now Danubius (lat. Danube). It provides a rather favourable discretion index: k = 0.14, parophonic to the designant da (lat. tell) nubis (lat. cloud). The iu in Danubius is taken as a diphthong for the i is short, both appearing in a single cell paired with another i of nubis. Note that the maximum quantity of phonemes will count eight instead of seven for this reason. Still, the verb do (lat. give) has a number of meanings, some of which could be used in this situation. We think, however, that the imperative form of the second person is the most suitable, meaning “Tell!” or “Explain!”.


Danubius ~ Da nubis, generates a simple monosemy: it is responsible for the silvery quarter. It's quite true that the alteration of the tincture from gold into sable at the corresponding star will also be its responsibility, but only as a secondary outcome in the pre-defined constitution of the heraldic traces. A redundant metonymy occurs just like in the preceding level. This time tell isn't associated with any heraldic trace but with the actual parophonic function of the shield using the association: tell > cant > canting arms, which in fact they are. The second component: nubis, leaves no place for doubt, either through its meaning or through its complementarity with the other elements. Nothing more appropriate than this meteorological phenomenon after defining a stellar subject, thus achieving an attractive heraldic composition.


The cloud is conveniently white and hides the light by “passing” before one of the stars, transforming its golden tincture; a sematization where light opposes obscurity. Furthermore, the separate star will be placed precisely at the centre of the quarter, conditioning the location of the other two, as referred. The demand for an iterative process during the generation of these medieval emblazonings is clearly felt. It would be impossible to define this arrangement of cloud and stars with two hermetic and independent structures. The emblazonment also establishes that the mullet must lay on top of the quarter, contrarily to the semantic context. This let us understand that not always the formal expressive description will be an adequate guide to grasp the content behind it. I believe this will be the main hindrance to free the heraldic science from those conventionalised interpretations influenced by relatively late regulations.


It seems that the drawing embodies another immanent characteristics of clouds: movement; maybe simultaneously with other complementary phenomena that appear along the heraldic traces. The nebulosity must not occupy the whole field: it would loose much of its expressive strength. So we peremptorily exclude the obstruction of all three stars. Only the opposition yellow × black allow us to perceive the visual plot clearly. By seizing only a piece of the field, a cloud tatter hurries to hide only one star at the first quarter, a typical distribution. This positioning will promote an optical unbalance perceived through the asymmetry of the chromatic extensions. The unbalance translates into movement and will contribute to the semantics of the arms through another metonymy: cloud > movement > unbalance > asymmetry. The alternative of using an implicitly stable white base, for example, would be pointless.



Attributed Arms R Sagremor
Hydronym M Danube
Imaginary Language V Danubius (Latin)
Denominant A Danubius
Graphemization A D | A | N | U | B | I | U | S
Phonemization A d | a | n | u | b | iu | s
Pairing A d | a | n | u | b | iu | s
A d | a | n | u | b | i | s
Coefficient of transposition A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.0
Coefficient of character A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.5 | 0.0
Coefficient of position A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 1.0 | 0.0
Addends A 0.0 | 0.0 | 0.0 | 0.0 | 0.0 | 0.5 | 0.0
Discretion index A k = 0.14
Phonemization A d | a | | n | u | b | i | s
Graphemization A D | A | | N | U | B | I | S
Designant A da | nubis
Action + Meteorology E tell + cloud
Redundancy, simple metonymy S tell › cant › canting arms
S tell
Simple monosemy S quarter
S cloud
Tincture H Gules
Number H two
Figuration H mullets (of five points)
Tincture H or
Connective H mullets + mullet and
Placement H under the cloud on
Number H 1 a
Separation H tatter quarter
Immanence C cloud
Placement C first quarter
Symmetry C asymmetric
Simple metonymy S cloud › mobile › unbalance › asymmetry
Tincture H whitish argent
Immanence C cloud
Contrast C gules, sable
Number H 1 a
Figuration H 5 pointsmullet
Filling C quarters' area
Symmetry C quarter's vertical axis
Centrality C quarter's diagonals
Tincture H obstruction sable
Immanence C cloud
Contrast C argent
Opposition S light × darkness
Number H (the three mullets)
Disposition H (set two and one)


(next article in this series is III/III)

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Published at 19:05

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Julho 2012