Peircean Seeds for a Philosophy of Art
Autor(a) principal: | |
---|---|
Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Cognitio (São Paulo. Online) |
Texto Completo: | https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603 |
Resumo: | It is well known by the scholars on Peirce's philosophy that he didn't leave, among his huge work, something like a 'philosophy of art'. Notwithstanding this fact, I claim that Peirce's philosophy is composed of a system of ideas based on which it is possible to conceive a conceptual framework that will constitute a very original reflection on art. This originality comes, I believe, from the main metaphysical guidelines of his thought, namely, his realism – idealism, whose synthesis can be considered his theory of continuity or synechism. Semiotics, albeit a normative science, needs to take into account a dialog between sign forms and object forms, to be harmonious with the central hypothesis of synechism. Semiotics, therefore, cannot be confined to the sign universe in its normative task. This dialogy between sign and object will forbid a nominalistic understanding of that task; in other words, Semiotics generality will not rise from any hypothesis of transcendentality, neither can it be a source for a language foundation of the world. These considerations have capital importance for the foundations of a philosophy of art inspired in Peirce's philosophy, as it could not be a reductionist analysis of 'art language' or a mere apology of 'human creativity'. Therefore, this essay will develop the basic guidelines that could be, I suppose, a Peircean philosophy of art, based on the seeds he left for a reflection on the subject. |
id |
PUC_SP-15_9ff0b88b0936367d5cace9da37705ef5 |
---|---|
oai_identifier_str |
oai:ojs.pkp.sfu.ca:article/11603 |
network_acronym_str |
PUC_SP-15 |
network_name_str |
Cognitio (São Paulo. Online) |
repository_id_str |
|
spelling |
Peircean Seeds for a Philosophy of ArtSementes Peircianas para uma Filosofia da ArtePeirceFilosofia da arteSemióticaMetafísicaPeircePhilosophy of artSemioticsMetaphysicsIt is well known by the scholars on Peirce's philosophy that he didn't leave, among his huge work, something like a 'philosophy of art'. Notwithstanding this fact, I claim that Peirce's philosophy is composed of a system of ideas based on which it is possible to conceive a conceptual framework that will constitute a very original reflection on art. This originality comes, I believe, from the main metaphysical guidelines of his thought, namely, his realism – idealism, whose synthesis can be considered his theory of continuity or synechism. Semiotics, albeit a normative science, needs to take into account a dialog between sign forms and object forms, to be harmonious with the central hypothesis of synechism. Semiotics, therefore, cannot be confined to the sign universe in its normative task. This dialogy between sign and object will forbid a nominalistic understanding of that task; in other words, Semiotics generality will not rise from any hypothesis of transcendentality, neither can it be a source for a language foundation of the world. These considerations have capital importance for the foundations of a philosophy of art inspired in Peirce's philosophy, as it could not be a reductionist analysis of 'art language' or a mere apology of 'human creativity'. Therefore, this essay will develop the basic guidelines that could be, I suppose, a Peircean philosophy of art, based on the seeds he left for a reflection on the subject.É de conhecimento dos estudiosos da filosofia de Peirce que ele não deixou, em meio a sua enorme obra, algo como uma filosofia da arte. Malgrado este fato, defendo que a filosofia de Peirce é composta de um sistema de ideias com base no qual é possível conceber uma estrutura conceitual que irá constituir uma reflexão bastante original sobre arte. Esta originalidade advém, creio, das principais diretrizes metafísicas de seu pensamento, a saber, seu realismo-idealismo, cuja síntese pode ser considerada sua teoria da continuidade ou sinequismo. A Semiótica, embora uma ciência normativa necessite se basear em um diálogo entre as formas dos signos e dos objetos, como um modo de harmonização com a hipótese central do sinequismo. A Semiótica, portanto, não pode ser confinada ao universo dos signos em sua tarefa normativa. Esta dialogia entre signo e objeto inibirá um entendimento nominalista daquela tarefa. A generalidade da Semiótica não surge de qualquer hipótese de transcendentalidade, em que poderia ela ser fonte para uma fundação linguística do mundo. Estas considerações têm importância capital para a fundação de uma filosofia da arte inspirada na filosofia de Peirce, pois ela não poderia ser uma análise reducionista da linguagem da arte ou uma mera apologia de nossa humana criatividade apenas. Por conseguinte, este ensaio irá desenvolver as diretrizes básicas que poderiam ser, suponho uma filosofia peirciana da arte, com base nas sementes que Peirce deixou para uma reflexão sobre o tema.Pontifícia Universidade Católica de São Paulo2012-09-21info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603Cognitio: Revista de Filosofia; Vol. 12 No. 2 (2011); 205-219Cognitio: Revista de Filosofia; v. 12 n. 2 (2011); 205-2192316-52781518-7187reponame:Cognitio (São Paulo. Online)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603/9896Copyright (c) 2012 http://creativecommons.org/licenses/by/4.0/info:eu-repo/semantics/openAccessIbri, Ivo A.2024-07-01T13:09:30Zoai:ojs.pkp.sfu.ca:article/11603Revistahttps://revistas.pucsp.br/index.php/cognitiofilosofiaPRIhttps://revistas.pucsp.br/index.php/cognitiofilosofia/oairevcognitio@gmail.com2316-52781518-7187opendoar:2024-07-01T13:09:30Cognitio (São Paulo. Online) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
Peircean Seeds for a Philosophy of Art Sementes Peircianas para uma Filosofia da Arte |
title |
Peircean Seeds for a Philosophy of Art |
spellingShingle |
Peircean Seeds for a Philosophy of Art Ibri, Ivo A. Peirce Filosofia da arte Semiótica Metafísica Peirce Philosophy of art Semiotics Metaphysics |
title_short |
Peircean Seeds for a Philosophy of Art |
title_full |
Peircean Seeds for a Philosophy of Art |
title_fullStr |
Peircean Seeds for a Philosophy of Art |
title_full_unstemmed |
Peircean Seeds for a Philosophy of Art |
title_sort |
Peircean Seeds for a Philosophy of Art |
author |
Ibri, Ivo A. |
author_facet |
Ibri, Ivo A. |
author_role |
author |
dc.contributor.author.fl_str_mv |
Ibri, Ivo A. |
dc.subject.por.fl_str_mv |
Peirce Filosofia da arte Semiótica Metafísica Peirce Philosophy of art Semiotics Metaphysics |
topic |
Peirce Filosofia da arte Semiótica Metafísica Peirce Philosophy of art Semiotics Metaphysics |
description |
It is well known by the scholars on Peirce's philosophy that he didn't leave, among his huge work, something like a 'philosophy of art'. Notwithstanding this fact, I claim that Peirce's philosophy is composed of a system of ideas based on which it is possible to conceive a conceptual framework that will constitute a very original reflection on art. This originality comes, I believe, from the main metaphysical guidelines of his thought, namely, his realism – idealism, whose synthesis can be considered his theory of continuity or synechism. Semiotics, albeit a normative science, needs to take into account a dialog between sign forms and object forms, to be harmonious with the central hypothesis of synechism. Semiotics, therefore, cannot be confined to the sign universe in its normative task. This dialogy between sign and object will forbid a nominalistic understanding of that task; in other words, Semiotics generality will not rise from any hypothesis of transcendentality, neither can it be a source for a language foundation of the world. These considerations have capital importance for the foundations of a philosophy of art inspired in Peirce's philosophy, as it could not be a reductionist analysis of 'art language' or a mere apology of 'human creativity'. Therefore, this essay will develop the basic guidelines that could be, I suppose, a Peircean philosophy of art, based on the seeds he left for a reflection on the subject. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-09-21 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603 |
url |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/11603/9896 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2012 http://creativecommons.org/licenses/by/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2012 http://creativecommons.org/licenses/by/4.0/ |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.source.none.fl_str_mv |
Cognitio: Revista de Filosofia; Vol. 12 No. 2 (2011); 205-219 Cognitio: Revista de Filosofia; v. 12 n. 2 (2011); 205-219 2316-5278 1518-7187 reponame:Cognitio (São Paulo. Online) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Cognitio (São Paulo. Online) |
collection |
Cognitio (São Paulo. Online) |
repository.name.fl_str_mv |
Cognitio (São Paulo. Online) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
revcognitio@gmail.com |
_version_ |
1803387420354281472 |