Peircean Seeds for a Philosophy of Art

Detalhes bibliográficos
Autor(a) principal: Ibri, Ivo A.
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.
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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
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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
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