Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis

Detalhes bibliográficos
Autor(a) principal: Guardiano, Nicholas
Data de Publicação: 2023
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Cognitio (São Paulo. Online)
Texto Completo: https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/61862
Resumo: Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics.
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spelling Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic PoiesisNotas para uma semiótica da arte: belezas icônicas na poiesis cósmica Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics. Embora Charles Peirce raramente tenha aplicado seus princípios semióticos à arte, suas ideias são altamente informativas por contemplar a troca de significado qualitativo nos signos icônicos constitutivos da arte. Refletindo sobre a teoria do ícone de Peirce, três subtipos hipoicônicos, o papel formativo do signo-interpretante e a “qualissignificância” metafísica de um universo “permeado de signos”, forneço algumas notas teóricas para esboçar uma semiótica da arte. Mais ilustrativas de uma semiótica peirciana da arte são a pintura americana da Escola do Rio Hudson e a poesia moderna de Wallace Stevens, que avançam progressivamente suas percepções em seus próprios belos signos. Esses filósofos e artistas têm raízes intelectuais no transcendentalismo de Emerson com seu legado neoplatônico e, juntos, formam uma linha única de estética americana. Pontifícia Universidade Católica de São Paulo2023-05-27info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/6186210.23925/2316-5278.2023v24i1:e61862Cognitio: Revista de Filosofia; Vol. 24 No. 1 (2023): Cognitio: Revista de Filosofia ; e61862Cognitio: Revista de Filosofia; v. 24 n. 1 (2023): Cognitio: Revista de Filosofia ; e618622316-52781518-7187reponame:Cognitio (São Paulo. Online)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPenghttps://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/61862/42398Copyright (c) 2023 http://creativecommons.org/licenses/by/4.0/https://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGuardiano, Nicholas2023-04-28T16:42:08Zoai:ojs.pkp.sfu.ca:article/61862Revistahttps://revistas.pucsp.br/index.php/cognitiofilosofiaPRIhttps://revistas.pucsp.br/index.php/cognitiofilosofia/oairevcognitio@gmail.com2316-52781518-7187opendoar:2023-04-28T16:42:08Cognitio (São Paulo. Online) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.none.fl_str_mv Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
Notas para uma semiótica da arte: belezas icônicas na poiesis cósmica
title Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
spellingShingle Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
Guardiano, Nicholas
title_short Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
title_full Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
title_fullStr Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
title_full_unstemmed Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
title_sort Notes toward a Semeiotic of Art: Iconic Beauties in Cosmic Poiesis
author Guardiano, Nicholas
author_facet Guardiano, Nicholas
author_role author
dc.contributor.author.fl_str_mv Guardiano, Nicholas
description Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics.
publishDate 2023
dc.date.none.fl_str_mv 2023-05-27
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/61862
10.23925/2316-5278.2023v24i1:e61862
url https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/61862
identifier_str_mv 10.23925/2316-5278.2023v24i1:e61862
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistas.pucsp.br/index.php/cognitiofilosofia/article/view/61862/42398
dc.rights.driver.fl_str_mv Copyright (c) 2023 http://creativecommons.org/licenses/by/4.0/
https://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 http://creativecommons.org/licenses/by/4.0/
https://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. 24 No. 1 (2023): Cognitio: Revista de Filosofia ; e61862
Cognitio: Revista de Filosofia; v. 24 n. 1 (2023): Cognitio: Revista de Filosofia ; e61862
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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