semiurgic

Baudrillard (1981, 185f.) describes the transition from a metallurgic society, defined as a society of production, to a semiurgic order characterized by the proliferation of signs, simulacra, and images.

1991, Henry A. Giroux, Postmodernism, Feminism, and Cultural Politics, →ISBN, page 63

"Semiurgic indeterminacy" means the impossibility of deciding whether the meanings of drama should be classified as signification or as reference: signification being that semiurgic or sign-working process (normally recognized as dominant in literature) in which the signifier is prior in operation to the signified, which latter itself always has the character of a sign, not that of a somehow nonsignifying reality; reference being that process (normally thought of as characterizing daily experience) in which the sign responds to a prior "referent," which has, at least relatively, the character of preexisting reality.

2005, Benjamin Bennett, All Theater is Revolutionary Theater, →ISBN, page 45

The dictionary entry, as a semiurgic genre, is an important form of semiotic discourse that comprehensively describes a verbal sign as a unity of the signifier, the signified, and the context/usage.

2012, Mikhail Epstein, Igor E. Klyukanov, The Transformative Humanities: A Manifesto, →ISBN, page 106